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And I'm sure that the first issue took some time to draw.
Another great issue. I like the idea of the new villain, but it makes me wonder what awaits our new Batman and Superman? Surely Yang won't just "burn" them after spending so much time on them?
Pretty perfect issue from Yang. People always talk about retelling of the triangle for two, and I think those two issues prove he might be the best writer to do it, if opportunity comes. Also, his Robin is remarkably charismatic (especially drawn by Reis).
"Keep flying; keep fighting; keep loving; keep smiling. You won’t always be right, but you don’t have to be. Be just. Be fair. Be good. Be brave. Be Superman." - Bryan Q. Miller.
Avatar by Julian Lopez.
Good issue again! That Auteur.io’s master plan is basically trying to make “capekino” is funny as hell to me. Layouts are much more straightforward for this issue but Reis still manages to do a few cool tricks here and there. Really loved his take on the World of the Knight’s Metropolis.
Really hope not! Maybe they’ll end up stuck in each other’s world for a little bit? Would be interesting to see the WoT’s Superman try to clean up the WoK’s Metropolis.
For when my rants on the forums just aren’t enough: https://thevindicativevordan.tumblr.com/
This is currently my favorite title. Reis is absolutely killing it on art and Yang is playing with some interesting ideas
http://www.multiversitycomics.com/in...tman-superman/
Interview with Reis, more at the linkLet’s start with last issue; what was your first reaction to seeing the dual structure of issue #16, presenting a Batman and Superman stories running, across double page spreads, concurrently. From a draftsman’s perspective, what challenges did that structure present? What was the most important thing to keep in mind to allow both stories to work properly?
Ivan Reis: It was really fun to dicover how Gene wanted to tell that story. We talked to the editorial team about possibilities and what kinds of things we could do, and then Gene created that world. When I began drawing the film rolls, there was a moment when i decided not to modify the panels composition and to use the film concept not only a aesthetic element. I soon realized that the Film itself would become a character in the page as well. This decision determined how the narrative and the compositions would work. The art wouldn’t be about big scenes, big panels, splashes, but about hou to deal with that within the limited space of the Film. The Film would reign supreme over all aesthetic decisions. This line of thought already gave both stories the same narrative line and a one of a kind feeling when reading.
For when my rants on the forums just aren’t enough: https://thevindicativevordan.tumblr.com/
Finally got my copy, man what a great book this is only two issues in. Reis's art in the Bendis Superman book was top notch but this really is other level stuff. Yang is totally nailing the different voices of the different iterations of each character. Facial expressions perfectly match the dialog in every panel. It's a damn near perfect book but if there's one word I'd use to describe it: fun. Just pure fun. I also really love the idea of a bunch of evil archivist androids running around causing havoc. And absolutely love the Robin.
“Look, you can’t put the Superman #77s with the #200s. They haven’t even discovered Red Kryptonite yet. And you can’t put the #98s with the #300s, Lori Lemaris hasn’t even been introduced.” — Sam
“Where the hell are you from? Krypton?” — Edgar Frog
Tradewaiting on Yangs run and wondering if Williamson is recommended, too?
For when my rants on the forums just aren’t enough: https://thevindicativevordan.tumblr.com/