Final Fantasy XIV concept art.
Constantine P. Cavafy (1863-1933) was a Greek poet, although he was born and spent most of his life in Alexandria, Egypt. Ithaka is one of Cavafy’s most famous poems and is a tribute to the original Greek poet, Homer, and his poem The Odyssey (which along with it’s companion, The Iliad, are the two oldest known works of Western literature). The Odyssey revolves around the hero Odysseus and his long voyage home to Ithaka after the Trojan war.
My hero in the comic is NOT meant to be Odysseus. I used Cavafy’s words and drew upon my childhood diet of comic books and Ray Harryhausen movies to tell a different story.
- There are many English versions of Ithaka. I used the translation by Edmund Keeley and Philip Sherrard, found on the official Cavafy website.
- The cyclops I drew is a homage/swipe of Ray Harryhausen’s cyclops from The 7th Voyage of Sinbad.
- For a sexy Scottish version of Ithaka, here’s a reading by Sean Connery.
- Thanks to everyone who sent in this poem, I’ve had it saved in my quotes folder for over a year now.
- For those interested, here’s a podcast interview I did recently.
Ralph Waldo Emerson.
Dada was an early 20th-century art movement that began as a reaction to the culture and traditions of the time, radically rebuking a society they felt was responsible for World War I. The Dadaists created with anger, humor, and childlike immediacy. Common Dada mediums included collage, found objects, assemblages, and ridiculously terrible poetry. In an infamous Dada exhibition, visitors were invited to take axes to the works on display.
More reading : Wiki - Dada
Or, rather, he imagines what DC heroes and villains would look like if they existed in the medieval era. But hey, same diff. In addition to Wonder Woman you’ll find Superman, Batman, and Lex Luthor behind the jump.
You didn’t order one? Well what the heck am I supposed to do with this, then? (Click to embiggen.)
Previously in Doctor Who
Apresentamos hoje mais uma série incrível de artes criadas pela artista L. D. Austin, da Blizzard Entertainment. Segundo Austin, os personagens Hidralisk, Orc e Demo Hunter (Starcraft, Warcraft e Diablo), principais títulos do estúdio, foram pintados separadamente e em super alta resolução para que fosse possível serem impressos em grandes formatos. Além dos três persnagens, veja também mais algumas criações da artista. Também sensacionais. Confira:
Artist Darren Rawlings made this cool series of drawings which feature Marvel and DC characters of similar caliber hanging out together. He’s got some other neat art pieces as well, so check out his deviantART page for more.
AQUAMAN VS. NAMOR
ANT-MAN AND ATOM
DEADPOOL AND DEATHSTROKE
GHOST RIDER AND ATOMIC SKULL
BATMAN AND MOON KNIGHT
CATWOMAN AND BLACK CAT
FLASH AND QUICKSILVER
CLAYFACE AND SANDMAN
ANGEL AND HAWKMAN
BOOSTER GOLD AND LONGSHOT
BANSHEE AND SILVER BANSHEE
DR. FATE AND DR. STRANGE
THANOS AND DARKSEID
MARTIAN MANHUNTER AND VISION
So here’s something new. According to Kotaku, “In the last twenty-four hours, it’s become somewhat of a thing online in Japan to put hair scrunchies on figures. You see, the scrunchies look like dresses! The trend apparently began yesterday, after a 2ch user used a scrunchie to give a bikini wearing figurine a skirt. Since then, it’s morphed into giving any figure a skirt.” I can’t believe I never thought of this before. Though to be fair, all my scrunchies are really stretched out these days. They’d probably only fit the Hulk.
Bill Watterson is the artist and creator of (in my humble opinion) the greatest comic strip of all time, Calvin and Hobbes. I was a bit too young to appreciate it while it was originally published from 1985-1995, but I started devouring the book collections soon after. I think my brother had a few of the treasury collections and I must have read those dozens of times. I was hooked, and I remember copying Watterson’s drawings relentlessly as a kid (Calvin’s hair was always the hardest to get right).
To me, Calvin and Hobbes is cartooning perfection – that rare strip that has both exquisite writing AND gorgeous artwork. A strip that managed to convey the joy of childhood, absurdity of humanity and power of imagination all through the relationship between a boy and his stuffed tiger. And most importantly, a strip that was consistently laugh-out-loud funny. I flick through my Calvin and Hobbes books a few times a year, not to read them cover to cover anymore, but just to get lost in Calvin’s world for awhile and to remind myself what comics are capable of.
Besides the fact that Calvin and Hobbes is the comic I cherish above all others, Bill Watterson is my biggest creative influence and someone I admire greatly as an artist. Here’s why:
• After getting fired as a political cartoonist at the Cincinnati Post, Watterson decided to instead focus on comic strips. Broke, he was forced to move back in with his parents and worked an advertising layout job he hated while he drew comics in his spare time. He stayed at this miserable job and submitted strips to comic syndicates for four years before Calvin and Hobbes was accepted. About this period Watterson wrote: “The only way to learn how to write and draw is by writing and drawing … to persist in the face of continual rejection requires a deep love of the work itself, and learning that lesson kept me from ever taking Calvin and Hobbes for granted when the strip took off years later.” (Also see the Advice for Beginners comic.)
• Watterson sacrificed millions (probably hundreds of millions) of dollars by never licensing and merchandising Calvin and Hobbes. He went through a long and traumatic fight with his syndicate over the licensing rights, and although he eventually prevailed, Watterson was so disillusioned with the industry he almost quit cartooning. “I worked too long to get this job, and worked too hard once I got it, to let other people run away with my creation once it became successful. If I could not control what my own work was about and stood for, then cartooning meant very little to me.”
• Luckily Watterson didn’t quit and took a sabbatical instead. Eager to reinvigorate his creative mojo on his return, Watteron proposed a radical new layout for his colour Sunday strips. For those not familiar with comic strip lingo, each week a newspaper comic will have six ‘daily’ strips (usually black and white, one tier, 3-4 panels) and one ‘Sunday’ strip which is larger and in colour. Previously, the Sunday strip was comprised of three tiers of panels and looked like this. The layout was restrictive and the top tier had to be completely disposable because a lot of newspapers would cut it and only run the bottom two tiers in order to save space so they could cram in as many comics (or puzzles, or ads) as they could.
Watterson was sick of the format restraints and wanted more space to experiment and push his storytelling ability so he (with his syndicate’s support) gave newspaper editors a ballsy proposition. They would have to publish his Sunday comics at a half-page size with no editing, or not publish it at all. By this time Calvin and Hobbes had been running for over five years and was extremely successful so Watterson had the clout needed to pull this move off. Despite fearing many cancellations, he was pleasantly surprised that most newspapers supported the change. Free of the shackles of tiers and panel restrictions, Watterson gave us visually exciting and beautiful strips that hadn’t been since the glory days of newspaper comics in the 1920s and 30s. He was free to create strips like this, and this and this. “The last few years of the strip, and especially the Sundays, are the work I am the most proud of. This was close as I could get to my vision of what a comic strip should be.”
• After working on the strip for 10 years, when Calvin and Hobbes was at the height of its popularity and was being published in over 2,000 newspapers, Watterson stopped. He had given his heart and soul to one project for 10 years, had said all he wanted to say and wanted to go out on top. “I did not want Calvin and Hobbes to coast into half-hearted repetition, as so many long-running strips do. I was ready to pursue different artistic challenges, work at a less frantic pace with fewer business conflicts, and … start restoring some balance to my life.” Since retiring the strip, Watterson has pursued his interest in painting and music.
It’s pretty incredible when you think about. Could you say ‘no’ to millions, I repeat, MILLIONS of dollars of merchandise money? I don’t know if I could. Would you stop creating your art if millions of people admired your work and kept wanting more? I don’t know if I would.
Reprints of Calvin and Hobbes are still published in over 50 countries and the strips are as fresh and funny as they were 20-25 years ago. It has a timeless quality and will continue to entertain comic fans for generations to come. Great art does that.
- The quote used in the comic is taken from a graduation speech Watterson gave at his alma mater, Kenyon College, in 1990. Brain Pickings has a nice article about it. The comic is basically the story of my life, except I’m a stay-at-home-dad to two dogs. My ex-boss even asked me if I wanted to return to my old job.
- My original dream was to become a successful newspaper comic strip artist and create the next Calvin and Hobbes. That job almost doesn’t exist anymore as newspapers continue to disappear and the comics section gets smaller and smaller, often getting squeezed out of newspapers entirely. I spent years sending submissions to syndicates in my early 20s and still have the rejection letters somewhere. I eventually realised it was a fool’s dream (also, my work was nowhere near good enough) and decided webcomics was the place to be. It’s mouth-watering to imagine what Watterson could achieve with webcomics, given the infinite possibilities of the online medium.
- My style is already influenced by Watterson, but this is the first time I’ve intentionally tried to mimic his work. It’s been fun poring through Calvin and Hobbes strips the past week while working on this comic and it was a humbling reminder that I still have a long way to go.
- The quotes I’ve used in the write-up above are taken from the introduction to The Complete Calvin and Hobbes collection, which sits proudly on my desk.
- Thanks to Marlyn, Emily, Joseph, and Suchismita for submitting this speech.
A. C. Benson.
Being a superhero is a stressful job. Sometimes when you’re defending Gotham/Metropolis/New York/CIRCLE CITY NAME HERE you just need to take a few minutes to unwind. (Looking at you, Bats.) By, say, cutting a rug. Artist Jesse Lonergan has illustrated what that might look like with his wonderful series of dancing superheroes. We’ve put some of our favorites behind the cut, including some boogying heroes of the genderswapped variety, but if you go to Lonergan’s Tumblr you’ll find a lot more characters getting their groove on—including examples from Star Wars, The Lord of the Rings, Adventure Time, Doctor Who, and more.
Oh, and I’ve also included a non-dancing drawing of the Hulk playing a flute. Because reasons.
If the apocalypse does plunge our world under water, I hope that it ends up more like this gorgeous animation by The Contre Temps Team, and less like Waterworld. I could just stare at the backgrounds in this short all day, but the quirky characters definitely add their own charm to the video. Between the mesmerizing visuals and the serene music, nothing much even needs to happen in the first minute of the video to capture your attention.
Previously in Animation