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Michael Sommerville
Byrne Robotics Member
Joined: 12 April 2010
Location: Canada
Posts: 417
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| Posted: 12 November 2012 at 10:33am | IP Logged | 1
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Paul Pelletier and Pat Broderick could get me to pick up comics, sometimes even if I had little interest in reading the actual story.
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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
Posts: 133317
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| Posted: 12 November 2012 at 10:41am | IP Logged | 2
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I own a chunk of my career to Pat Broderick! He dropped a deadline on the Iron Fist series in MARVEL PREMIERE, and, since Marvel actually cared about such things in those days, production manager John Verpoorten called me up and said if I could get the late book in on schedule, I could have it as a regular assignment. Et voila!
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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
Posts: 133317
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| Posted: 12 November 2012 at 10:45am | IP Logged | 3
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"Based on the high percentage of readers/fans I have met over the years who have assumed that the books were being done full script all along, I don't think I can entirely support this assumption. After all, I became a "superstar" despite the fact that most people seemed to assume (to my great frustration) that Claremont was telling me what to draw."As a kid, this is exactly what I thought. Heck, I thought this as a young adult. I don't think I understood how it worked until my 30s. I really didn't have an interest in peeking behind the curtain to know how it worked before then. I didn't read Stan's Soapbox. I bought Marvel Age, but that was largely for plot summaries for upcoming books so I could determine what I would be buying. I didn't really read the artist interviews. I was in my late teens when Image was coming out, but I didn't care and skipped out on most all of that. I admit it was the writers that were my superstars. •• I was somewhat horrified when I found out about the "Marvel Method" of plot-pencils-script. I had been working from full scripts at Charlton, and I did not think I was ready to be "thrown in the deep end" and expected to pace and at least partially plot the books. The first few jobs I did at Marvel were Full Script, in fact. If memory serves. my first job done "Marvel Style" was IRON FIST 3. (That was also the first time I tried doing breakdowns, with not at all satisfactory results.)
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Brian Miller
Byrne Robotics Member
Joined: 28 July 2004
Location: United States
Posts: 31170
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| Posted: 12 November 2012 at 10:53am | IP Logged | 4
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Kerry Gammill
Rick Leonardi
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Brian Lewis
Byrne Robotics Member
Joined: 13 August 2012
Posts: 476
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| Posted: 12 November 2012 at 10:59am | IP Logged | 5
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"I was somewhat horrified when I found out about the "Marvel Method" of plot-pencils-script. I had been working from full scripts at Charlton, and I did not think I was ready to be "thrown in the deep end" and expected to pace and at least partially plot the books."
Well you certainly seem to have learned to swim very quickly! As an adult, learning about the plot-pencils-script, I did gain a better understanding and appreciation of the team effort that goes into the storytelling.
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Joe Alexander
Byrne Robotics Member
Joined: 18 November 2010
Location: United States
Posts: 572
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| Posted: 12 November 2012 at 11:15am | IP Logged | 6
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JB-
I own a chunk of my career to Pat Broderick! He dropped a deadline on the Iron Fist series in MARVEL PREMIERE, and, since Marvel actually cared about such things in those days, production manager John Verpoorten called me up and said if I could get the late book in on schedule, I could have it as a regular assignment. Et voila!
---------------------------------------------------
Great story! I love background information like this. I always enjoyed his work, but I am really glad Pat missed that deadline.
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Stephen Churay
Byrne Robotics Member
Joined: 25 March 2009
Location: United States
Posts: 8369
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| Posted: 12 November 2012 at 1:20pm | IP Logged | 7
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To me a superstar artist is one that can sell a book or boost sales, just
by having his name on it. Since everybody has gone to writing full
scripts, the writer are now considered the superstars so we don't get
as many. It might happen more often, but today's artists don't really
seem to be the story collaborators they once were.
••
Based on the high percentage of readers/fans I have met over the
years who have assumed that the books were being done full script all
along, I don't think I can entirely support this assumption. After all, I
became a "superstar" despite the fact that most people seemed to
assume (to my great frustration) that Claremont was telling me what to
draw.
====
Well, fans might think that, but you did become a superstar working
from a plot. As an artist, you were actually contributing a lot to the
story. In many cases contributing the plot as well.
I'm not saying it's impossible to become a superstar if you're working
from a full script. Or, that you can't collaborate with a writer that writes
full scripts. Look at George Perez on TEEN TITANS. I assume he was
drawing from a full script.
I just get a sense that a lot (not all) of today's writers treat there
scripts as precious, and don't really welcome input by the artist. Just
draw what's written and stay out of the story.
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Fred J Chamberlain
Byrne Robotics Member
Joined: 30 August 2006
Location: United States
Posts: 4036
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| Posted: 12 November 2012 at 1:49pm | IP Logged | 8
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Barrows and Pelletier are the first two artists currently working that
jump to mind. Eddy's been getting exponentially better with every
project and is poised to hit this rank in the new future.
Pelletier has grown a great deal over the years as well and his Hulk
stuff was beautiful. I was really puzzled by Marvel's decisions of where
to use him both before and very certainly after his Hulk run. Hopefully,
he will be treated better with projects given to him at DC.
Plenty of guys from years past could be added here, given time.
Rumor mills grind and stories of everything from inter-office politics to
chronic lateness to "difficult to work with" have been bandied about.
The sad truth is that many missed opportunities for readers,
companies and artists are the result for whatever reason comes into
play.
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Larry Gil
Byrne Robotics Member
Joined: 09 November 2005
Location: Canada
Posts: 764
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| Posted: 13 November 2012 at 11:12am | IP Logged | 9
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My artist superstars are and will always be Byrne , Perez , Starlin , Buscema's , Gulacy ,Steranko , Adam's ,Colan , Golden and Kirby. How many names in the above list are regarded as superstar's when asking someone in today's market ..not sure. Guess depend's on their age and when they were introduced to the medium.
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James Woodcock
Byrne Robotics Member
Joined: 21 September 2007
Location: United Kingdom
Posts: 7786
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| Posted: 13 November 2012 at 3:19pm | IP Logged | 10
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I don't think Perez was drawing from full script on Teen Titans - he gets a co-plotter credit in later issues. I seem to remember also seeing something said to the effect that he and Wolfman used to thrash out plots over the phone which he would then draw. Plots even went so far as to be of the 'they argue for x pages with these beats being hit during the argument'. All some time ago so I could be wrong, although I don't think I am.
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Jason Czeskleba
Byrne Robotics Member
Joined: 30 April 2004
Posts: 4620
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| Posted: 13 November 2012 at 3:58pm | IP Logged | 11
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You are correct, James. Wolfman did not write full scripts for Teen Titans, and Perez was in fact co-plotter from almost the very beginning.
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Greg Woronchak
Byrne Robotics Member
Joined: 04 September 2007
Location: Canada
Posts: 1631
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| Posted: 14 November 2012 at 8:41am | IP Logged | 12
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I think Mike Nasser could've been a 'star' if he'd had a run on a high profile book. I have another soft spot for Nestor Redondo.....
I guess assignments help determine who becomes popular, editorial plays a big role.
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