Against All Odds

2 01 2009

If you can’t overwhelm them with state-of-the-art designs, bowl ‘em over with sheer numbers.

Savage Dragon © Erik Larsen

art: Erik Larsen colors: I.H.O.C. book: Savage Dragon © Erik Larsen

And recognizing that drawing headshots for a roll call of all these bad guys would take another whole spread and ruin the surprise, while at once realizing the inherent awesome-ness of a roll call, Erik copyrighted every one of these baddies and listed their names in the indicia:

larsenindiciaNow, many of these characters are merely parodies of other properties, (Nuke Rage, the Human Sparkler, Fade, Octopus, not to mention heroes like Mighty Man and Kill Cat) but many, many are not.  Some are kind of silly.  Far too many have exposed brains in some sort of glass case (one of which belongs to Hitler).  The guy dead center does not seem to realize that even a molester from the Seventies would deem a costume featuring a hole to reveal every follicle of Austin Powers-level chest hair, a cod-piece,  AND a cape is overdoing it a tad.   Some of them obviously started as bad puns but evolved into a pretty killer design on the drawing board: Open-Face and Doubleheader spring to mind.  One of the coolest villains just has the head of a chicken.  However, all of it looks pretty great when Erik draws it.  It all hangs together and somehow seems cohesive thanks to a single creator at the helm in a way that, say, DC’s pantheon doesn’t.  Wait, I take that back — all of DC’s characters do look the same: they all look like crap.  And, lovably, Larsen doesn’t take this all very seriously.  He seems to design some characters on the page and knows full well many will just be cannon fodder.  However, since the man loves a surprise, he’ll make sure the guy who’s gonna die in three more pages has one of the best costumes in the ish.  The love Erik has for the genre shines through on every page, and you can’t help but embrace his often ridiculous, but wildly creative, and sometimes surprisingly nuanced world.  Larsen holds himself up to a very high standard, and you can see him trying to push further and overdo it nearly every issue.  This is abundantly apparent in shots like the one above, which occur in some form every 8 issues or so.  Savage Dragon will win over anyone who found the form of comics young because it’s the book all of us were writing in our heads when we put down our X-Mens and Fantastic Fours and went outside to play our own versions, usually with more killings, crazier twists, and even bigger chests (male and female).  If grown men choose to scoff at it, I completely understand.  I can’t really defend a guilty pleasure.  Larsen characters smartly appeal to the collector in me and nearly inherently all comic book lovers.  I’m not much of a creepy man-child, but if someone made nice, iconic toys of all his characters, I’d need to buy every one. The same cannot be said for any other company’s line, but could be said if someone only released toys of Kirby’s complete creations.

One man did this.





Without control there is only chaos (and chaos, frankly, needs control to be portrayed effectively, too)

17 10 2008

The Mars Volta can create a level of cacophony that untrained kids with electric guitars and amps on eleven in a garage can only dream about, yet they are all classically trained, virtuoso musicians. No, your four year old cannot create the dense, managed disaster that is a Pollock painting. Paradoxically, the illusion of absolute entropy can only be achieved through logical, skillful, deliberate actions.

Now try to forget all that for a moment and just appreciate how quickly and thoroughly the feces hits the fan for the protagonist below:

Image Comics  © Erik Larsen

art: Erik Larsen color: IHOC letters: Chris Eliopoulos book: Savage Dragon publisher: Image Comics © Erik Larsen

Image Comics © Erik Larsen

art: Erik Larsen color: IHOC letters: Chris Eliopoulos book: Savage Dragon publisher: Image Comics © Erik Larsen

Image Comics © Erik Larsen

art: Erik Larsen color: IHOC letters: Chris Eliopoulos book: Savage Dragon publisher: Image Comics © Erik Larsen

Image Comics © Erik Larsen

art: Erik Larsen color: IHOC letters: Chris Eliopoulos book: Savage Dragon publisher: Image Comics © Erik Larsen

For the longest time, Erik Larsen’s Savage Dragon was my favorite book and one of the only things that would even inch out a new Acme Novelty Library as the first read of the pile.  (Any new Guy Davis/Dave Stewart BPRD now holds that honor.  The sensation of cracking open a new one of those has to be akin to the excitement felt picking up a Kirby Fantastic Four from the newsstand.)  Savage Dragon was a perfectly crafted superhero book, and I offer absolutely no apologies for those; they are just so damn few and far between.  Too many superhero books rely on their reader’s somewhat creepy childhood attachment to the fictional character in the title.  Larsen, few have admitted, goes out of his way to win you over with craft.  His story lines were exquisitely plotted and often intentionally alienating to the character-loving crowd, but more than that, his layouts and art were often formally experimental.  You could see him setting new rules for himself to follow with each new issue: one splash per page, sixteen panel grid, stacks of rectangles with a large image at right.

And Larsen was an absolute master of shock and awe.  He realized the true freedom in owning your fantastical character and his myriad of foes was that you could shake up the status quo at any instant.  Doc Ock does not need to kidnap/fall in love with Aunt May every seventh issue.  Lack of any firm ground for a reader to stand on became the rule, and that was reinforced in his layouts.

Here’s his greatest trick: save a surprise for a page turn, and usually make it fill that left-hand page.   Now this sounds simple, but it requires understanding something so fundamental to comics that most take it for granted: the reader sees the whole two page spread at once.  No, I did not figure this out by sending away for one of those speed reading programs they used to advertise in the back of comic books.  We have peripheral vision, and our eyes wander.  Larsen also understands another key ingredient to this process: shocks need a set-up.  A Hollywood studio exec would have told an editor to cut Larsen’s whole first page above.  Plot-wise, nothing is happening.  Therefore, we would find it on the cutting room floor.  Who needs mood and tone?  (See: the film version of 300.  I could have sworn there was some marching in the comic…)  But let me introduce you to a little thing called pacing.  Without a lull, there is no rise.  Without that page of Dragon just walking around to build suspense, we would never have been hit so hard by what happened when he entered the room.  Try to imagine that page replaced by a random fight scene.  “Alright, I’m still breathing hard from kicking his tail.  Lemme go through this door in one final panel.  OH!  I’m fighting again!”

Erik keeps the fight itself nice and huge and open by limiting himself to only five panels at most per page.  He is able to suggest a much longer and more brutal fight through the brilliant work of his longtime compadre.  Notice how I gave Chris Eliopoulos credit on the byline?  The letterer, you ask?!?  Heck yeah.  Have a look at the mileage the image is getting from his HROK HROK HROKs and WHAMs.  Erik draws one punch; Eliopoulos multiplies that by a thousand.  Our brain is seeing what isn’t there through our ears.  How’s that for non-drug-induced synesthesia?