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Old February 7th, 2010   Ian Larsen is offline   #1
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Default Anybody catch EVS on Word Balloon?

I was looking for a thread on this and couldn't find one, but please correct me if I'm wrong.

http://www.wordballoon.com/

It's right on top.

For some reason my computer won't download it right or listen to it all the way through, but I caught the beginning with him talking about the writer/artist dynamic (how artists have become mere employees of the writers in some cases), the real reason Rebirth was so late (everyone's gonna feel like an *******- I know I do a little) and the truth behind Wally's costume/its origins. But I think I really only caught half of it.

Interesting stuff. Ethan always gives great interviews.

Oh yeah, and we get to hear him sing.
 
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Old February 7th, 2010   Ian Larsen is offline   #2
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While I'm at it, another Interview with Ethan and Daniel Way at cherry capital con on newsarama- http://www.comicbookresources.com/?p...ticle&id=24709
 
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Old February 7th, 2010   oddballuk is offline   #3
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Listening to this now. I think he's got a good point about the shift of power to writers.
 
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Old February 7th, 2010   JRM is offline   #4
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Listening to this now. I think he's got a good point about the shift of power to writers.
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Could someone bullet point the Key points

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Old February 7th, 2010   Fastest is offline   #5
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I love the Wordballoon conversations with Ethan Van Sciver. They are always just top notch.

This one was no exception, we got explanations for the delays on Flash Rebirth (the health problems he discussed on this very forum). Way to go on losing 40 pounds Ethan!

They talked about the process of designing Wally's costume, and how the final version was not the first version, and that all of Ethan's initial designs are going to be in the Flash: Rebirth Hardcover.

He talked about how he had a 2 step process to bringing back Impulse. One, by making Irey the new Impulse, because that is just adorable (and I completely agree), and 2 by making Bart look a little more Humberto Ramos-y, with a more round face and bigger feet, even though Ethan tries to draw every character as realistically as possible.

Geoff has plans for something special to happen with Jai down the line.

Oh, and Ethan would have loved to be the artist on the Kid Flash/Max Mercury series. That poured salt on all my fresh wounds.

If you don't listen to Wordballoon interviews, you should. Every week is a conversation between John Siuntres, the host, and some comic book creator. I listen to every one in which I am familiar with the guest and I have never been disappointed. Ethan Van Sciver interviews are the best of the best, because he is a hilarious man. You can download all the Wordballoon for free on iTunes.
 
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Old February 7th, 2010   Fastest is offline   #6
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Other things, Ethan talks about how he'd love to draw and write some book himself, because he feels that the entire power of the comic rests in the hands of the writer. Which is the opposite of what it was in the days of Image. He doesn't want to go back to that, he just feels there should be more of a balance.

Also, there will be a new Cyberfrog comic this year.
 
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Old February 7th, 2010   JRM is offline   #7
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Other things, Ethan talks about how he'd love to draw and write some book himself, because he feels that the entire power of the comic rests in the hands of the writer. Which is the opposite of what it was in the days of Image. He doesn't want to go back to that, he just feels there should be more of a balance.

Also, there will be a new Cyberfrog comic this year.
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On this point, think of all those who started as Artist and then progressed to Co-ploter/Artist then to writer/artist combo (wish we had a term to respect that blending) and then writer with someone else drawing their stories. Some like Giffen has a step where someone Dialogues his breakdowns. I'm thinking off the top of my head of those like Grell, Miller, Truman, Byrne, etc.

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Old February 7th, 2010   oddballuk is offline   #8
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On this point, think of all those who started as Artist and then progressed to Co-ploter/Artist then to writer/artist combo (wish we had a term to respect that blending) and then writer with someone else drawing their stories. Some like Giffen has a step where someone Dialogues his breakdowns. I'm thinking off the top of my head of those like Grell, Miller, Truman, Byrne, etc.

Jim
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Yeah, they're all good examples.

EVS was talking about the shift in focus to artists in the 90s having since shifted back to writers in the past decade which, while not necessarily a bad thing, leaves many artists frustrated as they can be forgotten about in the storytelling process (giving artists dialogue heavy issues for example which is a lot of talking heads) so that artists are also looking to writing as a way to get a little more creative freedom.

He cites Scott Kolins' on Solomon Grundy and Tony Daniel on Batman as recent examples.
 
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Old February 7th, 2010   JRM is offline   #9
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Yeah, they're all good examples.

EVS was talking about the shift in focus to artists in the 90s having since shifted back to writers in the past decade which, while not necessarily a bad thing, leaves many artists frustrated as they can be forgotten about in the storytelling process (giving artists dialogue heavy issues for example which is a lot of talking heads) so that artists are also looking to writing as a way to get a little more creative freedom.

He cites Scott Kolins' on Solomon Grundy and Tony Daniel on Batman as recent examples.
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I do think the in the ideal world all comics would be done by one hand, but in reality that is not possible and many great stories would not have nor could happen. But I do think that the two elements need to be brought in general closer together. I guess this is where we need to ask are comics a visual form of literature or are they just a side branch of pulp fiction. I do believe that they can be more, but if the companies treat them as just a commodity then they will not be much - and the current artist for hire/generic house style artist universe/continuity obsessed status quo will be the dominate fixture.

Actually, I'd love to see EVS move towards things that are not so tied to a schedule - OGN, A plasticman Mini, perhaps - things were his attention to detail, his pacing and his ideas will be seen by all as a positive.

Going back to Grell for a moment - on the Warlord, Green Arrow and Jon Sable, I feel his strongest work is when he has both written and Drawn these. Where with Giffen - I think that he needs some collaboration to bring out his best. Hummm - a lot to think about...

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Old February 7th, 2010   oddballuk is offline   #10
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Actually, I'd love to see EVS move towards things that are not so tied to a schedule - OGN, A plasticman Mini, perhaps - things were his attention to detail, his pacing and his ideas will be seen by all as a positive.

Going back to Grell for a moment - on the Warlord, Green Arrow and Jon Sable, I feel his strongest work is when he has both written and Drawn these. Where with Giffen - I think that he needs some collaboration to bring out his best. Hummm - a lot to think about...

Jim
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Agreed!
 
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Old February 7th, 2010   Bizarro #98 is offline   #11
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Things I found interesting:

Ethan sees Wally West as the Sir Lancelot to Barry Allen's King Arthur, and designed his uniform accordingly. His mask goes all the way down to his nose because it looks more like a knight's visor that way. His metal symbol also evokes the image of a hood ornament, because Keystone is known for their automobile production.

Professor Zoom's weapon is supposed to be a pointer, like the ones college professors use during lectures. He coated it in a fictional substance with the abbreviation MO₂Z. Reversing this abbreviation is where he originally got his name.

Ethan was the one who wanted a new Impulse, specifically one who is a hyperactive little girl. He suggested this idea to Geoff, and Geoff ran with it. He claims Geoff has plans for Jai down the line.

And of coarse, more Cyberfrog!
 
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Old February 7th, 2010   KevinTBrown is offline   #12
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Yeah, they're all good examples.

EVS was talking about the shift in focus to artists in the 90s having since shifted back to writers in the past decade which, while not necessarily a bad thing, leaves many artists frustrated as they can be forgotten about in the storytelling process (giving artists dialogue heavy issues for example which is a lot of talking heads) so that artists are also looking to writing as a way to get a little more creative freedom.

He cites Scott Kolins' on Solomon Grundy and Tony Daniel on Batman as recent examples.
ddf
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Creative freedom is great, but the 90's is not a good example of where comics need to be. Has the pendulum swung the other direction fro the writer? Of course, but not to the extreme the 90's did with the artists.

There's a nice balance right now I think. Yes, you have your books with tons of action, but there's also books with loads of talking heads. It's a great mix. It gives the reader lots of options now. To go back to the 90's way of artists in control is a major step backwards and would probably kill comics entirely.
 
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Old February 7th, 2010   oddballuk is offline   #13
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Creative freedom is great, but the 90's is not a good example of where comics need to be. Has the pendulum swung the other direction fro the writer? Of course, but not to the extreme the 90's did with the artists.

There's a nice balance right now I think. Yes, you have your books with tons of action, but there's also books with loads of talking heads. It's a great mix. It gives the reader lots of options now. To go back to the 90's way of artists in control is a major step backwards and would probably kill comics entirely.
ddf
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Sorry, I should have clarified. While EVS was saying the shift had moved to artists in the 90s and then back to writers in the 00s, he did point out that the shift to artists in the 90s was a bad thing as it went too far.

EVS also went on to say that while the shift has, perhaps, moved too far back into the writer's camp (which he state's isn't bad like the 90s artist shift) that he sees the coming decade as one where we can see a better balance of art and writing.
 
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Old February 7th, 2010   oddballuk is offline   #14
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Ethan sees Wally West as the Sir Lancelot to Barry Allen's King Arthur, and designed his uniform accordingly. His mask goes all the way down to his nose because it looks more like a knight's visor that way. His metal symbol also evokes the image of a hood ornament, because Keystone is known for their automobile production.

Professor Zoom's weapon is supposed to be a pointer, like the ones college professors use during lectures. He coated it in a fictional substance with the abbreviation MO₂Z. Reversing this abbreviation is where he originally got his name.
ddf
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I love hearing EVS talk about his design work and what goes into it like he did before with the GL Corps design work and that done for the various Corps symbols.

I am really interested to see what his original redesigns for Wally's costume looked like though. I was planning to get the Flash: Rebirth collection anyway but this sounds like some cool supplementary material.
 
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Old February 7th, 2010   Hyperion09 is offline   #15
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Oh, and Ethan would have loved to be the artist on the Kid Flash/Max Mercury series. That poured salt on all my fresh wounds.

If he adopted a style similar to his run on Impulse specifically for this, I would've totally gunned for it.

He coated it in a fictional substance with the abbreviation MO₂Z. Reversing this abbreviation is where he originally got his name.

*snicker*

Yeah, forgive me for sounding negative, but these kinds of justifications keep sounding silly to me. I'd rather stick with the original onomatopoeic explanation. Oh well.
Last edited by Hyperion09; February 7th, 2010 at 03:39 PM.
 
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Old February 7th, 2010   HPT is offline   #16
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the full explanation (in the podcast) behind the zoom stuff sounds a lot better than the quick written summary.

and i believe the chemical compond MO2Z (or was it MO3Z?)

loved the interview. john always delivers.
and yeah, i knew the delays has a valid reason behind it.
glad he's doing better!
 
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