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What secrets lurk in the filecards?
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04-30-2011, 08:05 PM
zuludelta
EQ-Viper
Join Date: Oct 2008
Location: Canada
Posts: 4,343
Quote:
Originally Posted by
fogger1138
I don't think they'll go this route, since the Declassified stuff was from during the days of DDP and has since been made non-canon.
Good point. In any case, I hope the Yearbooks and all the other ancillary titles from the ARAH years do get reprinted, as there are some gems in there.
To continue the theme of my most recent post though, it's amazing to me now to read that none of Marvel's big names wanted anything to do with the GI Joe comic book, even when it was the best-selling comic book in the Western world and smashing monthly sales records month after month.
Part of it was because of the schedule that I mentioned... it was particularly demanding to satisfy both the editors and Hasbro's executives and have enough time left over for re-writes and re-drawing. Marshall Rogers will always have my respect for the job he did in issue #61... after Marvel's editors
rejected the awful pages
up-and-coming "superstar artist" Todd McFarlane did for that issue, the veteran Rogers got the call to do a rush fill-in job and he turned in a full issue's worth of excellent visual storytelling in about a quarter of the time it took McFarlane to originally draw the issue (and that issue started out one of the best and most memorable storylines in the main GI Joe title).
But a large part of it was also because a lot of the artists and writers didn't think too highly of working on a licensed title. Nobody wanted to draw or write what they considered to be glorified adverts for children's toys. And I think Hama, Trimpe, Vosburg, Whigham, Rogers, Wagner et al never really shook off that stigma within the industry, that they were successful only because their comic book was a tie-in to a popular toy, that they "sold out," and not because their work had any real artistic merit. You would think that writing or drawing the best-selling comic book of the 1980s would have gotten editors lining up at their doors with various offers to work on Marvel or DC's "A-list" titles, but it didn't work out that way. Yes, Hama was offered the regular writer spot on
Wolverine
, but a lot of people forget that
Wolverine
was on the brink of cancellation when he was brought in, and he was there primarily to tie up any leftover loose threads before they brought the hammer down on the book (funny how that turned out).
Of the artists who worked on GI Joe during its prime, I think Ron Wagner was probably the only one who was able to parlay that success into anything approaching a high-profile gig, serving brief stints in the early 1990s on titles like
Daredevil
and
The Punisher War Journal
. Of course, one has to consider the timing of this, too. By the early 1990s, the "old school" approach favoured by the classic GI Joe art teams was out of vogue, and the flashy "Image-style" was all the rage. I remember feeling more than a little sad seeing Herb Trimpe (a 20+ year veteran of the industry by that point)
deliberately aping
Rob Liefeld's style in the mid-1990s because it was the only way editors would even take a look at his submissions anymore. The offers for comics work absolutely dried up for Trimpe in the late 1990s, IIRC, and he ended up going back to school in his early 50s (I remember reading an article from a few years ago stating that he teaches art to grade school and high school kids now).
__________________
Last edited by zuludelta; 04-30-2011 at
08:25 PM
.. Reason: added links
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