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Topic: X-MEN "Days of Future Past" - Cameos, Authorship, and More (Topic Closed Topic Closed) Post ReplyPost New Topic
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Jason Schulman
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Joined: 08 July 2004
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Posted: 28 May 2014 at 10:25pm | IP Logged | 1  
Shiny.

Terry Austin's inks make everything look shiny.

They look great, of course. Extremely precise-looking. But even the debris has a shine too it. 
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Marcel Chenier
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Posted: 28 May 2014 at 11:04pm | IP Logged | 2  
"I thought it was perfect the final showdown was set in the 
Baxter Building"

Couldn't have said it better myself.  Touches like that give added depth
and drama to an otherwise already very intense story.  For the fans 
back in the day, it simply showed how much of a craftsman JB was;
how he could add greater significance to a scene that was already 
really great.
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John Byrne
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Joined: 11 May 2005
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Posted: 29 May 2014 at 7:22am | IP Logged | 3  
…heartbreaking....

••

Perhaps -- but, at the risk of this turning into a Dump on Claremont thread (What? Too late?), take a look at those panels and imagine them without the captions. The way I structured the scene was to emphasize the immediacy of the action. Peter cries out -- and STRIKES.

But Chris rarely paid attention to my pacing, so we get three captions and eighty-five words! Instead of a scene that happens as quickly as it is possible for it to happen on a printed page, everything is slowed down.

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Stevie Thomas
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Posted: 29 May 2014 at 7:54am | IP Logged | 4  
JB,

Do you have any stories about the creation of the lineup for the new Brotherhood of Evil Mutants? I believe Destiny, Pyro and Avalanche were new characters, but Mystique and Blob were existing. Of the original Brotherhood, you had just used Mastermind in the Dark Phoenix story but did you consider bringing back Toad or Unus the Untouchable?
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Brian Miller
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Posted: 29 May 2014 at 8:06am | IP Logged | 5  
That second panel has always been a prime example of just how strong Peter is. He punched a Sentinel thru the wall of the Baxter Building. And maybe even more walls. We don't know how deep inside the building they were. And that Sentinel's not hitting the ground for a while.
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Stephen Robinson
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Posted: 29 May 2014 at 8:15am | IP Logged | 6  
The panels all read much better without the captions. The dialogue and
art (sometimes just the art!) are sufficient.

The sometimes purple prose of captions can give comics a bad rep.
Visual medium! I can see Wolverine pop his claws. Why are you
covering up art to tell me that? And the claws clearly are stronger than
the Sentinels based on the next panel.

It reminds me of the two recent film adaptations of THE GREAT
GATSBY. Both used Fitzgerald's prose as voiceover (the 2013 film even
more so) but it was rarely necessary, and often just described what we
could clearly see. The famous passage about Gatsby's smile is
superfluous if you have an actor who can just smile brilliantly. You don't
need to describe the Valley of Ashes when we can see it.

As a writer myself, it is tough to admit sometimes that the best
sentences you can write to describe an emotion or a gesture can be
exceeded by an almost average visual of the same thing. And with
excellent visuals, as we see here, the descriptions are superfluous and
distracting,
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Doug Centers
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Posted: 29 May 2014 at 9:05am | IP Logged | 7  
Everytime I see them panels the impact of the art is immediate. I never needed to read the captions to understand Peter's emotion and subsequent rage.
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Charles Valderrama
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Posted: 29 May 2014 at 9:42am | IP Logged | 8  
Something tells me Claremont thought he was getting paid word for word.

Kidding aside, i respect Chris Claremont's contributions to the X-MEN, but he could've practiced some restraint every now and again... especially with co-plotting with JB in the past when their stars were on the rise.

-C!
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Wallace Sellars
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Joined: 01 May 2004
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Posted: 29 May 2014 at 4:30pm | IP Logged | 9  
JB, do you think CC's scripting on JLA: The Tenth Circle did a better job
of conveying the story you wanted to tell?
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