Berni(e) Wrightson's FRANKENSTEIN

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Roamed an antique mall yesterday and, in one of the packed booths, saw the left side of a book that said “Frank” and “Ber”. Key-bearer opened the case, and there it was: an original edition of Bernie Wrightson’s 1983 “Marvel Illustrated Novel” labor-of-love version of Shelley’s FRANKENSTEIN:

"I've always had a thing for Frankenstein, and it was a labor of love," the artist said. "It was not an assignment, it was not a job. I would do the drawings in between paying gigs, when I had enough to be caught up with bills and groceries and what-not. I would take three days here, a week there, to work on the Frankenstein volume. It took about seven years." ... Wrightson was influenced by the pen and ink masters of the early 20th and late 19th centurie,s and Wrightson named artists like Franklin Booth, Jason Cole and Edwin Abbey."I wanted the book to look like an antique; to have the feeling of woodcuts or steel engravings, something of that era," said Wrightson.

Thrilled to have this beauty in The Collection (not only of comics, but of Frankenstein). If you haven’t read it, Bernie’s collaboration (along with Kelley Jones, who finished the project after Bernie’s death) with Steve Niles, FRANKENSTEIN ALIVE, ALIVE, is considered a sequel to this piece of comics passion unleashed.

links/2024w07

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At around age 60, with her 3 children all grown up and out of her hands, Sugiyama decided to relocate from Saitama up north to Iwate prefecture where she had relatives, and was closer to her birthplace of Aomori. She obtained her chiropractors license and opened a small practice where she served the local community for over 10 years. 

One day, Sugiyama found a pack of discarded colored markers near a dumpster. Noticing that they were still in good shape, she decided to take them home and begin doodling. Soon, images of trees and rivers all inspired by the nature of Aomori began pouring out of her and onto the pages of a sketchbook. After a year or so of sketching with the markers, Sugiyama remembered her mother’s colorful kimonos that had been stored away. There was no use for them in storage so the artist, whose creative juices were now flowing, decided to begin incorporating them into her work, which eventually led to a style she has coined as “Kimono Reborn Art.”

black and white

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From my first – Kelley Jones (who remains my favorite Bat-artist; come on, we need a CRIMSON MIST, emaciated creature of the night statue) – to my latest – Mike Mignola's GOTHAM BY GASLIGHT Batman – the Batman: Black and White series of statues have become the other manifestation of my passion for being surrounded by plastic people. Reasonably certain that this passion for this particular line comes not only from their stunning physical attributes – seriously, these things are gorgeous – but because the series from which they take its name, BATMAN: BLACK AND WHITE, has remained one of my favorite Bat-projects since its first release nearly 30 years ago: there's little I love more than a well-done short form comics story – especially when those stories are such fascinating experiments in character and taut storytelling.

Bringing that storytelling and design aesthetic to tactile sculpture is catnip to my procurement proclivities: where else can Jiro Kuwata's Bat-manga Batman and Paul Pope's YEAR 100 stand side by side in glorious black and white?

ELSEWORLDS: BATMAN Vol Two (Moench/Jones, 1991-99)

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As I wrote in my notes on GOTHAM KNIGHTS, I've always been more fascinated by alternate continuities than canonical ones – and specifically namechecked Moench & Jones's RED RAIN universe. Confession: while I've read RED RAIN numerous times (though my copy inexplicably vanished, probably in one of the many moves in the naughts) I hadn't read the two follow-ups, BLOODSTORM and CRIMSON MIST.

A panel from 1999's BATMAN: CRIMSON MIST, by Kelley Jones: a vampiric Batman awakens and screams, Don't you realize what you've done?!"

What a treat it was - thanks to this collected edition - then, to re-read RED RAIN and dive back into the macabre world Moench and Jones created (and ported, if not in bloodsucking then in spirit and vibe, into their run on the main BATMAN title, still my favorite run on that series - recently bough a new copy of the first issue of their run, 515 (mine had, like my TPB of RED RAIN, and issue 516, inexplicably vanished), with the new suit that was forgotten far too soon) and read BLOODSTORM and CRIMSON MIST for the first time: while BLOODSTORM is my least favorite of the trilogy (strange, given how truly terrifying Jones's Joker is, a Gwynplaine from Hell, the corrupting devil himself – I wonder how much of this, of Batman's descent into monstrous evil after succumbing to his bloodlust via The Joker, influenced the origin of The Batman Who Laughs), Moench's writing here is a perfect fit for the Hammer horror feel to it all and Jones has never been better, especially in CRIMSON MIST as Bats turns full monster, one of the most tragic vampires ever brought to death, the full weight of what he's become in eternal conflict with every value and foundation that makes the Batman the Batman.