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Eric Ladd
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Posted: 29 August 2016 at 7:06am | IP Logged | 1  

These punches resonate with me.


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Ed Fahey
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Posted: 29 August 2016 at 8:11am | IP Logged | 2  

Here's an early Perez gem....Namor sent flying by Wonder Man who is off panel.
I guess not even seeing the actual punch, only the result, can be pretty powerful if done right!

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Eric Doyle
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Posted: 29 August 2016 at 12:51pm | IP Logged | 3  

The panel layout along with the Ben's reaction, that is one super punch.

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Peter Martin
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Posted: 29 August 2016 at 1:22pm | IP Logged | 4  

What makes a punch powerful for you?

Certainly, Kirby had many effective techniques and I agree with the things you mentioned, Wallace. Skilled use of motion lines to mimic blurring to the point of becoming figurative was prime amongst those techniques, but the drama on the faces and in the body positions also played its part.

I think cause and effect is also an important part, preferably within the same panel. Curiously, I find it more powerful to have the punch and the punched closer together (as opposed to some of the examples where we are seeing it a moment later where the punched is thrown a distance.... though this can be fun also, such as the Gladiator/Thing page above and the Terrax/Thing punch in FF #242).

I like the punches below by Frank Miller from The Dark Knight Returns:


There are no motion lines nor sound effects, but we see the body poses and the flying blood and mud give us the impression of the power and speed involved.

The lines of expression on the face in the second planel also sell the impact. 



Edited by Peter Martin on 29 August 2016 at 1:23pm
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Wallace Sellars
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Posted: 29 August 2016 at 4:00pm | IP Logged | 5  

Nice one, Ed. That's a great example of the effects of a powerful punch even
though we don't see the actual punch! No way should Wonder Man be able to
beat the Sub-Mariner though, so the next panel should have shown Namor
swooping back toward his opponent to deliver a sound thrashing.

Eric, I thought of mentioning that punch as well. That one definitely packs a lot
of power! Thanks for sharing it.
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Wallace Sellars
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Posted: 29 August 2016 at 4:01pm | IP Logged | 6  

Marc, I considered posting that panel featuring Ben and Thor because it's
another example of Jack Kirby's white (open) impact technique!
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Brian Miller
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Posted: 29 August 2016 at 4:39pm | IP Logged | 7  

Just look at Ben's body in that last panel after being hit by Gladiator. You can tell just by looking at him he's been hit HARD. Beautiful body language. Its so fluid. Damn!
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Dave B Stewart
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Posted: 30 August 2016 at 6:25am | IP Logged | 8  

One thing I like about the aftermath of Gladiator's punch is that Ben only has one shoe on.
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Eric Sofer
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Posted: 30 August 2016 at 7:02am | IP Logged | 9  

Wallace Sellars - why would you think Wonder Man shouldn't have an even fight with Namor? It's been noted that his strength is in Thor's class, so I think the two of them might be fairly evenly balanced in a fair fight (say, during a rainstorm.)
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John Byrne
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Posted: 30 August 2016 at 7:11am | IP Logged | 10  

The panel layout along with the Ben's reaction, that is one super punch.

••

Pay attention to the coloring on that page. In the diagonal panels, the cars thru which Ben is punched are the same color in the same order.

Say I'm being paranoid, if you wish, but since Shooter hated "unconventional" panel layouts -- his Mort Weisinger training -- I've long been convinced the colorist was instructed to use those hues to defeat the purpose of the parallel panels.

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John Byrne
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Posted: 30 August 2016 at 7:13am | IP Logged | 11  

These punches resonate with me.

••

Hm. I'd be more inclined to call those slashes and stabs than punches.

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Andrew Bitner
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Posted: 30 August 2016 at 7:36am | IP Logged | 12  

It might be that I was just oblivious, but I always "read" the Gladiator-punching-Ben panels as sequential, coloring of the cars aside (I mean, the cars themselves weren't identical).

So if that was Shooter trying to undo your work, JB, his efforts didn't register with me. :)
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