... keeps the doctor away.
A selection of comic panels from the beginning of the 20th century to this day.
More details about the panels and the quotes, in the link included in each post.
Mainly in English, sometimes in Spanish.
#comics #comicpanels #graphicnovels #tebeos #historietas #viñetas #bd #fumetti
Rising from the sewer… One of the most iconic Wolverine panels of all time, with Claremont and Byrne at their best, but also with the amazing work (here and throughout the whole saga) of least remembered, but equally great, inker Terry Austin.
🖼️ Uncanny X-Men (1980), by Chris Claremont, John Byrne, Terry Austin, Glynis Wein, Tom Orzechowski
🔗 https://apaneladay.com/wolverine-claremont-byrne/
#comics #Marvel #Wolverine #XMen #JohnByrne #TerryAustin #ChrisClaremont
"Craig’s crime noir style drew influences from Will Eisner and Milton Caniff and made him the ‘master of suggestion’. In Craig’s stories, the killings, horror and other gruesome acts mostly happened off screen, leaving much to the reader’s imagination. His artwork was clean and uncluttered, and gave his stories a spine-chilling Hitchcockian atmosphere."
—Bas Schuddeboom, in Lambiek Comiclopedia
🖼️ The Vault of Horror (1954), by Johnny Craig
🔗 https://apaneladay.com/vault-of-horror/
"Cities are fascinating because they are the result of collective effort and energy of humans coming together., but they grow organically even when you try to plan them ahead of time [...]. They’ll escape that and they’ll just kind of grow on their own. I’m totally fascinated with cities as outgrowths of human community in all different aspects."
—Jason Lutes, interviewed in The Comics Journal (2018)
🖼️ 'Berlin' (1996), by Jason Lutes
🔗 https://apaneladay.com/berlin-lutes-2/
"If you have a good story, the action will present itself, but if the action comes and you haven’t earn it, and the emotions are not there, it’s just toys playing together."
—John Cassaday, interviewed in Lo Spazio Bianco (2017)
🖼️ Astonishing X-Men (2004), by Joss Whedon and John Cassaday
🔗 https://apaneladay.com/x-men-whedon-kitty/
"Jean-Luc [Masbou] has maintained the same high standards right up to the end, and they have even increased from volume to volume. There’s something unique about his style, a special magic that draws you into the drawing and takes you on a journey with the characters."
—Alain Ayroles, interviewed in sceneario.com
🖼️ 'De Cape et de Crocs' (1995), by Alain Ayroles and Jean-Luc Masbou
🔗 https://apaneladay.com/de-cape-et-de-crocs/
"Jean had settled in Venice, on the outskirts of Los Angeles, where he conceived the story of ‘Venise céleste.’ In February, in the snow, he had come to open an exhibition in the City of the Doges [...] and he had drawn for me, without thinking about it, a story about a prince and a little fairy… a story that united us until his last breath."
—Isabelle Giraud, 'Mœbius et l’Italie, une histoire d’amour'
🖼️ 'Venise céleste' (1984), by Moebius
🔗 https://apaneladay.com/moebius-venise-celeste/
"By stepping outside the confines of the established superhero universes, I was able to find my own distinctive voice [...]. ‘Moonshadow’ set me free as a writer, and I brought that freedom with me when I stepped back into the Marvel/DC universes. There couldn’t have been a ‘Kraven’s Last Hunt’ if I hadn’t done ‘Moonshadow’ first."
—J. M. DeMatteis, interviewed in Fanbase Press (2020)
🖼️ 'Moonshadow' (1985), by J. M. DeMatteis and Jon J. Muth
🔗 https://apaneladay.com/moonshadow-dematteis-muth/
Support your local comic shop!
Shopping for Superman - OFFICI...
Seth’s Dominion and the Realm of an Artist’s Interest
https://www.tcj.com/seths-dominion-and-the-realm-of-an-artists-interest/
Vaya lujo tener a @grickle en Mastodon, ¿no?
https://mastodon.social/@grickle@mstdn.social/113907862200042479
"The scripts are very closed once I start drawing. I need to know where the story is going and if it goes somewhere really worthwhile, either for the reader or, at least, for me. If not, why draw it at all? Having said that, there is always room for improvisation."
—Javier de Isusi, interviewed in Zona Negativa in 2020
🖼️ 'Todas las mañanas' (2022), by Javier de Isusi
🔗 https://apaneladay.com/coffee-time-22/
‘We live in a climate of fear’: graphic novelist’s Elon Musk book can’t find UK or US publisher
Darryl Cunningham blames fear of ‘legal consequences’ for reluctance to take on book, now only available in French
What a loss...
Comics Artist John Cassaday, Planetary Co-Creator, Has Died Aged 52
https://bleedingcool.com/comics/comics-artist-john-cassaday-planetary-co-creator-has-died-aged-52/
"Every choice he [colourist Ryan Hill] makes is about evoking the appropriate mood, getting the minutiae right, and creating a hierarchy of focus that guides the reader’s eye correctly. It’s a tough to strike the balance between aesthetic and practical considerations, but Ryan nails it every time."
—Steve Lieber (@stevelieber), interviewed about 'The Fix' in Graphic Policy
🖼️ 'The Fix' (2016), by Nick Spencer, Steve Lieber, Ryan Hill
🔗 https://apaneladay.com/the-fix-spencer-lieber/
In 1954, as part of the 'Grand Passion' story, Alex Raymond produced one of the most extraordinary sequences in the entire 'Rip Kirby' series. The whole scene has an intense dreamlike quality, with the mesmerising fog effect, the ghostly appearance of Pagan Lee, the kiss, the masterful use of lines, silhouettes, shadows and textures...
See the 6-strip sequence in the link.
🖼️ 'Rip Kirby' (1954), by Ward Greene, Alex Raymond
🔗 https://apaneladay.com/alex-raymond-rip-kirby-grand-passion/
"Raf’s graphic art is exceptionally rich and imaginative; his agile and flexible strokes are capable of metamorphosing again and again without ever losing their personality. And what best defines this personality is the extreme beauty of the drawing, which even in its most torn aspect maintains its enormous 'graphic tenderness'".
—Jordi Canyissà, 'Raf: El gentleman de Bruguera'
🖼️ 'Sir Tim O’Theo: La maleta sospechosa' (1971), by Raf
🔗 https://apaneladay.com/raf-tim-otheo-maleta-sospechosa/
"I read ‘Krazy Kat’ with awe and wonder. ‘Krazy Kat’ is such a pure and completely realized personal vision that the strip’s inner mechanism is ultimately as unknowable as George Herriman. Nevertheless, I marvel at how this fanciful world could be so forcefully imagined and brought to paper with such immediacy".
—Bill Watterson, in 'The Komplete Kolor Krazy Kat'
🖼️ 'Krazy Kat' (1939), by George Herriman
🔗 https://apaneladay.com/krazy-kat-herriman/
#comics #comicstrip #KrazyKat #GeorgeHerriman #BillWatterson
