Couverture de Sandy Plunkett encrée par Kevin Nowlan.
Sandy Plunkett, dans le genre sous-estimé…
Jim
1 « J'aime »
Crossover lunaire avec le reporter belge :
Ainsi que deux pages de Dustin Weaver (« The Adventures of Thing Thing ») pour le Fantastic Four Giant-Size Adventures #1 de 2009.
This was mine and Paul Tobin’s homage to Tintin and Herge that was published in Fantastic Four Giant-Size Adventures #1 .
Plus ceci…
Englehart et son expérience amère sur Big Town (paru fin 2000/début 2001) :
"An almost total disaster.
Conceived as a gift to Marvel - a new franchise with unlimited possibility - it ended up edited by people who couldn’t understand it (and it ain’t that hard). It was approved as six issues, plotted as six issues, and then cut to four. The first issue was printed with pages out of order and characters dumbed down. The title was changed to FANTASTIC FOUR: BIG TOWN, even though it featured all the major groups. And then #4 had non-sequiturs edited in for no reason anyone’s ever been able to explain. (My favorite is a caption, « The very core of the earth, » as the Silver Surfer soars into New York.)
Nice covers, though."
http://www.steveenglehart.com/Comics/Big%20Town%201-4.html
L’interview du scénariste au moment de la sortie du titre :
https://westfieldcomics.com/wow/low/low_int_043.html
« Steve Englehart : The whole thing that Marvel is built on, and I think it was certainly a good way to go, is that reality didn’t really change when the super heroes came. It was still our reality and the super heroes were living their secret identied lives amongst normal people. But I thought, once Reed Richards and Tony Stark started inventing giant machines to fight off Dr. Doom and repel Galactus and things like that, there would not only be the psychological change, in the fact that Galactus nearly ate New York and people would react to that, but on a more practical level, there would be all these advances. It’s like they always say, if you do the moon shot, you get real useful things out of it. If they had invented all this stuff, if they had gone so far out beyond the cutting edge in order to accomplish what they were doing, that stuff would feed back into the general population. To come to the bottom line, once Reed Richards took his girlfriend, his best friend, and his girlfriend’s brother into a rocket and went to space and came back with super powers, the world started to change at that point. Big Town begins 10 years to the day after that, because the general conceit these days is that the entire history of Marvel took place in ten years. So, New York has become the focal point of the world because the super heroes are there. The FF is there, the Avengers are there, Professor X and Hank Pym are there. There’s a street gang in New Jersey called the Mutts, which is short for Mutants, and it’s basically the original X-Men. Because of all of this, there never was a Silicon Valley. Everybody who was interested in that kind of thing came to New York because that’s where Reed Richards and Tony Stark were. The entire history of the world has been reshaped by the fact that these people exist. What I’m saying is, here is the Marvel Universe if that had happened. It’s extrapolating from the original Marvel thing, but going in this direction rather than the one that they took. Some people have said, « Is this an Elseworlds? » I’d say it’s The Road Not Taken. It’s called Big Town because it’s this huge city. Physically, New York is now three times the size that it was. It encompasses a good chunk of New Jersey, a good chunk of New York state, and a good chunk of Connecticut. All of it has been rebuilt because there’s been so much money and so much technology. The technology was a good thing; everybody really got into it. Which isn’t to say there aren’t bad parts of town still, but it’s the Marvel ethos that super heroes are good and do good, taken in this different direction. The other meaning of Big Town is that it’s like going to the « big town. » It has that glamour. And it does have the Fantastic Four, and the Avengers, and the original X-Men, and a few random other people, all living in this same place and so they interact. It’s not a question of that this is the Fantastic Four’s book and maybe the Avengers might guest star. No. They all live in this place so they all hang out together and they get into adventures together. »
Le script original du N°1 :
Ca a l’air pas mal, Big Town.
Byrne encré par John Beatty (l’encreur de Zeck).
Et ses cornes parce que « ça fait cool » si je me souviens bien des propos de Reed Richards !
Je te trouve dur. Je me suis fait le run après coup en une traite et ça passait finalement bien. Rien de révolutionnaire, mais rien de honteux non plus, et Millar nous ressort même l’ex de Reed des tiroirs.
Ca par contre, c’est d’un goût…
Wizard quoi (même si certaines rubriques sur les dessinateurs étaient intéressantes, par exemple un focus sur les onomatopées avec Walt Simonson).
Hitch sur les FF sans Millar c’est déjà nettement mieux, enfin dans mon souvenir (l’Annual d’Ahearne).
Difficile de ne pas voir une belle référence à l’une des images les plus connues sur les Internets de la première série animée du Tisseur :
Beau gâchis vu ce qu’en dit Engelhart, et un concept de Terre alternative tellement évident qu’on se demande pourquoi il n’a pas été exploré plus tôt.
Poster de Kerry Gammill pour les 25 ans des FF et de l’univers Marvel (1986).
Ce qui est épatant, c’est qu’on comprend très bien ce qui se passe dans le dessin de Pacheco, avec les costumes qui s’adaptent… mais entre la colo violente (Liquid, non ?) et surtout la titraille envahissante de Wizard, on ne voit plus rien. La cocaïne et la maquette ne font pas bon ménage.
Jim
Assurément, de loin on a l’impression que Sue et Johnny ont été dessiné par Salvador Larocca qui était un grand habitué de cette colo à l’époque.
Hmmm ce design, trop classe, j’adore. Comme Ben ça à l’air bien.
Walt Simonson (ft. Vaughn Bode, Will Eisner, Wally Wood, John Workman, Tom Palmer) talks lettering from Wizard #65.
It wasn’t all ads for Custom Chromium Covers and “Hot Picks" telling you to invest in Lady Death comics!
Je déteste pas Liquid (ni d’ailleurs le Larocca de l’époque), c’était lumineux, au moins. Mais trop plastique. Un peu comme si D’Armata avait allumé les spots, au lieu de coloriser dans l’ombre.
Jim
Le feuilleton radio, épisode 10 : The Super Skrull (F.F. #18, cf. post 408)
Quelques designs de costumes au fil des runs.
Byrne (pour son propre run) :
Jim Lee (Heroes Reborn) :
Pacheco/Merino (Unused Redesign) :
Wieringo (pour son run avec Waid) :
Hitch (Ultimate Fantastic Four) :
Immonen (Ultimate Fantastic Four) :
Scot Eaton (FF version House of M) :
Alan Davis (FF The End) :
Hitch (pour son run avec Millar) :
Ed McGuinness (la Chose et la Torche durant World War Hulks/Hulked-Out Heroes) :
David Marquez (Fantastic Four: Season One) :
Epting (pour les FF d’Hickman) :
Marko Djurdjevic (pour la FF d’Hickman/Epting et l’event Fear Itself) :
Bagley & Allred (pour les deux titres de Fraction) :
Leonard Kirk (pour son run avec Robinson) :
Mario Guevara (Ultimate FF) :
McNiven (Uncanny Inhumans) :
Valerio Schiti (pour les Gardiens de la galaxie de Bendis & Marvel 2 In One de Zdarsky) :
Pichelli (pour le début du run de Slott) :
Valerio Schiti (Fantastix) :
Kuder (Victorious) :
Valerio Schiti (Empyre) :
La page 139 est en double… Mais, du coup, il manque la page 140.
Tori.
Un autre projet avorté de Byrne :
La couverture et l’introduction de Byrne pour le tpb de 1989.
