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[QUOTE=ed2962;3926329]A guy I'm friends with on Youtube said that Ted Whitman is probably and black artist who was around actually during the golden age. I had to look it up, but he might Matt Baker.[/QUOTE]Ted Whitman is also a composite character. There's a scene in the Guggenheim museum when Ted's looking at "Shipboard Girl" and thinking Lichtenstein swiped him, but the original drawing is by Tony Abruzzo, not Matt Baker.
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[QUOTE=Kirby101;5775501]Yes, this. I am on FB with him too. On a thread where Harvey Kurtzmen was discussed, I said Chaykin had done a scene in Hey Kids about how Hugh Hefner treated Kurtzmen. Chaykin's response was "Excuse me?". So I corrected myself and said Kenmore and Grossberg. He gave me a thumbs up on that. :)
I think the point is that he may have one character, say the stand in for Gil Kane or Neal Adams or Starlin do something that happened to another creator because it fits his narrative better.[/QUOTE]
Ed Brubaker made similar "plausible deniability" in the back pages of Criminal when "Bad Weekend" was coming out in singles. The artist character is clearly inspired by Gil Kane. Of course, it makes sense seeing as a lot of these stories are played up for dramatic effect and I'm sure the families of these men probably wouldn't appreciate their loved ones being portrayed as "bad" people.
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[QUOTE=Kay;5776875]Ted Whitman is also a composite character. There's a scene in the Guggenheim museum when Ted's looking at "Shipboard Girl" and thinking Lichtenstein swiped him, but the original drawing is by Tony Abruzzo, not Matt Baker.[/QUOTE]
Good point
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Also, Baker died in 59, while Whitman is still with us into the 90s or later.
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[QUOTE=Kirby101;5777853]Also, Baker died in 59, while Whitman is still with us into the 90s or later.[/QUOTE]
Deaths were mentioned in this last issue. Do actual death date and characters' passing synch up at all?
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[QUOTE=CaptCleghorn;5779190]Deaths were mentioned in this last issue. Do actual death date and characters' passing synch up at all?[/QUOTE]
I don't think they do.
Wasn't there a scene with Sid Mitchell, aka Kirby, seeing the "X-Men" movie? Or something like that.
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Read #6, it was a little anti-climatic. I don't know what I was expecting but the story just sorta stops rather than ends. Having said that, I wouldn't mind another volume if not two. There's another 30-ish years that are ripe for commentary. I'd like to see his take on the rise of the 80's indies, Gatlin working in Hollywood, and the weird state of the direct market now.
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I believe the seeming anti-climax of the story was sort of the whole point. The creators see what has become of the industry, and they feel disillusioned about their careers and lives. The saga ends not with a bang but with a whimper. (A whole lot of whimpering, actually.)
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[QUOTE=seismic-2;5796680]I believe the seeming anti-climax of the story was sort of the whole point. The creators see what has become of the industry, and they feel disillusioned about their careers and lives. The saga ends not with a bang but with a whimper. (A whole lot of whimpering, actually.)[/QUOTE]
Yes, and even the newer guy(Neal Adams) realizes this.
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[QUOTE=Kirby101;5796756]Yes, and even the newer guy(Neal Adams) realizes this.[/QUOTE]
Do you mean the guy at the convention at the end? I thought he was a stand in for John Byrne or Jim Lee. Byrne infamously talked about being happy to be a cog in the Marvel machine and suggested that if there's creator's rights there should be creator's "wrongs" but a couple of years after benefited greatly from new royalty programs at DC/Marvel and talked how editors at both companies tried to harness his vision and started to take a very individualistic stand.
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I've read old interviews with Neal Adams that suggested he got hip real quick to how exploitive the comic book industry could be. He was doing work in syndicated strips and commercial advertising art at the same that he was doing comic book stuff and saw that he was getting offered either benefits or better pay in those other industries.
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[QUOTE=ed2962;5797200]Do you mean the guy at the convention at the end? I thought he was a stand in for John Byrne or Jim Lee. Byrne infamously talked about being happy to be a cog in the Marvel machine and suggested that if there's creator's rights there should be creator's "wrongs" but a couple of years after benefited greatly from new royalty programs at DC/Marvel and talked how editors at both companies tried to harness his vision and started to take a very individualistic stand.[/QUOTE]
Tony Kramer, astonishing ability, too often tied to nonsensical junk. Sounds more like Adams to me. But could be others mixed in.
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Anybody reading volume 3?
Who is "Curt Powell", who can't afford to buy back his own artwork for the Daredevil cover? Miller, Janson...? Is this a true story?
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[QUOTE=Kay;6535303]Anybody reading volume 3?
Who is "Curt Powell", who can't afford to buy back his own artwork for the Daredevil cover? Miller, Janson...? Is this a true story?[/QUOTE]
Hmm...I plan to read it but it might be a couple of months before I order it ( I'm still catching up to comics from 6 months ago). But from what I know about comics history and the way you describe it... if the scene is set in the 80's it's hard for me to guess it's Frank Miller ( although I could be wrong )? For all his complaints about mainstream comics industry, I don't think I've ever heard him complain that he personally wasn't fairly compensated. He's usually talked about censorship or problems with the market or how we need to compensate the older generation.
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Some of the characters are one to one, like Ray Clarke is Gil Kane. Some are combos of several comic personalities.