Wiesenfeld peaked with his 2 issue Deathblow vs Wolverine miniseries. That first issue especially is mind blowing. He didn't do many comics after that. Moved onto fine art after comics.
I’ve always been so fascinated with this comic. Maybe because you could see so much crazy potential in the art. Aron exponentially got better in such a short time, his deathblow wolverine crossover was gorgeous.
That's the big thing, is the potential, and I guess knowing that he kind of maximized it. I do plan on hitting Deathblow/Wolverine pretty soon, so that'll be pretty great to go over.
I think the level of insane detail here is the lingering effect Darrow’s work at the time had on the comic artist community. Just three years before this, Hard Boiled broke everyone’s brains, while scooping up an Eisner. Just my theory.
I really enjoyed the art in this series I agree that his face do change drastically sometimes from panel to panel but the line work and use of shadows is awesome
These early wave Wildstorm books are why I preferred Jim Lee's business sense to Rob's. The artists in Jim's stable seemed to have more chops and a good sense of design as well as time given to make a really good looking book.
Well, I mean as far as business sense goes, I would not be surprised if Rob made as much or more money than Jim- where the market was at in the early 90s, people just wanted more Image, and didn't particularly care if it was any good. I agree though that way, way more interesting comics came out of homage than extreme. It was pretty rare to ever even get anything decent out of extreme.
@@teambloodforce lightboxes are goddamn expensive too. I got a whole glass top drafting table and a fishtank light for less than a lightbox; literally half the price because I already had the light
Great vid! Whoa! Calm yourself, Mitch, haha. Pretty epic issue overall. Hyper detail isn't always a good thing. Specially if it's distracting or ruins the focus of the panel/page. There are some areas where it toes the line, but I don't think it ever crossed it, from what I can see.
I suppose hyper detail isn't always a good thing, though I can't think of an example of when it wasn't. Other than my cover for Blood Force #2. But I can;t help getting excited, man, so often I'm underwhelmed by these comics I check out, It's like an event when they exceed expectations.
Wiesenfeld peaked with his 2 issue Deathblow vs Wolverine miniseries. That first issue especially is mind blowing. He didn't do many comics after that. Moved onto fine art after comics.
Yeah, I plan on hitting that one pretty soon. I remember seeing just that opening splash and thinking "... well, that definitely has to be a video."
I’ve always been so fascinated with this comic. Maybe because you could see so much crazy potential in the art. Aron exponentially got better in such a short time, his deathblow wolverine crossover was gorgeous.
A lot of that can be attributed to Richard Bennett as well. His inks over all that added to it
That's the big thing, is the potential, and I guess knowing that he kind of maximized it. I do plan on hitting Deathblow/Wolverine pretty soon, so that'll be pretty great to go over.
In between Continuity and Wildstorm, Aron did a few issues of Cable.
I think the level of insane detail here is the lingering effect Darrow’s work at the time had on the comic artist community. Just three years before this, Hard Boiled broke everyone’s brains, while scooping up an Eisner. Just my theory.
No, I don't disagree, there's a lot of Darrow here. Even more so in Deathblow/ Wolverine, which I'll be checking out in a few weeks.
I agree. Some of it odd. But so much of the art in these first issues was amazing.
It's pretty mindblowing, particularly from a gut I haven't seen much of.
I love the Team 7 books!! I have all three miniseries and the Xmen crossover. Fantastic writing and art!
It's way more interesting than I expected, for sure. The art kind of knocked my socks off.
I really enjoyed the art in this series I agree that his face do change drastically sometimes from panel to panel but the line work and use of shadows is awesome
Yeah, like I'm okay with it, it's just weird given how much he seems to know about every other aspect of drawing.
These early wave Wildstorm books are why I preferred Jim Lee's business sense to Rob's. The artists in Jim's stable seemed to have more chops and a good sense of design as well as time given to make a really good looking book.
Well, I mean as far as business sense goes, I would not be surprised if Rob made as much or more money than Jim- where the market was at in the early 90s, people just wanted more Image, and didn't particularly care if it was any good. I agree though that way, way more interesting comics came out of homage than extreme. It was pretty rare to ever even get anything decent out of extreme.
Trevor Scott inked Scott Clark a lot.
the tile room was probably lightboxed rather than photocopied
Yeah, that would work too. I never think of lightboxing as an option.
@@teambloodforce lightboxes are goddamn expensive too. I got a whole glass top drafting table and a fishtank light for less than a lightbox; literally half the price because I already had the light
@@leekalba Yeah, I think I've looked into them once or twice and went 'lol, nope'. Good on you for finding a solution.
@@teambloodforce my pencils tend to be really messy so being able to transfer to a clean sheet was always important
Great vid! Whoa! Calm yourself, Mitch, haha. Pretty epic issue overall. Hyper detail isn't always a good thing. Specially if it's distracting or ruins the focus of the panel/page. There are some areas where it toes the line, but I don't think it ever crossed it, from what I can see.
I suppose hyper detail isn't always a good thing, though I can't think of an example of when it wasn't. Other than my cover for Blood Force #2. But I can;t help getting excited, man, so often I'm underwhelmed by these comics I check out, It's like an event when they exceed expectations.