Words from the Creator
Sun 28 2020 Updates; Tribute; Lore; Adaptation; Thanks
Mon June 29 – 2:21pm I got most of my new costume, story, layout, illustration, ect,.. ideas down in comp ( freehand ink*).
Now that I completed all auctions – I can do studio work today!!** ??
( I can update daily: titles – and when I have time to unbox and photo, and process photos, I can post***)
For Mon June 29: Jungle Comics #157; Lorna, Jungle Girl ( Atlas/Marvel) lot of 6; Jumbo Comics #87 (4.0)
Midtown comics ( 30 qty: Dejah, Vampirella, Red Sonja, ect- modern) (processed, shipping, soon).
***Later, I can scan, and photo interior pages.
**( which is relaxing; compared to auction bidding, and fund allocation planning; ie payment timing/budget, ect)
*Which I can go back later to detail, redraw
Updated Jungle Comics inventory list ( added 3 to total) 37/163*
This coming month, I may eventually, make a website, domain:
Golden Age, Good Girl art: a) Archives ( scans, photos, of the rare comics, for public access: like a free database – with historical, bio info. b) I can try to engage mainstream, viewers; for studies ( cover, panels): and possibly doing, reimaginings with nudity – for Patreon
( I see alot of mainstream artists, have done that, and get subscribers, for simply posting, 1 nude colored version that is unlockable for members at a certain tier; and the rest is public, to build an audience).
*Till yesterday I hadn’t looked through every single of the 163 issue cover images ( from the price guide – comic realm).
(as above – for Pre code horror )
Sun June 28 – 10:45pm I had some ideas for panels, and illustrations, that I want to work on tomorrow ( and throughout next week*). I may try to work uninterrupted through Tues night, and post a Weekly gallery update; that would allow me time to create the most artwork. Earlier today, I recorded several soundtrack themes**
** ( after cooking, laundry, for the week).
* ( I finished mowing the low areas that get rain flooded: often a weekly chore, but can be every other week; depending on weather. The higher sections, I can do, anytime)
I watched some news, yesterday*-
*after 3 hours of pushing the vintage cast iron push mower ( from 1974) over 3 week over grown grass ( 2 feet high in some places – because of daily rains, and flooding, for 2 weeks straight).
Watched back episodes, of news, related; interview, commentary, ect. For that evening. The next morning had a lot of great ideas, for lurid pre code illustrations*.
*from the many images I referenced searched, when choosing the 6 original art Devon Massey’s pages of Cavewoman ( which have been shipped).
If my new brands, ( or stocks) increase my funds significantly, over the next year, I may get more original art*:
*I have nearly all the vintage comics, I think I have time and energy to study**.
** that would make enough studies to have a top quality portfolio, and published original work, based on the standards therein. Not all the covers have top quality representations of a pose, and there is repetition among golden age covers, across titles; when you see enough of them.
I don’t need to collect them all – just trying to get a representation, cross section, of key elements.
Golden Age comics:
Ka’anga: I have 6/ of 20 issues ( 1949-1954)
Jungle Comics: I have 37/ of 163 issues ( 1940-1954) – The first 40 look sort of undeveloped faces, and forms. On through 70, style Joe Doolin’s style ( which is often great, anatomically, but I prefer the Jack Kamen, John Forte, Gus Schrotter, Maurice Whitman styles: fuller, expressive faces) to 100, Doolin style ( in my opinion). Through about 110 to about 114 ( Iger shop influence), John Forte 114, Gus Schrotter 119 to 131, Maurice Whitman 131 – 163. (approx)
Nyoka Jungle Girl:
Lorna, Jungle Queen:
Web of Evil
Tomb of Terror
Mysterious Adventures #21
Completed All Vintage Comicbook Auctions:
Tonight finished the last few items I had bids on*:
*I have more than enough vintage references, and plenty to work on. Including the new brands, comics, websites ( for them), vo script in progress, and new illustration ideas I have in the meantime. Spending time, looking up comics, and bidding for them, is not as fulfilling as studying the covers, interiors, or creating fresh concepts.
I won the 2nd highest graded copy of Eerie Magazine‘s: Tales of Voodoo Vol 2. #4 **
** ( VF) – according to (Lone Star comics: Mycomicshop online) there are only 2 copies on the CGC census ( a VF +, and a VF: 8.5, 8.0) .
A lot of 4 Ka’anga*
* ( 2 issues unavailable anywhere that I could find online sale, currently; one with bondage – a red gag, hanker chief over the mouth; sort of looks like the covid masks. ) – Canadian editions ( which often are better preserved; I assume, cooler, less humidity)
A lot of 4 ( Sheena #1**, Jo-Jo Congo King #1, Jungle Jim #1, Nyoka Jungle Girl #49) – Austrailian, editions.
**This book made for (80% of the selling price of the lot)
I already have the 1st appearance of Rulah (Zoot #7 ) ; having Sheena #1, is enough to merit, setting up a fan-art page, and creating a dedicated homage, and lurid variations based on more than peripheral knowledge* of the character.
* In my interactions with comic book fans, and collectors, I was always very impressed with the scholarship, of eras beyond my purview ( 1988 – 1990 ): primarily Batman, Spiderman, X-men. And some Avengers, Captain America and Superman. ( 1991-1995) Aliens, Predator, Terminator, Spawn, Faust.
Owning the originals, of comics published long before I collected, seems like a way, to get what a relative expert has, but firsthand; rather than relying on their preference and interpretation, when they communicate what about that era, or character is ‘authentic’ or how it appeared in different eras, by various artists, and writer’s interpretations. This is why I make the effort. I place the material copies, in mylar*** which I can see in the studio day in , day out. And I have Artbooks, with Sheena, Rulah, Planet comics, Precode horror, and others ( including painters, illustrators), which I can read the interiors****.
It seems important to get these scarce golden age comics, when they appear in conditions G to VF. They often aren’t even in the online comic stores, and the owners aren’t selling when you look for a copy. So, I have been buying as many as I have time to search out, find at a good deal*, when they appear.
*( relative to their scarcity and condition value: and their use as a reference: as much as I respect the age of these golden age books, I’m not interested in all Golden Age books; the ones with covers or interiors that I can share, or would benefit from studying, redrawing, are the ones I get. )
***4mil, Smithsonian museum grade, – according to Bagsunlimited. I am interested in trying Bill Coles’ ( BCE) 10 mil mylar Comic Gard X; but that can wait. The auctions however, are the best chance to get items not for sale elsewhere. They pop up, and last about a week. Some over priced items, however, sit around for over a year.
**** after I’ve photographed the interiors of originals I own, and stored in mylar, and toploaders ( hard plastic case).
ETA of New Studio work.
I have nothing I can conceive of that would take up time I could spend in the studio for the entire month of July; no birthdays, holidays, or any auctions. I anticipate, getting regular cover study time built up* – finishing some key reference studies**.
* ( it usually takes a couple sessions, to get back the concentration stamina, to complete a cover study, in one 3 hour session: from 25 mins, to 45, to 1 hour 20, to about 2, over 2, 3, 3 and a half).
**( for characters, logos, backgrounds and supporting cast- all I need is one of each, to have the prerequisites, for a top quality illustration: ie, if I have one background painted in acrylic***: One supporting cast study, which I apply to a redrawing, for an original character in story*; ect, one character, one logo. Put 4 items together, using Clip Studio software; with a main pose ( template) = a top quality image. Then I can make variations, just by changing the main pose, or any of the 4 elements.
***time est: 1 -3 days peruse reference, study, redraw design, using original story; under draw on canvas or arches ( 1 day, 4 hours); paint ( water color, 1 or 2 sessions, 6 – 12 hours.; paint, acrylics ( 3 – 7 sessions, 4 – 8 hrs each).
*time est: 6 more hours, to finish study of Spiderwoman panel, costumed supporting cast. Redraw as concept, 1 day. Apply to physique, 1 day. Preliminary character design illustration drawing 1 day; detail 1 day; ink or color 1 – 3 days.
I have my studio, and adjacent rooms, and prepared to have stations throughout the day:
ie, inking, on long flat table, seated on ground, (indoor)- crow quill, dip pen, rotring – capillary; pencilling, easel, seated stool, lapdesk ( new concept: outdoor- direct sunlight); indoor PC study- monitor, images from internet), color pencil, micron inks; stool, seated on ground, toploader, cover study ( porch; semi outdoors, not direct sunlight; fresh air); tracing box, ( for tracing my own pencilings, to make inked variations, more precise) in evening, seated at desk. Graphic touch screen tablet, seated ground, on custom low table. Watercolor paints, on flat desk. Acrylics paints on upright easel. Keyboard ( audio, soundtrack ) standing.
Since there are so many tasks, other than drawings, involved in the creation of a comicbook/visual novel, I try to do the various tasks, when I am most prepared, and in a way, that I have the most energy, to do the best quality, for each task; over time; improving.
Sat June 27 6:47pm .
I like the idea of spending time, ‘finishing’ a lurid pre-code horror illustration, ( prismacolor color, ink) as a rough ( for improved painting, and digital). I want to draw the concept I have for the Zaydimar cover; and text ASAP.
When the professional quality of every aspect is present, the focal point is the onus of the viewer. They have other things to focus on than just sexual attributes, or one gory aspect of a scene/event. When the story features such content, and is well written, it is then judged by it’s content, rather than seeming to originate from the writer. The difference, I suppose between writing ability. The more characters that viewers can relate to, the more reasons you give to the viewer to care about the plot. Why many amateur writer/artist comics fail, is because the viewer has been given little to no reason to care about the story or characters.
Pre-cursor to the Umbreed
The Umbranide, is a giant parasite, that begins forming abominations ( in a process, illustrated in the comic) with the Immutables it comes into contact with.
Yet to tell:
The story arcs: 1) Vessel crashing into P’munte: how it affects them. b. details of the vessel, antechamber, 2) origin of the Umbreed* ( the Crepusculoids are an abomination found lurking in the Caverns of Mnemoth; Crepusculoids are a pre-cursor, creature, to the Umbreed)
3. The contents of the various vessels. b. how it affects Q-6 ( which becomes called ‘Erydeth’). c. The Zendoran Swamp vessel, where the lignites, and Amulet of Akross came from, ect ( ‘Swamp girl’ origin: What is Daekratos? and Nyravolea?)
d. How Swamp girl and Zaydimar’s stories intersect.
4. The origin and nature of Nyhellum: Cuj Wikkoth b. develop the story of Kornelios. c. Xth’raddon.
5. The vessel that crashes into what becomes Drackendour; b, the Nayka c. insect the story of the Generals vying for power over the Umbreed army ( a script in progress)
*The Umbreed appear human, don’t have the creature/insectoid aspects of the crepusculoids ( which seem to be like praying mantis, abominations, and hooves)
As you see, there are many branches of stories* I can tell.
*I planned this far in advance.
The order in which I develop items, is related to pragmatic aspects*;
* in general, I leave the mainstream aspects until they are required for the story to make sense, and items pending completed illustrations in progress first.
I have 6 Cavewoman Original art ordered – Devon Massey ( from recent issues, past decade), that would make good reference, and some contain lurid pre-code horror aspects. It will be inspiring, to have originals, of art that has been published to a relatively wide audience, for comics that tend to go up in value, and that actively sell back issues – and a unique opportunity, to study, and redraw/ reimagine them; and draw some of my original content in the style of.
I look forward to sharing scans of the reference content on the way.
Today a box of 98 Conan the Barbarian back issues, in VF/NM ( from 100- 196, and some misc, arrived. With the recent Jungle Comics ( including Jumbo,Ka’anga, and similar GGA, Golden age types) I feel I have a good enough familiarity, to design content that is informed. The idea, is that “Congo Jongo”, have a look, inspired/informed by classic GGA, and modern styles, anatomy, lurid pre-code horror (Luridmax), and techniques and tools ( rapidograph, crow quill, paint, digital); with a story, that is part of a comic book universe, that includes “Witchfynder”, ” Umbreed” and ” Zaydimar”.
To get a general idea of the tone I have in mind for each book, ( approx):
“Congo Jongo” :
Founded as an amalgam of “Jungle Comics” style, golden age GGA, with pre-code horror. ; and modern nudity; physiques. Title is a tribute to a PC video game ( from the 80’s) “Congo Bongo”*, and golden age, ” Jo Jo king of the jungle. *Like a proto-type donkey kong/ Jungle hunt. Reminiscent of Sheena, Rulah, Dagar Desert Hawk, and pre censorship GGA.
With She-hulk type powers. From an artifact ( Indiana Jones, settings, archaeology, mystery, cliff hanger serials, plot). Team members, with Lara croft, and Charlie’s Angel’s type action.
70’s lurid horror, tribal horror, Shaka Zulu, epic; Black Panther inspired costumes. Sir Richard Francis Burton anecdotes, of exploration.
Powerful creatures, in the jungle. Temples, and caverns. Alien, horrors. Sword and Sorcery – sci fi, fantasy.
Seeing the kind of art that sells as ‘Original comic book art” for $120 -moderately detailed, 11 x 17; I am enthusiastic about, the prospects, of setting up an ebay store for the
Title/theme inspired by Vincent Price film ” Witchfinder General” – 1968, historical horror; Hans Christian Andersen’s ” The Tinderbox”; Antoine Galland’s ” Aladdin and his Wonderful Lamp”.
Expresses the infuriating hypocrisy/corruption, of Salem Witch trials,( – and all similar in Europe, US, ect. ” Quantum Leap”, “Butter Fly Effect”); and any other historical atrocities of notoriety; such as the French Revolution.
Time travel as portrayed in various cinema; a tribute to the classic ( 1953) “The Undead” – which has an interesting time travel plot. Hellraiser ( Clive Barker), Event Horizon; Classic, ” The Black hole”. ” Edge of Tomorrow “ ( based on manga). With story arcs, and attitude of : “The Matrix” , “Riddick”, Quentin Tarantino’s ” Inglourious Basterds” and “Django Unchained”.
Gives protagonists, opportunity, to do something about the atrocities; using the ‘witchfynder’ device, to go to these events, and explore what consequences, efforts to stop them, might result in alternate potentialities.
Allows for creative, speculative fiction, with elements of lurid horror, and historical fiction.
Mainstream Rated R content, for general public, as “Witchfynder”. Adult, Luridmax content, for subscribers only.
The title might get updated. But the concept is a tribute to, and has concepts, inspired by Ridley Scott ( H.R. Giger) Aliens; Predator; Horror movies described in songs by the Misfits ( 1977 – ); Highlander ( film, television; spin-offs); The Walking Dead; Evil Dead; Spawn; Venom; “Get out”; V ( 80’s , and recent).
Inspired by Moll Flanders, Scheherazade, Irene Adler, Gamorrah/Nebula/Thanos ( Jim Starlin) Wonder woman; Sharizad, Black Canary; Red Sonja, Belladonna; Elektra;
It is wonderful, and inspiring to have an audience; thanks so much for your kind patronage, and interest!