ICFD Cover of the Week - 24th February 2013

For this week's cover I have to admit to cheating a little bit...

How?

Well this week's cover was never actually published. At least not in print form. But don't let that put you off, because it actually is readily available online.

Right back when I started this Blog (Ouch! Was that really 2007?) my first entry proper was a piece on a wonderful little series which, while advertised, never saw print before Marvel UK was closed.

Loose Cannons was a fully painted spin-off series from Marvel UK's Warheads - the book about the heavily armed dimension hopping units of the same name, who traversed Marvel's multiverse in order to claim artefacts and technology for the Mys-Tech corporation. 

The Warheads program comprised of a number of different troops sent out to secure different objectives, and explore different universes, each mostly named after the different 'emanations of God' from the Kabbalah. The main Warheads series principally focussed on, 'Kether Troop,' was fronted by Col. Tigon Liger - A grisly old action hero with half his face torn off. courtesy of Wolverine.

Loose Cannons was to introduce a new, all-female, faction by the name of 'Virago Troop,' fronted by Bodicea 'Bo' Kildare (front and centre), leading this new troop on similar kinds of missions. As the cover here shows (and I'm sure this won't exactly shock you, for a Dan Abnett Marvel UK book of this period) Death's Head II makes an appearance. As do a number of other familiar Marvel UK faces, from the logical periphery characters or the Warheads and the Mys-Tech board, to appearances from Evelyn Necker and Dark Angel. But what perhaps pleased me the most was that from the outset we had a further interaction with the cosmic elements of the greater Marvel Universe. The first issue opens with an encounter with the Shi'Ar, for example.

I love the artwork throughout this series, as with Harrison's work on a number of Overkill covers from the early 90s. It gives these characters a wonderfully three dimensional feel to them, in a way that regular comic book art of the period didn't. Back in the early 90s Marvel US was still very much a four colour world, barely even embracing airbrushing in its colouring. Yet here in Britain fully painted artwork wasn't exactly uncommon, and not just on cover work for that matter. It just seemed that we were streets ahead of our cousins across the Atlantic. Seeing explosions, or lightning, rendered like on the cover above was like associating in a totally different world.

The pairing of Mark Harrison's artwork with Dan Abnett writing will be greatly familiar to readers of 2000 AD, of course. The pair had quite notable success working on Durham Red, using a similar aesthetic. This series actually pre-dates that. Arguably it was probably the running of those Loose Cannons adverts in Marvel UK books which in part helped Harrison get work at 2000 AD. And we're damned glad he did. 

So, yes, unpublished in print. However, still readily available for viewing online. It's been a few years since I posted a link to it, but back in 2005 Mark Harrison posted a version of the complete 4 issue series online. The final 10 pages of issue 4 exist as storyboards, as the art was never completed before the axe fell. But they're perfectly readable, and I'd certainly recommend checking them out.

The series can be found here: www.2000ad.org/markus/loosecannons

ICFD Cover of the Week - 25th Aug 2008

Yes, three weeks in a row...

This week's cover is from Overkill #24 and comes from the oils of Mark Harrison, who provided quite a lot of covers for Overkill during its run.


As I've mentioned before, while Mark is quite well-known here in the UK for his work on 2000 AD (Especially with characters such as Durham Red) I have always felt it to be an incredible shame that Marvel never took the opportunity to export Mark to their US line. The quality of his work is always exceptionally high, but back in the early 90s Marvel US seemed very reluctant towards the concept of painted artwork in comics. Maybe because of reproduction costs, maybe because it didn't match the colouring direction they were going down (With the acquisition of Malibu Comics, for example), but here (As with other fully-painted art guys, like Carl Critchlow) I really do feel that they were missing a trick.

This cover features Harrison's first foray into drawing Warheads characters - in this case new recruit Leona McBride. It's a book which was originally pencilled (And very well, for that matter) by Gary Erskine. Harrison matches it's gritty tone very well, and it was no doubt on the back of his depictions of the team that he was given the (sadly ill-fated) Loose Cannons limited series - a series about another, all-female team of Warheads - later on into Marvel UK's imprint days.

You can find more about that here: http://itcamefromdarkmoor.blogspot.com/search/label/Loose%20Cannons

I really like this cover. It captures Leona's innocence in her early Warheads outings very well. Anybody who read up as far as Warhead's: Black Dawn will know things definitely changed in her by the the end, but this cover captures the character from those early Vince/Erskine issues brilliantly.

ICFD Cover of the Week - 20th April 08

Back once again (Minus the ill behaviour - I thought we could avoid that, this week...).

A few weeks ago I posted up those Pino Rinaldi pieces from Wild Angels, showing Shevaun Haldane in her later, Salvador Larocca period costume. This week I'm posting up an Overkill cover of her in her original costume Geoff Senior period costume, courtesy of an oil painting treatment from ICFD favourite Mark Harrison.

This is the cover from Overkill #10, from August 1992.



This is the exact kind of cover for which I started this feature. The original Overkill covers HAD to grab people's attention. They were competing in the UK newsagent market directly alongside 2000 AD and a host of Fleetway's spin-off titles, and it was through eye-catching covers like this that war was waged.

That's Killpower in the issue box (In the days before Death's Head was allowed on an Overkill cover) in full 'Turkey shoot!' pose, but the rest of the cover is all Hell's (Dark) Angel. What I love about this cover is that it totally captures the gravitas of the character. Here we have a woman who doesn't really wear a costume, per se - that black body suit is effectively bonded to her skin. It's part of her, and it's formed from a fibre of the universe itself.

I've heard a fair bit of forum discussion in recent months on the lack of female cosmic powered characters, aside from a couple of exceptions, in Marvel's recent cosmic character revival (Annihilation: Conquest, Nova, Guardians of the Galaxy). Well, here's one! It wouldn't take a lot to take her out of mothballs.

I love the way hat Harrison literally shows her casually blasting out energy like a star, in total sync with her surroundings. The way that her hair is like a flowing mist is also a really nice touch. I would love to see her turning up in Guardians of the Galaxy, or on Captain Britain & MI:13. She's really been absent from Marvel Comics for far too long.

A vision of how Marvel Comics could have been...

Okay, let's get this properly started, shall we?

I'm a comics nut. I'm not too proud to admit to it. I'm under Marvel's thumb and I know it. I’m not getting that monkey off my back any time soon. 

Like many people who have read comics for a long time I sometimes get that Armchair Editor feeling at the back of my mind. The belief that on some level I could do this myself, playing through some kind of fantasy bullpen in my head. I read books and think to myself, "If only they'd used Artist X with writer Y, here," or, "If only they'd had to guts to end it THAT way, that’s what I would have done!"

Throughout my childhood, and in particular in the early 90s, I read Marvel comics' Marvel UK imprint ardently. When the imprint took off I was amazingly happy that, finally, somebody was going to write some books set in (or at least directly associated with) the Britain that I lived in, day to day. To represent a more realistic take on this country, as opposed to the stereotypes and caricatures of Britain that we so frequently saw in US market comics. 

Sure, up to this point we had had some noble attempts - notably Alan Moore and Jamie Delano's Captain Britain runs, and Chris Claremont and Alan Davis Excalibur - but this was going to be a mass explosion of ongoing British characters. Death's Head, Dark Angel, Motormouth & Killpower - from early impressions I loved this stuff! Marvel UK EiC Paul Neary had brought together a pool of sound Comic Book talents, many of whom remain in the US market today. Writers like Dan Abnett, Artists like Salvador Larocca, Jimmy Cheung, and Carlos Pacheco...

And then, after just over 2 years (and a serious amount of material) Marvel's head office pulled the plug on Marvel UK. It was a bad time for the comic book industry. A massive crash from a collapsing collector boom and Marvel UK was a casualty, just as they were in the process of launching a whole new range of more mature, artistically and creatively interesting titles. 

Some saw the light of day, in the last few months of the imprint. Some (Like Alan Davis' ClanDestine) were eventually published through Marvel US. Unfortunately though, many titles were never finished, left half-completed or never actually made it beyond the planning phase.

It's a great shame, as from reading some of the concepts and seeing the brief glimpses of cancelled projects in the years since then? What Marvel UK were trying to do was arguably a few years ahead of its time. More in-step with DC’s Vertigo imprint than the rest of Marvel’s line. Genuinely interesting stuff. 

Most of the artists and writers unearthed by the imprint period, from Britain and across Europe, were fortunate enough to be given further work by Marvel, who fitted them onto some of their mainstream books. But this was still the mid-90s and Marvel's general look of the time was very much trying to match the exaggerated aesthetic of early Image Comics. Big guns a plenty and massive muscles. Make it look like Jim Lee, but not in a way you’ll get sued. Oh, and it still needs to basically be inks with very simple colours. Marvel had started to use airbrushing but it was still early days. 

While many Marvel UK artists could absolutely deliver on that? Not everybody could fit neatly into that shape.

A fine example of that is artist Mark Harrison.

Harrison did a lot of the cover work for Marvel UK's Overkill anthology. He works primarily in oils, and he's also really bloody good at it.

I came across this a while back:

http://www.2000ad.org/markus/loosecannons/

This is a link to the Loose Cannons limited series that Harrison was illustrating for Marvel UK at the time of its demise. I remember it because it was heavily advertised in other Marvel UK titles at the time. It was also a bold example of some of what Marvel UK's new approach was trying to achieve. A four issue series which was entirely painted rather than inked. It was something special, and I had planned to grab it when it was released.

Sadly, it never was.

When you look at what Marvel US have done recently, with projects such as last year's Garth Ennis penned Ghost Rider limited series, the concept of producing books painted in oils is now one that they are more willing to embrace, but back then? It seems that they weren't willing to take the gamble. Absolutely not the end for Harrison, thankfully. 2000 AD were more than happy to give him more work, and his revamp of Durham Red were very highly rated.

Harrison later tried to persuade 2000 AD to print Loose Cannons, with him finishing the material from the final issue, but with so many Marvel owned characters involved? This didn’t happen. Thankfully for the rest of us he's posted it up online, and any fans of Marvel UK's characters will want to take a look at this. Admittedly it's largely a spin-off from their Warheads series, but features a large number of characters from other books, rendered in oils in a way you wont have seen them before. Especially Death's Head.

Just think of what could/should have been...