We found this comic last week and decided to share it here with you. We hope you like it.
In our current zine, The Illustration Issue, Chloe Mavrommatis gives us the low-down on the hilarious and inspiring Hawkeye Initiative and on the immensely important Rule 63 (pg.9-11). Of course, an op-ed about these awesome gender-equality movements would not be complete without illustrations to demonstrate the inherent sexism in the comics industry… Behold: Hawkeye by
We would like to give a big thank you to JOY the Store for agreeing to be part of Issue Three, The Illustration Issue! All of the images used in our London Fashion Feature on JOY were courtesy of their webpage www.joythestore.com Log on and get some JOY in your life!
We found this comic last week and decided to share it here with you.
We hope you like it.
In our current zine, The Illustration Issue, Chloe Mavrommatis gives us the low-down on the hilarious and inspiring Hawkeye Initiative and on the immensely important Rule 63 (pg.9-11). Of course, an op-ed about these awesome gender-equality movements would not be complete without illustrations to demonstrate the inherent sexism in the comics industry…
Behold: Hawkeye by Rosa Middleton
All of the images used in our London Fashion Feature on JOY were courtesy of their webpage www.joythestore.com Log on and get some JOY in your life!
My name is Jane, and I’ve got a confession to make. For the past nine months, I’ve been involved in a very exciting project. But now it’s almost ready to unleash on the world, I’m equal parts elated, proud and terrified.
No. I know what you’re thinking. But it’s not a baby I’ve been gestating. It’s a book. And it’s not even mine, not really. It’s a collection of short stories about roller derby; a collaboration between the London Rollergirls and my online labour of literary love, For Books’ Sake. It features bold and brilliant stories from the roller derby track by both emerging and established authors, along with roller derby players, referees and fanatics from all over the world.
But I’m getting ahead of myself. In case they’re not already on your radar, allow me to explain. You see, the London Rollergirls are the UK’s first, largest and longest-running roller derby league, and I’ve idolised them ever since I first saw them bouting live a few years back. In that time, this adoration has taken all sorts of forms, from a period of pom-pom shaking while performing with the Jeerios, to taking a film crew from the TV Book Club to see LRG live when For Books’ Sake got involved in the first ever World Book Night.
To me, For Books’ Sake and LRG joining forces is total match made in heaven, as well as a glorious excuse for epic amounts of fangirling and an apparent confirmation that dreams really do come true. But I realise that – on paper, at least – it’s the kind of collaboration that might not make immediate, obvious sense. After all, the remit of For Books’ Sake is promoting and celebrating writing by women. What’s that got to do with a sport centred around quad skates, strategy, stamina and speed?
In a word: women. In more words: fast, fierce and brilliantly badass women placed centre stage for their aformentioned strength, strategy and stamina. In even more words: a global (over 1,200 leagues and counting worldwide), grassroots community with masses of solidarity, drive and energy going into every bout.
My teenage romance with riot grrrl never really went away, and more than anything it taught me to love and thank my lucky stars for female empowerment in all its forms. So roller derby was always going to resonate with me. And with so much overlap between it and the aims behind me founding For Books’ Sake back in 2010, collaborating with LRG on this project has been brilliant.
What’s more, at the moment the sport seems to be exploding; out of the underground and into the mainstream. From Depression-era danceathon-style endurance test via a televised 70s renaissance to its current continual evolution and expansion, it’s so-hot-right-now. Zoolander style.
And I’ve got a theory about why so roller derby recruits, fanatics and followers all over the world are so obsessed. People respond to passion, and that’s a trait the roller derby community has in copious amounts, and one of the catalysts behind the FBS/LRG collection, Derby Shorts.
“By celebrating the writing talent of the roller derby community in this anthology we hope to share the passion, the love and the dedication we – and that includes skaters, referees, non-skating officials, fans, jeerleaders – all have for this sport,” says Helen Nash of LRG.
According to Helen, after years of being involved in roller derby, the question she’s asked most often (alongside the likes of “Where’s the ball?” “Do you beat each other up?” “How do you score points?” and “Do you all wear fishnets?”) is “why?” Why the relentless training schedule, why the countless hours at committee meetings, why the abandoning of non-skating friends to talk tactics with teammates… the list goes on and on.
She says: “We want to answer the ‘whys’ by capturing the heart and soul of this ever-changing game on its inexorable rise, from its DIY ethos and punk-rock roots, to the strength and athleticism on display at bouts all over the world…It truly is an exciting time for roller derby and we’re thrilled to work with For Books’ Sake on this anthology to offer a glimpse into the heart of our community.”
Derby Shorts comes out on Monday, and I absolutely cannot wait (while still being completely terror-stricken about what the reactions from readers and the roller derby community will be), because I’m so, so proud to have been involved with this project, and of how the book turned out.
And while I know the stories in it could never reflect the action and attiude of roller derby in its rich and varied entirety, these tales from the track – by turns beautiful, bittersweet, brutal and bizarre, and featuring everything from Victorian debutantes taking a somewhat violent turn around the Serpentine to a punk-apocalyptic London ruled by ultra-violent rival leagues – give it a damn good go.
And if Derby Shorts captures even a fraction of the euphoria, adrenaline and excitement I’ve felt while watching LRG and other leagues’ live bouts, it will definitely all have been worth it.
You can buy Derby Shorts in paperback from For Books’ Sake for only £5 plus P&P, or in person at yhe LRG championship bout this weekend.
Jane is the founder and editor of For Books’ Sake, and the co-editor of both FBS anthologies, Short Stack and Derby Shorts. She’s been known to write columns and features for the likes of Bitch, The Bookseller, Mslexia and more, as well as her own short stories (usually about naughty teenagers, sea monsters or being obsessed with Patti Smith). She loves Kathleen Hanna, lemon cheesecake and drinking too much tea.
A HUGE thanks to Marma Gilligan (who will receive a copy of Issue One, Issue Two and a voucher for free Anna Mae’s mac n’ cheese), for pushing us to the next level of our Spring Fund Drive! We still need £170 to reach our goal but because we’ve got this far, we’re rolling out the Table of Contents for Issue Three! WOOOHOOOO!!!
It’s me again, the prodigal daughter with all the ‘radical’ feminist ideas and the sweary mouth.
We don’t always see eye to eye, in fact that seems to happen very rarely. I know there are lots of you on Facebook who roll your eyes every time my name comes across your News Feed, and maybe you even crack little jokes with your husbands or wives about the likelihood of my posts being ranty, feminist, liberal, pro-choice or all of the above. That’s OK.
I won’t pretend that I’m unpredictable and maybe this will just be another eye-roll inducing post. I have to ask you though, I am begging you in fact, to read this post… not because I’m anyone special, and not because I think I have it all figured out. Nothing like that. I’m asking you to do me this favor because I’m scared and because I literally don’t know what else to do.
The events that have unfolded in Boston over the last week have been tragic and increasingly surreal. Senseless violence swept one of our nation’s oldest cities and countless people have lost, in the best cases, their sense of security and in the worst cases, their health, their wellbeing and even their lives. As one horrific day has given way to another, the bad news seems to have compiled. Answers have been elusive, closure is still far from our grasp.
Being so far from the events, I can’t really fathom the fear the people of Boston have felt this week and continue to feel as they are locked in their homes today. I have spent these last several hours expressing gratitude to the universe that tragedy has not struck my loved ones and that I do not truly know the extent of the terror the citizens of Boston feel. My empathy is deep but it is limited by my distance, I know.
I say this because I want to be honest and clear about the nature of my fears. I have the luxury of reflecting on the situation in ways which may be more abstract, more ‘big picture’ than those who are still living in this nightmare. Nevertheless, I am choosing to make my plea not because I underestimate the continuing agony my countrymen and women in Boston feel, but because the way we as their countrymen and women–whether near or far–respond to these events will absolutely play a crucial role in the recovery of this city. The ways in which we choose to move forward, and the aspects of this tragedy upon which we choose to focus will make a difference in helping to heal Boston.
America, I am terrified that in our sadness, our anger, and our fear, we will let hate get the best of us. I am scared that the events in Boston will become a source for discrimination, unwarranted fear of ‘foreignness’ and further violence. As media reports continue to frantically proliferate rumors, misinformation, and half-checked facts, I become ever more anxious that shallow, hastily-constructed narratives of ‘vengeance’ will take center stage over the already multiple, true stories of heroism, bravery, kindness and humanity.
Please, please I beg you, whatever we learn in the coming days, consider tolerance before judgment, and compassion before hate. Why, you might be demanding of me, why should we be tolerant and compassionate when the Boston Marathon bombers had no regard for the lives of others? Because it is precisely this disregard and lack of respect for human life that separates those who engage in mass violence from those who don’t. Throughout human history there have been those individuals who have misanthropically chosen violence to achieve their ends; there have also been those who chose endurance, patience, empathy and tolerance. We don’t have to choose hatred. We don’t have to choose violence.
The Media is Full of Sh#t
I am asking you for your careful consideration as further light is shed on the circumstances surrounding the Boston Marathon bombing and the MIT shootings. There seems to be some degree of certainty about the suspects now, but if this past week has shown us anything, it is that major media sources and social media sites are unafraid to publish and proliferate information that boils down to nothing more than rumors.
A national newspaper posted photos and names of ‘confirmed suspects’ on two different occasions without any evidence for doing so other than the young men’s appearances and backpacks. In both cases, the men the New York Post identified as ‘terrorist suspects’ were students: one who had been injured and was running for his life–as were all other marathon attendees around him–and one, a minor, who as a track athlete himself, had attended the marathon in his track suit and with a backpack (a not uncommon accessory for students). These men were not, according to law enforcement officials, suspected of any wrong doing and yet the Post unabashedly reported their names and photos before any details of the investigation had been released by those qualified to do so.
Please be skeptical of what you read, we are still without so many answers and this event has already bred so much misinformation. And yes, if you construe this very post as ‘journalism’ and me as ‘a source’, then be skeptical of this too. If all I achieve is having my own post held in suspicion, I will not feel that this was a loss.
Generalizations are Poisonous
The limited information available that has been confirmed by the FBI and Boston law enforcement officials has linked two young men, of Chechnyan origin, to the Marathon bombings and shootings. They have also been linked geographically by various news sources to Kyrgyzstan, Kazakhstan and Cambridge, Massachusetts.
First, and foremost, if you don’t know exactly where these places are on a map, I would hope that gives you at least a moment’s pause about making any generalizing statements about people from these places.
Second, and perhaps this sounds funny to some, but I am 100% serious, none of these places, not even the ones ending in ‘stan’, are in the Middle East. Why is this important? Because all too often, mentions of the words ‘Islam’, ‘Muslim’ and most perniciously, ‘terrorist’ are automatically linked to Arabs and to the Middle East. There are many, many reasons why these associations are problematic to say the least, but in the simplest terms, making these types of associations in this context would be untrue and completely inaccurate if indeed two young men, who were born in Chechnya, turn out to be responsible for the violence in Boston.
Making any generalizations about these horrendous acts with respect to the young men’s religious inclinations would equally be inaccurate and would be tantamount to falsely accusing millions of people around the world. Islam is a world religion and just like Christianity or Judaism, it is practiced in countries all over the globe. Equally, the various ways Islam is practiced throughout the hundreds of communities in the world are so numerous that a muslim from Egypt may not recognize the practices of a muslim in America as representative of Islam. Chechnya’s ‘religious profile’ cannot even be summarized simply as ‘Islam’. Whilst the vast majority of Chechnyans are Sunni muslims, many are also Sufi. These are not the same and the differences are important.
Blaming the actions of these two young men on all of Islam or on all muslims would be no different than blaming the sexual abuses rife within parts of the Catholic Church on all Christians… everywhere!
Finally, to suggest that all Chechnyans are terrorists is to willfully and blindly ignore the diversity and uniqueness of human beings everywhere. The invisible lines drawn around countries, territories, and states do not infuse the people therein with a single, locatable essence. For many, many people I am ‘friends’ with on Facebook, I am the absolute antithesis to what they consider to be a ‘true’ American. If I were to volunteer myself within the UK as representative of all of America, I am certain that myriad people in TEXAS ALONE would stage a coup to remove my liberal, atheist, feminist, NHS-supporting ass from the (hypothetical imaginary) position. Narratives of individuality do not exist only in the USA.
Why do I care about all this? Because after 9/11 some Americans were so desperate to find ‘the bad guys’ that hundreds of innocent families, and many peaceful communities through out our country were subjected to undeserved vandalism and violence.
Boston does not deserve more violence, more turmoil and more pain. We cannot undo the bombings, or the shooting by engaging in more violent action.
The Pain from Within
What has happened in Boston is heart-wrenching and it is right that we should mourn. For many, these events will seem senseless and they will demand answers, they will want to know why. I am not a political analyst and I can’t convince anyone that the turmoil of Chechnya’s past is a key element in understanding these past few days. There are certainly those who can offer this type of analysis, but I’m afraid it’s not me.
What I can do is reflect on the harsh reality that as human beings, we bring violence on ourselves and on others in countless ways. This last year in the US has brought one tragedy after the next, and in cases like the Sandy Hook shootings, the stabbings at Lone Star College, or shootings in Aurora at The Dark Knight premier, we have had to try to come to terms with the terrors that lurk at home. Like any other country in the world, the US is full of all different types of people and some of them have brought pain, suffering and death to our communities.
We have also seen a regrettable year of teen deaths. We have only just begun to understand the ways in which social media and technology have further developed ‘bullying cultures’, and as a nation it seems we have had an even harder time recognizing and understanding how sexual violence intersects with online bullying. Tragically, these intersecting and overlapping attitudes have proved fatal for far, far too many young Americans.
This week, a fertilizer plant in Texas exploded and from what it seems, as a result of someone’s greed and gross negligence, 12 people have been killed, over 160 seriously injured and, countless residents have lost their homes.
My point in reminding us all of these terrible events is to illuminate the ways in which we bring terror to ourselves. No matter what way this week in Boston is characterized, we must resist the implications that violence and terror are things which are external to us. Yes, it may be that some of the things we suffer as a country come from groups or people outside our borders but equally as terrifying, and equally as tragic are the circumstances where our children die at the hands of our countrymen.
America as Melting Pot
My last, and final plea, is to resist any inclinations to direct our fear and our ire at those we deem ‘foreign’. I feel such an overwhelming anxiety that discussions will begin to materialize which argue that people who are ‘foreign’ to the US are dangerous. There is already an astounding display of xenophobia and racism on social media sites (as evidenced by sites like Public Shaming) where every despicable slur imaginable is employed to denigrate non-US citizens. These calls for racially- and nationally-motivated violence reveal deep-seated, ugly assumptions that Americans must be of a particular ethnicity, must be born in a particular place, and must practice a particular religion. ‘Foreign’, in the eyes of these terribly misguided individuals, equals enemy.
I cannot bear the thought of seeing this type of rancid, savage ideology spread further.
What’s more, I cannot think of anything more un-American. The maxims of America as a melting pot have been thoroughly critiqued and even dispelled as ‘pure myth’ by many a skeptical voice. But myths are powerful and they play a large part in the ways in which we understand ourselves and our nations. Maybe the melting pot myth has lost some gravity in the years since 9/11 but it cannot be cast off as irrelevant within the national narrative of the US.
How many people are absolutely brimming over with pride because of their Irish ancestry? How many foreign athletes and celebrities are celebrated within our national arenas? What would Americans EAT if not for foreign imports and influences?
These are trivial examples, sure, but they are real and present every day in the lives of all Americans. We are a country of immigrants and that status was something we took so seriously at one point in our history that we welcomed every new American with ‘The New Colossus’. The lady who dons these words is still standing in the waters of the New York Harbor.
Please join me in trying to avoid inflicting more violence and hatred onto the people of Boston and of our country. The stories which deserve to go viral are those of the heroes and the medical professionals who have saved countless lives. We must honor those who have lost their lives and embrace their loved ones. To be American must mean to be those that heal Boston.
I need to believe that writing this post was an unnecessary act. I need to believe that my country can choose construction over destruction, healing over hurt, tolerance over hatred, and peace over violence. Please help me to move on and to feel that the spirit of our nation as a diverse, determined, and truly democratic place survives.
Huzzah! We reached £100 today so now it’s time for a group celebration!
Laydeez Do Comics! They do indeed. If you’re not already familiar with it, LDC is a women-led forum for left-field comic creators to present what they do, why they do it, and how. Set up in 2009 by Nicola Streeton and Sarah Lightman, it’s a graphic novel salon where creators, academics and comic readers join to showcase and discuss this marvellous medium.
Hosted by illustrator Paula Knight in Foyle’s bookshop, Bristol’s Monday night event (8/4/13) featured Rosie Faragher, creator of children’s comic LOAf Magazine; Joff Winterhart, cartoonist of Days of Bagold Summer; and Hannah Berry, graphic novelist known for Britten & Brülightly and Adamtine.
First up was Rosie Faragher, presenting the brilliantly put together LOAf Magazine- a comic targeted at 9-12 year olds. She discussed the driving force behind creating a magazine for this very specific age bracket and introduced us to work by LOAf’s rich ensemble of contributors. The talk made me reflect on the media that is currently available to 9-12 year olds and the importance of this age bracket having their own magazine that is both relevant to them in themes and artful in form.*
Next, Joff Winterhart gave an energetic and amusing account of the development process behind his debut graphic novel Days of Bagnold Summer. We were given glimpses into his exquisitely chaotic way of working- evocative first sketches, rough storyboards, and comic panels sketched on individual pad sheets. Insights like this are the real beauty of Laydeez Do Comics events. There is something I find most exciting about being granted a peek at work that is in the developmental stage. Seeing Winterheart’s ideas coming to life through his gorgeous progress sketches was a delight.
Finally, accomplished graphic novelist Hannah Berry gave us a charming history of her passion for creating comics. The writer/illustrator of Adamtine and Britten & Brülightly talked us through childhood aspirations (Hannah’s were graphic novelist, fighter pilot or Victorian gentleman, in case you were wondering), a life-long love of comics, and tricking your comics-resistant university tutors into thinking you’ve not made a comic (when you have).
Also, the LDC audience were given a real treat from Berry, in the form of her first ever comic strip ‘Sooper Bird & The Cliff’.
Self Publishing: Hubba, hubba
Alongside the stand of books for sale by speaking creators, there was a space made for creators in attendance to sell their own zines and comics. I picked up Ann and The Majestic by Karoline Achilles and The Summer of Blake Sinclair by Sarah Burgess- both beautiful books. This willingness to make room for newbies is what gives LDC its’ lovely big warm heart.
Joff Winterhart, Hannah Berry and Rosie Faragher are pushing the boundaries of the comics medium and it was a pleasure to hear them sharing thoughts on what spurs them to do what they do. The diversity of the work on show is testament to the fact that comics are a medium, capable of carrying as many infinite messages and genres as prose or film can. (Are you getting this yet, non-comic book people?)
Laydeez Do Comics is a thrilling forum with a grass roots spirit and an atmosphere of encouragement- the perfect place in which to discover and discuss new comics work.
Visit your next Laydeez Do Comics event in Bristol, Leeds, London, Glasgow, Brighton, San Francisco and Chicago.
*Focus on LOAf:
Let’s zoom in on LOAf for a moment now shall we? The transitional time between primary and secondary school is a strange and formative period in a young person’s life and it’s right that media should be specifically catered to people in the 9-12 years range.
The driving force behind LOAf (launched in 2012, by Rosie Faragher and illustrator Becky Palmer) is to engage children who can’t, won’t or don’t read. Rosie Faragher understands the importance of stories, and LOAf magazine proves that work for children that employs the visual as well as words, can be just as sophisticated as prose.
The diverse range of contributors to LOAf includes cartoonists, as well as fine artists and childrens’ picture book illustrators. The result is a sumptuous visual explosion that will have you ooing and ahhing from page to page. The stories are poetic, funny, scary, and remain relevant to the target age range, whilst still being an enjoyable read for all of us bigger children.
The LOAf creators welcome the interaction of their young readers, running workshops and encouraging submissions from readers in the 9-12 age bracket. Look out for LOAf’s second issue ‘Friendship’, coming soon.
Rosa is a cartoonist and illustrator who focuses mainly on producing single page narratives– pictures that tell multiple stories. View her online portfolio at www.rosamiddleton.com and stay tuned for GEEKED Issue Three to see Rosa’s cover illustrations!
**Like what you see? Why not donate and help us bring GEEKED Issue One back to print?**
… but that is what he was asked on numerous occasions when he published his first comics, Strangers in Paradise, in 1993. Why? Because he chose to write and draw a story based on a Matriarchal society. Is that so bad? One might wonder why the same questions—about hating the opposite sex to the one in power—aren’t asked of men who create patriarchal societies in mainstream comics…
Does that mean he hates men? No. And here is why:
Moore’s writing style is an interesting one, he writes people, rather then characters, and by doing so, personalities live within the pages rather than being imagined. As he explained in an interview for MOOC last Tuesday: ’I write a human being first, and then the gender comes second’.
Like every writer, his stories are inspired by his life, but in an ‘oh if only I could go back in time to that argument, I would have said this, this and that!’ kind of way, thus making his characters a different version of what he is.
SiP is filled with gender stereotypes, that’s true, but most of them are turned on their heads. This inversion brings new perspectives to actions and reactions from different genders. This proves to be an eye-opening tactic and often results in negative assumptions that naturally, he must hate men!
In most of his work Moore shows women as being strong, violent, vengeful and powerful as well as (and not just) neurotic, sensitive, bruised, forgiving and caring.
Some men are shown as vulnerable, sweet, compassionate; others as pricks, sexually driven machines; and others as cold, but lawful and fair.
The range of characteristics in his characters is broad and thus breaking down the constructions of masculine and feminine and suggesting that all human beings can have mixes of both.
His approach is not by any means perfect, – and let’s not forget this is a decade before the awesomeness of My So-Called Secret Identity – but it is nonetheless an interesting and different one that raises more questions that need to be answered by society as a whole.
SiP tells the story of a strong friendship and the lengths Francine and Katchoo go to save each other. Here are some of the main characters:
Katchoo is a free-spirited, good-looking woman, she is always pushing Francine (her best friend) to be more assertive and to demand respect from everyone around her. She began her story as a sidekick to Francine, nevertheless at the end of issue 1, Katchoo is arrested for avenging her friend and a FBI file comes up with her name on it. At that point, Moore got so curious about what she had to hide, he started to write her into a main character spot. Since then, we have discovered that Katchoo has a past of abuse and violence that haunts her. It turns her into a vigilant, strong, athletic and aggressive woman who hates men for what they have done to her in the past (stereotype). After she left home, she met a woman who cared for her and showed her a new life as a call girl; the only difference here is that this is a service run by women and the clients are women (stereotype turned). Oh yes, and she thinks she is totally in love with Francine, but is she?
Francine is a sweet, warmhearted woman looking for a long-term relationship with a man whom she loves. She has been hurt by many men in the past and so in order to guarantee that this one (Freddie) won’t leave her, she refuses to have sex with him for a whole year, as she believes men leave her as soon as she gives herself to them. When he has had enough of waiting he leaves her and she finds out he was having an affair with his secretary for a while. This is when we see a different Francine come out: she is strong, decisive and neurotic; she wants him back and she is ready to do whatever it takes. She eats a lot when she’s down, and she doesn’t care!
David is a sweet artist, who falls deeply in love with Katchoo and even if it hurts him, he would rather be just a friend than nothing at all. He is sensitive, caring and unfortunately, comes from a very dangerous family that might put Katchoo and Francine at risk.
Freddie is a bag of stereotypes! He is inconsiderate, selfish, sarcastic, thoughtless, hedonistic, conniving and superficial. But, physically harmless and clueless.
Darcy is a ruthless, rich, violent and very powerful woman. She is the head of a mafia who controls the country and the economy.
Another aspect of Moore’s fantastic work is his drawing of realistic bodies. In his books, people are normal sized rather then extremely tall with elongated limbs. Double necks, beer and cake bellies, messy hair and dark circles are common occurrences in his drawings.
Moore’s work is known for its sensitive and realistic portrayals of women in particular. At a time when the comics industry was portraying women in highly exaggerated and sexualized images, Moore created female (and male) characters with natural body fat and who had body image problems
Quote from Academic Dictionaries and Encyclopedias
Unfortunately when he was younger, whilst illustrating for mainstream comics, his freedom of drawing from realistic examples was capped and he was asked to work within ‘the norm’.
When I did get in trouble was when I tried to draw other people’s characters. For instance, when I drew a pinup for DC or Marvel or Image, they would always give me feedback, like, “Okay, on our character, this neck is – this neck is too short and too fat, thin up the neck, you know, make her – ” And they would guide me in toward their character boundaries, you know. So that’s the only time I got in trouble. But, you know what, that was only kind of in the beginning. As I’ve become a little more wellknown for how I draw, I haven’t had people tell me that so much. They let me draw Rogue however I want, so I – when I did a Rogue cover for XMen, I drew a normallooking nineteenyearold, and they let it go. I was really pleased about that.
Here are some examples of Rogue by other artists:
And now here is Moore’s Rogue:
See the difference? The fact that he is now allowed room to do it his own way because he has established himself as a famous artist doesn’t mean that the same restrictions aren’t still being imposed on new artists. Of course, this raises concerns for the future of artists’ freedom of interpretation in comics.
In another occasion he has also posted in his Devaintart page the following image and comment:
Ms Marvel vs Julie… who’d win in a fight? The answer is Supergirl.
But, okay, this drawing is a perfect example of a major flaw in my work. My character is on the left, the much, much, much more popular and well-known character is on the right. Notice the obvious difference in the two? … Right, my character is wearing underwear. WHY-WHY do I keep drawing characters who wear underwear?!! WHEN will I learn? Panty lines kill sales.
Good news is The Sip Omnibus Boxset is coming this July woooohooo!!!
Terry works together with his wife Robin who is his publisher and runs Abstract Studios. His style is a mark in the changing of independent comics and the way character design is approached, but if we want to change it for better and for good a larger influencial approach needs to be had by mainstream comic artists.
Like, when the Image school of design hit in the early ‘90s, they changed the look of comics within one year. Within one year, most all comics were being drawn like an Image comic, so there you go, there’s your answer. Yes, it can be done. You just want the next artist to be drawing in a little more realistic style. I’ve done the best I can. I think I’ve had two people drawing like me. So you’re gonna need someone a little more famous than me, a little bigger than me to change it.