Steranko turns the entire first page into a labyrinth, making the reader turn the book upside down to read the final panel, as Fury loops in on himself. Steranko uses Zip-A-Tone I assume to add some texture to the page, and it also makes the scene just slightly more mind-bending - the concentric circles in the final panel create the slightest buzz in our brains. Steranko even makes the bridge maze between Panels 4 at the bottom of the page and 5 where Fury throws the "incendiary flare" to link them and also to gently nudge us to the next page, as we end up in a different spot than we usually do when we're reading a page.
Then we get the odd, Swiss-army knife style layout on the second page, as Fury has to negotiate another Escher-like landscape full of traps, all connected to the Yellow Claw's insignia in the center of the page. The "reverse" steps, the three-dimensional cliffs, and the pyramidal spikes all create a nice vertiginous vibe as Fury gets through them, and of course Fury is outside the panel borders as well, implying that he's able to see the bigger picture even as he's making his way through the traps. It's still amazing looking at the these pages and seeing what Steranko was doing, because so many artists even today don't try stuff like this.
I swiped the famous quadruple-page spread from here - there's not much to say about it, as it might be the most famous drawing of Steranko's career, and it's certainly an extremely famous part of comics history. Steranko lays the page out wonderfully, always moving us from the left to the right, giving us wonderful details like the S. I'm not sure how Steranko did the effect on the Claw - he could have just overlaid a pattern and then inked it - but it's certainly very cool.
You can click on the spread to see it in a larger view - it really is worth it. Don't you just hate it when your enemy's infinity sphere is about to enter nucleo-phoretic drive and he slips into the space-time continuum beyond human reach? I know I do. But look at that great panel! Steranko pays tribute to the King, as he often does, with that fantastic-looking machinery at the bottom of the page, powering perhaps? Instead of using a straight line to separate Fury and the Claw, Steranko uses the curves, which makes sense as the Claw is inside a sphere.
A clear, straight divide between the two parts of the panel would not have given us that sensation, so Steranko's use of arcs makes more sense. Marvel started a new series starring Fury, but unfortunately Steranko didn't last long on it I have no idea if he was just slow or if he lost interest in it. But those first three issues Here we get Fury bombarded by an "ultra-lethal, thundering chorus upon chorus of destructive force" yet surviving, because he's just that bad-ass actually, he's wearing some new S.
I have no idea how Steranko created that effect in Panel 2. Did he lay sand on a page and then use a stick to create those patterns and then photograph it? Because that's what it looks like - a Japanese garden of violence. I just can't get over how cool the art on this comic is. When Mason tries to call his family to tell them about his good fortune, some of the wreckage from Scorpio's flying ship, which just crashed, hits the phone booth he's in and kills him. Damn, that dude had a shitty life. Okay, for the benefit of some of our younger readers: Once upon a time, "phone booths" were places with a telephone inside, which you could feed money into and make a "telephone call," which is just like texting except you actually have to talk to another human being.
You might know phone booths because Superman changes inside them, which makes no sense whatsoever they have windowed sides! That strange black banana-looking thing is the handset of an old telephone, while the spiral attached to it is a cord - once, people couldn't walk around wherever they wanted when they wanted to talk on the phone. They actually had to stay within the reach of the cord!
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I know, crazy, right? Anyway, this is a superb page, unsurprisingly. Steranko uses hatching to show Mason's body disintegrating, which probably got it past the censors but also is a good way to show the power of the explosion. He uses the cord as a panel border that slices through the page, linking Mason to his family but also cutting him off from them, tragically. In that wonderful final panel, Steranko is back to using Zip-A-Tone to get the rough effect, but he also wisely makes it black and white to drive home the sadness of Mason's pathetic death and existence , while dropping holding lines to give it a more wistful look.
Steranko uses a lot of tools in his arsenal, to excellent effect.
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I'm not sure if people think "cartoonish" when they think of Steranko, but this splash page of Jimmy Woo heading into the fun house shows that he's certainly not adverse to it. He uses a looser, freer line to draw the iterations of Jimmy in the mirrors, stretching and flattening him as seems appropriate, and his flowing brush strokes are beautifully suited for it.
He even changes Jimmy's facial expressions, which is a bit strange, but they seem to fit the figures - in the first drawing, Jimmy's long face gets a wide, stretched mouth; in the second mirror, his squat face has wider eyes and a closed mouth; and in the final drawing, Steranko cocks his eyebrow and twists his mouth, as if Jimmy isn't sure what he's going to find inside the fun house.
It's an unusual and fairly clever way to show Jimmy's different reactions to the task in front of him, and Steranko nails it. Another famous page from Steranko's run on Nick Fury is the one where he and Valentina get their groove on rarely discussed: this page is a complete non-sequitur; it's between Fury congratulating Jimmy Woo for making it through the fun house - which was an initiation of sorts - and the beginning of a mission, so it has nothing to do with either plot around it.
This really is a well done page, though - Fury's pad is a superb, late s bachelor paradise, with the big fireplace in the background and the zebra rug on the shag carpet. Val, for some reason, actually hangs out in clothing like that - it's not just a S. As you might recall, Our Dread Lord and Master wrote about this page five years ago , when he "revealed" a "comic book legend" about it hey, that sounds like a good name for a column - Brian should get on that.
The phone was originally off the hook, which Marvel thought was scandalous, and the final panel originally showed Fury and Val embracing, fully clothed.
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Marvel in addition to getting rid of Val's cleavage line in the first panel got an artist not Steranko to draw the phone on the hook and copy the gun from Panel 1 and replace the panel of Fury and Val embracing. Of course, this made it far more sexually suggestive than it originally was - hadn't any Marvel editors seen Hitchcock movies?
Plus, weirdly enough, it kind of ties the entire page together. The original final panel is one place where Steranko made a poorer choice than that which replaced it. I still love the off-the-hook phone, though - Marvel knew that Fury wouldn't want to be disturbed while he was gettin' it on, so of course he would take the phone off the hook!
Once more, I link to the site where I found this , those places where people have better scanners than I! So we get this Hound of the Baskervilles-esque story and this amazing title page, with the victim shown inside the letters running from the hell hound, leading us down to his feet in the lower left, as his corpse lies in the marsh. Steranko uses a minimalist style here to create a weird landscape that doesn't seem to have anything to do with winter later in the issue, everything outside is green and there's no snow - I guess Steranko just wanted the cool white to make the howling hound against the moon stand out more although there could be another reason, as I'll note.
He uses hatching to create the tree next to the title and I don't think it's coincidental that it's shaped a bit like a running person , and he uses thin black rectangles to create the steps and black blocks for the stone bridge. Without using a lot of lines, the white makes the moors foggy, adding to the eerie effect but still allowing us to see the details, as few of them as there are. This sets up the story nicely. Here's another page that could easily have shown up in a Warren horror comic of the time period. Steranko again uses Zip-A-Tone, probably, to create the face in the background of Panel 1, while using black shapes and no holding lines to form the Ravenlock house.
Steranko colored this, most likely, and he uses the red to tremendous advantage, especially when paired with the purple and yellow as always with these reprints, I don't want to talk about the colors too much, because who knows what the original looks like, but I don't think it changed too much, except it's probably a bit brighter here. In Panel 2, he uses those short, thick strokes to create a peaty fog in the sky and to make the gravestone a bit more rugged, while using thinner lines and more fluid blacks to make the woman look more ethereal.
He shows the murder in silhouette, adding to the eeriness of the scene, and of course we get the outline of the hound on the gravestone, as it's about to attack the woman. The way Steranko ends the panel at the top with the curved line of the sky also makes the scene a bit weird, as it's bleeding away into nothingness. Steranko ramps up the action with the sword fight at the top of the page, and then gives us a wonderful, twisted view at the bottom of the page.
Fury sees Rachel on the moor Rachel is the girl who can supposedly see the ghost of the manor , so Fury Yeah, okay. So it doesn't make much sense I mean, he does have to save her life, but come on, Nick - throw a chair through the glass or something! Sternako creates a nice triangle in that lower right corner of the page, with Fury at the apex, smashing through the big window and the three characters forming the base.
He does a wonderful job with the solidity of the manor and the ornate frame of the window, which makes it even more ridiculous that Fury could break through it, but at least it looks cool, right?
Okay, I know I went a bit overboard in this post, but I wanted to do Steranko and I just didn't have a lot of room to fit him, because my final two artists worked for a long time and I have a lot of their stuff to show. So today was a big one, and while tomorrow's post won't be quite as big, you know what's coming, and it should be as awesome as today's was! At least I hope so! Find more awesomeness in the archives! Tags: marvel , roy thomas , jim steranko , stan goldberg , nick fury agent of shield , joe sinnott , strange tales , Dan Adkins , Sam Rosen , Frank Giacoia.
- At the Divide.
- Sermons (Selected from the Papers of the Late Rev. Clement Bailhache).
- Chasing The Impossible.
- RANGER BATTALIONS.
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This privacy statement applies solely to information collected by this Website. We do not sell or rent your personal data to third parties. However, our partners, including ad partners, may collect data in relation to your Website usage as disclosed herein. All data collected through our Website is stored on servers located in the United States. In their own eyes, the punks were mostly just kids having fun. Since the late sixties he had wanted to make a film about Oxford Street. What fascinated McLaren about Oxford Street was its hyperactivity, a glitzy pageantry that seemed to strip shoppers of their humanity.
Another point of reference was the Gordon Riots of , in which a resentful proletariat had risen up, briefly identifying itself as King Mob. Be irresponsible. Be disrespectful. Be everything this society hates. McLaren had been putting these principles into practice since his days among the beatniks of Harrow Art School in the mid sixties. Occupy the fun palace… Light up Oxford Street. Dance around the fire.
By , of course, McLaren had made his mark as an Oxford Street impresario. He would speak of the Sex Pistols as his vulgar invention, an attempt to create cash from chaos. Throughout his strange career, McLaren kept returning to the idea that pranks are profound. He was the Marcel Duchamp of British music, a jester standing next to the abyss.
His purpose? The solution they proposed, much to the liking of McLaren, was a mass awakening from consumerism. That they sometimes sounded terrible when playing live only deepened their appeal; they made their fans feel that they had licence to sound terrible too. Their enduring achievement is, of course, their sole studio album Never Mind the Bollocks. In September , as a grey autumn clouded memories of the parched summer, he and punk had their perfect Oxford Street moment when the Club hosted a two-day festival.
McLaren disliked that term, which he thought tainted by its association with hippies, so it was billed as the Club Punk Special. He duped the media into thinking that a medium-size movement was massive—and lo, the media made it just that. On the first night, the Sex Pistols performed.
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Then I saw the Sex Pistols and I became a king. Afterwards it got hijacked by everybody. On 21 September, the second night of the Punk Special, the mood soured. He was swiftly bundled out of the venue and into a police car, ending up in Ashford Remand Centre. Punk acts were banned from the Club. Strife was good for business. Reports of the glass-throwing incident began a moral panic that would peak that December.
A rude word. Next question. Suddenly the nation woke up to what the mainstream media chose to characterize as a sordid cult. But the Sex Pistols represented the phenomenon at its most spectacular. But their brief reign of havoc shook up fashion, youth culture and, most obviously, music. Even if some of the spaces that opened up quickly closed down, sub-scenes developed. Punk sluiced away the last traces of flower power and ushered in an age of independent record labels, musical agitprop and jittery, often art-school-educated bands who said strange and unpalatable things in strange and sometimes palatable ways.
Punk also raised the status of the specialist music press, whose critics functioned as tastemakers and trend-spotters, activists and oracles, not merely mapping the contours of the culture, but shaping them. This punk spirit lives on. In it, and through it. In this issue we meet six artists who revel in the visual OTT potential of food, push it to its disgusting extremes, and highlight our ravenous, careless appetite to consume at all costs. More info Buy Me. Buy New Issue 39 This is the hover state for the latest issue. Tweet this. Thomas Dellert and the Sex Pistols Wikimedia Commons.
Wikimedia Commons Throughout his strange career, McLaren kept returning to the idea that pranks are profound.