Monsters: Barry Windsor-Smith

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Windsor-Smith continues to note that he felt that the issue was important enough that he was going to do what he could to make sure the story could run as a single issue of Incredible Hulk – withOUT Comic Code Approval… Barry Windsor-Smith: Storyteller volume 1, number 1. Milwaukie, Oregon: Dark Horse, 1996. OCLC 63079005 The terms I need to use in the script (all spouting from the paranoiac and drunken Tom Banner) are actually mild when paralleled to other – perhaps more sophisticated – media such as film, print and (at this date) television. Bu kitap bitmedi! Son sayfaları gecenin bir vakti korteksimi kapatmış vaziyette çeviriyorum ve ne okuduğum umrumda bile değil. Maalesef. Shazam Award, Academy of Comic Book Arts Awards Best Individual Story ("Devil Wings over Shadizar," by Roy Thomas and Barry Smith, from Conan the Barbarian No. 6 and "Tower of the Elephant," by Roy Thomas and Barry Smith, from Conan the Barbarian #4) (nominated) [43]

Humans Are the Real Monsters: The story may be told from the perspective of seemingly ordinary scientists who think of themselves as pioneers trying to break new ground while controlling a monster who Was Once a Man, but it's clear from the start that they are the monsters of the story, with Logan just being the poor bastard victim who happened to fit their criteria. Admiring the Abomination: Early in the story, the Professor convinces an extremely unfortunate junior technician to enter Logan's cell as he wakes up, which rather unsurprisingly leads to his death. The Professor, who's been watching on a CCTV monitor, mutters "Magnificent". Strapped to an Operating Table: The project does not bother to anesthetize Logan during any of the multiple operations they force him to undergo. The Professor claims his healing factor will fight off any attempt, but they don't even try. He ends up waking several times and is clearly in agony. Monsters isn’t beach reading. Not only would you not want to expose Fantagraphics’ beautiful edition to the sand and salt air, you might end up crushed under the weight of the tome, or burned to a crisp by the sun if you stay out all day reading it to the end in one sitting. But those up for the challenge will be rewarded with one of comics’ great literary epics, a masterpiece of story and art and a generous, unexpected gift from a legendary creator in total command of his craft.Windsor-Smith says the idea that he has moved from being an illustrator to a writer isn’t quite right, however: “I was never just an illustrator of comics. When I was trying to get a job at Marvel in the 1960s, I turned up with a portfolio of finished stories. The credits you see published in the comics are misleading; at minimum I was the co-writer of almost all of my work.”

Marvel Treasury Special Featuring Captain America's Bicentennial Battles #1 at the Grand Comics Database Implacable Man: One of the goals of the project is to create one. Logan was already superhumanly tough, but once he gains the Adamantium skeleton, he takes it to a new level. Climaxes when he is shown to survive a bath in molten nuclear waste and just keep coming. Neither do I see the point of the experimentation. The Nazi scientists horrifically deform their test subjects - to what end? Who wants an oversized, lumbering creature with the mind of a child who can barely walk? Why would any military pour so much money into such a useless end goal?! THE GORBLIMEY PRESS CATALOGUE 1975•1976". Barry Windsor-Smith. Archived from the original on 7 October 2017 . Retrieved 7 October 2017.Maybe you grew up reading his Conan the Barbarian comics and thrilled to the vigorous lines of his X-Men titles over the years. Maybe you were delighted by his dreamy, intricate fantasy paintings in the '70s or discovered his work in the Opus retrospective volumes of 1999-2000. Academy of Comic Book Arts Shazam Awards Best Individual Story ("Lair of the Beast Men," by Roy Thomas and Barry Smith, from Conan the Barbarian #2) (nominated) [42] Be Careful What You Wish For: Experiment X wanted to turn Logan into an Implacable Man. They succeeded all too well. Barry Windsor-Smith would later be feted for his X-Men work, particularly writing and drawing the 1991 Weapon X story that showed the origins of Wolverine's adamantium skeleton, and was the basis for the X-Men 2 movie, as well as X-Men comics Lifedeath and Lifedeath II with Chris Claremont, and the 1984 Machine Man limited series with Herb Trimpe and Tom DeFalco that launched Iron Man 2020. Monsters by Barry Windsor-Smith Fantagraphics в центрі оповіді є людина, яка може стати монстром у своїх діях, або ж уникнути цього. Безумовно, ��о цей комікс, над якими ветеран індустрії коміксів Баррі Віндзор-Сміт працював 37 років (а йому вже зараз 71 рік), є його власним шедевром. Тому «Монстри» цілком заслужено здобули премію Айзнера 2022, яку також можна опосередковано вважати премією за життєві досягнення творця.

During his run on Conan the Barbarian, Windsor-Smith was involved in the writing as well. [10] He and writer Roy Thomas adapted a number of R.E. Howard short stories, the aforementioned "The Frost-Giant's Daughter", "Tower of the Elephant", "Rogues in the House", and "Red Nails". As well as the art and story contributions, Windsor-Smith provided the covers for most issues. They worked on original adventures and characters based on R.E. Howard's characters – most notably the flame-haired warrior-woman, Red Sonja – loosely based on a character from one of Howard's non-Conan stories, who has now become a major comics character in her own right – in "The Song of Red Sonja" in Conan the Barbarian No. 24 (March 1973), Windsor-Smith's last issue of the title. By then he had worked on 21 of the first 24 issues of the series, missing only issues No. 17 and No. 18, and No. 22 (which was a reprint of issue #1), and both he and the title had won a number of awards. Windsor-Smith would later say that the reason he missed those issues was because he had quit the series a number of times as he was dissatisfied with the work and how the comics business worked, rather than the deadline problems Marvel quoted. [11] In 2010, Comics Bulletin ranked Thomas and Windsor-Smith's work on Conan the Barbarian seventh on its list of the "Top 10 1970s Marvels". [12]Dediğim gibi ilginç başlamıştı. Karanlık çizilmiş, bol taramalı çizgili kitap karanlık bir hikaye anlatıyordu. Bir baba olarak lanet naziler, prometheus, tuhaf deneyler falan karanlık gelmedi bana. Esas karanlık, dönemin dinamiğini yansıtan aile ilişkileri, aile içi psikolojik ve fizyolojik şiddet, bu kötü ortamın içine doğmuş masum çocukların yaşadıkları karanlıktı benim için. Kitap daha çok bu yönüyle zihnimde kalacak. Anne ve baba küçük çocuklar için o kadar önemli ki, bir uyducuk gibi, bağımlı, muhtaç, beklenti içinde. Bunun darmadağın edildiği senaryoları görmek biraz üzdü. Ufak tefek tartışmalardan, kimi negatifliklerden etkilendiklerinde bile vicdan azabı yapıyor insan. Çılgın/deli bilimci nazi frankeştaynların etkisini ise daha çok PTSD/TSSB açısından değerlendirdim. a b Comtois, Pierre (2015). Marvel Comics In The 1980s: An Issue-By-Issue Field Guide To A Pop Culture Phenomenon. Raleigh, North Carolina: TwoMorrows Publishing. p.72. ISBN 978-1605490595. So, yeah, I both admired the artwork--found it brilliant, a pen and ink masterwork--and even admired aspects of the multi-layered, storytelling about a descent into madness, but I also found it very, very hard to read this story and look at.

Sanderson, Peter "1970s" in Gilbert (2008), p. 146: "Writer Roy Thomas and British artist Barry Smith (later known as Barry Windsor-Smith) launched Marvel's sword-and-sorcery comics with Conan the Barbarian, in a series that ran for 275 issues." For the Evulz: The Professor at one point pours hot coffee onto Logan's face, knowing that, due to the mind control, he literally cannot react to the pain of it burning him. If you’re of a certain age, Barry Windsor-Smith’s name is synonymous with ‘Weapon X’, the iconic storyline that ran in “Marvel Comics Presents” in the early 1990’s that arguably remains to this day the definitive Wolverine story. Windsor-Smith’s classically trained illustrations were almost too good for “Marvel Comics Presents,” a series that was often host to newer talent, and did not court icons such as BWS, whose work on Conan comics for Marvel some twenty years prior are almost as recognizable and enduring to the property as Arnold Schwarzenegger himself. Nevertheless, Windsor-Smith’s story about the mutant Wolverine getting his adamantium claws via some truly vicious government experiments not only enlightened fans on Wolverine’s murky past, but also made for a pulse-pounding epic about an unstoppable killing machine that you just might actually be rooting for, if only because the people being killed are worse than the monster they created in Wolverine (or “Weapon X” as he is designated). It is interesting, then, that Windsor-Smith would return to this trope so many years later, but it’s obvious the creator has much more to say. The ugly cynicism and moral bankruptcy of the United States in carrying out “Operation Paperclip” seems to be just as potent a villain to BWS as any costumed creep.The memory erasure/mind control seems to be a purely chemical/mechanical process. Later stories would include a telepathic mutant assisting with this step of the process. Barry came to me with a completely penciled and written graphic novel. It was the about the development of the “mighty, raging fury” inside Bruce Banner, who, he revealed, was the product of an abusive home. I looked it over. I thought it was brilliant, one of the best comics stories I’d ever seen. I offered Barry a contract and an advance. He turned me down — temporarily. He proposed to finish the thing — then, if I would agree to publish it as created, no alterations whatsoever, he would sign a contract and take the money. I was willing to agree to that in writing on the spot, but he said, no, when it’s finished. Okay. Fine by me. I already knew, from what he’d shown me, that there’d be no problem. BWS tenía que haberse buscado un guionista para, al menos, redactar los diálogos (lo que seguramente habría conducido a una poda de páginas) y corregir las incoherencias del relato (¿junio de 1945? ¿No debería haber sido mayo de 1945? ¿Qué cojones hacen los nazis en esa casa?). Pero entonces nos habríamos perdido parte de arte, y Monstruos es un tebeo para mirarlo y remirarlo mientras te deleitas con los detalles de las ilustraciones en glorioso blanco y negro. El excelente trabajo sobre las tramas y en el detalle de ciertas estampas que se ajusta a lo que demanda la narración, morosa en la mayoría de las partes, precipitada al final. Harvey Award Nominees and Winners". Comic Book Awards Almanac. Archived from the original on 7 March 2016 . Retrieved 4 February 2016.