SKETCH BOMBING!

Haven't posted any art in a while...

  For more of my work check out http://ironlion82.deviantart.com/

  

Looking through the bin #2

As a collector, it’s always fun to go back and look through the bin and comb through the past issues and series you've amassed.  Not so much to appraise their value, but because it’s just plain fun!  The experience is much more unique as an adult. While pouring through the adventures of the teams and characters of yesteryear you often notice things that weren’t cognizant of as a kid, or maybe didn’t fully understand at the time you initially read it.  I’d like to tell you about a couple of books or rather two consecutive issues that caught my eye in this fashion. 

If you were to pick up Wolverine #105-106, they would certainly appear to be little more than two filler issues, part of the cool down from issue #100 (a supposed landmark issue where the story made absolutely no sense and the titular character gained a ‘new look’.)  But let’s look a little bit deeper shall we? Both issues, Written and drawn by industry veterans Larry Hama and Val Semeiks respectively, offer both covers and interiors that stand in stark contrast to one another. 

WOLVERINE #105

Issue #105 takes place during Marvel’s all encompassing ‘Onslaught’ saga and takes a look at the collateral damage caused the eponymous villain.  It’s a pretty fast story but not hectic that you’re turning the page before you have a chance to understand what you’ve just read.  The premise seems simple enough; a superhero rescues a kid from a burning building.  But the story takes a turn when he goes back save an old man.  I won’t give away the ending.  You’ll have to head down to your local comics store and browse the back issues. 

Wolverine saves the day!

WOLVERINE #106

#106 is a step in the other direction pulling Logan out of the action and sending him on something of a vacation.  The book guest stars Elektra, who is a staple Marvel’s Daredevil franchise and they’re pairing is mention in the previous issue.  The story starts as camping trip in Wolverine’s stomping grounds in Northern Canada, and from there the two travel to her Elektra’s family home in Greece. The tone of the story is rather passive, showing a Wolverine that fans rarely see—laid back, social.  It’s not without its action however as we see a flash back to the hero’s WWII days.

The drawing style of Val Semeiks lends itself to the character’s physical look extremely well, specifically his depiction as quasi-neanderthal type (explained in the above mention issue 100).  His visuals are solid and he presents clear and kinetic illustration that compliments Larry Hama’s dialogue, which had always been a keystone of the books popularity.  Having written the book throughout most of the ‘90’s, Hama’s take on the character is the one many fans have come to know and love.

These stories did not involve the overly hyped up dramatic changes, that we’re  so rampant in the industry in the boom of the 90’s, but if you’re a fan of great writing and wonderful art, then these two issues certainly deserve a place in your collection. 

                

-RYAN

(All images are the property of Marvel Comics)

Sketch Rampage!

For a number of weeks I’ve been posting random sketch work on facebook and Deviant art…First reason for this is to show everyone my creative process (Pretty scatterbrained I know). Second reason is to get all this stuff that clutters my head (and folder) and get it out so I can have room for some serious projects. I’m glad so many people like my stuff. I wanted say thank helping enjoy what I do even more!

I'm Sorry

I wanted to take this opportunity to say I’m sorry….

I’m sorry I’m not the one you’re waking up next to, and that you can’t tell me "I do."

I’m sorry you didn’t have better sense and developed such a fondness for douchebags.

I’m sorry that said douchebag took your car and crashed it for the third time.

I’m sorry he slept with your best friend on your birthday, and the only present you got was a ‘round of applause.’

I’m sorry you cry when I don’t pick up the phone. Let’s face it, your drama got old quick.

I’m sorry you got your ribs broke for smiling at me at the Christmas party and that he thinks that beautiful little boy isn’t his.

I’m sorry a woman as strong as you just went and gave up, your wrists bleeding out, rushing warmth followed by slow calming cold.

I’m sorry I have to lay these flowers on your grave and help your mom through the worst of this. “You would’ve been good for her”, she tells me from time to time.

I’m sorry you had to close your eyes forever to see what was right in front of you.

Storm to Me

Storm to Me by Ryan Scales

The Furniture is flying.

I’m playing dodgeball with a lamp, a telephone,

And a TV Remote. I think you’re upset.

You mouth is a gail-force hurricane of 4-letter words

And I have no hope of surviving. A terrible cloud of venom-laced needles,

The insults fall on me like hail and I find myself saying

“Come closer. Bring your storm to me.”

“Hell hath no fury….” So they say,

And here I am still in the middle,

With the wind and the waves and every ounce of your rage.

Your elements batter me every which way and still I say,

“Come closer. Bring your storm to me”

Ironically, I only endure this madness for you,

Because of you and in spite of you,

Remembering the gentle flow of your river and the comfort

Found in the shelter of your mountains as the thunder dies away

And the storm is weathered.

Stay with me. Give your storm to me.

R.I.P. AL WILLIAMSON

Al Williamson was said to be one the best draftsmen I comics. I first discovered his work on my 13^th birthday when my mom bought Marvel Comics’ Daredevil: The Man without Fear miniseries. I’ll be honest; his work didn’t exactly wow me at first glance. It wasn’t until high school when I finally started to take inking seriously that I started studying a lot of inkers and the way they work. Williamson’s name came up in that mix a lot. His works and credits are many but I will always remember him best from his inking on the previously mention Daredevil mini with penciler John Romita, Jr., as well as his extensive run with Rick Leonardi on Marvel’s 1992 series Spider-Man 2099 Daredevil: The Man Without Fear #3

Spider-Man 2099 #3

Finding a Home

I'm starting to think that the best way to get my work noticed is to join a studio. It's working for a lot of my favorites, I mean look at the guys at Udon and Comicraft. Image Comics started out the same way, just a bunch of guys who got together to do their own thing. Problem is these days, everybody's so busy tryin to do their own thing as opposed to a team effort. I tried it once and it opened me to new forms of art, but my passion was for comics and theirs wasn't.

The second time I tried it, I thought found a team that had some fire in their bellies. But they were apart of that generation that was looking for that quick hit. The cash cow. Seriously ADD when it came to the production aspect. They could dream up characters and one-piece visuals but when came time for story-telling they were seriously ADD; over-analyzing their own work, or just had better things to do. They would worry over things like marketability and the animated movie adaptation when their characters haven't even made it off that one scrap of paper they put it on!

Recently I've found one individual that seems to be on the same wavelenth as me(We're rolling down the same highway but not necessarily the same lanes! :)) We've been corresponding for three years and keep each other motivated on the project we started back then. But it doesn't change the fact that I want to be a part of a studio, part of a team that loves to produce great stories, great art and great comics! And who will push me to produce it as well. Until I find it, or they find me or we stumble across each other, I'll keep posting and I hope you all keep viewing. I enjoy the love!.

-Ryan