Thing sketchbook, part 28

Whenever I'm behind on work and think, "oh, I haven't updated the blog in a while," my thoughts immediately go to, "well, what if you post some pictures of the Thing?" And then I think, "what if I ever run out of Thing sketches to post?" and I cry a bit, but then I remember that I will never run out of Thing sketches, because I have a lot and will never stop getting them.

Anyway, I'm definitely behind on work, and I guess the Comic-Con pictures can wait a little longer, so here are five more sketches from my Thing sketchbook! These are all...really great? I mean, they're all wonderful, but this group is particularly solid. Here they are!

Agnes Garbowska - New York Comic Con 2021

The 2021 New York Comic Con was the first big convention to return out of the pandemic. Thinking back to it, this was...probably a bit too early and I bet a lot of people got covid from this show? Then again, I bet a lot of people got covid from the 2024 San Diego show. I suppose I went (to both), so I have no room to judge. I do remember this show being smaller than most, and the people attending being more cautious than most shows that have taken place since.

I did get some Thing sketches, starting off with this one from Agnes Garbowska, an artist who has become a staple of comic convention artist alleys in recent years with a really great, fun style. This Thing (complete with Thing nipples) comes with a subtle glitter color wash that doesn't show up as well in the scan. I was so excited to get a new sketch in person, and this was a great way to start out.

Dane Ault - New York Comic Con 2021

Dane runs Monkey Minion Press and has a really swell booth at a lot of different conventions. Dane designs prints and stickers and other ephemera that I really like - and even got to do some design work for the AppleTV+ show, For All Mankind. I'm really happy that I was able to get him to draw in the book. I want to say that if the Thing has to pay for takeout in Manhattan, after saving the city and the world over and over, then something isn't right. Well, maybe he crashed through the wall at one point during a superhero battle and just took off afterwards. I guess we'll never know.

Jake Smith - New York Comic Con 2021

Jake Smith is a really dynamic artist who made a name for himself with Blood Force Trauma and then went on to do some work on a few Godzilla books. He also drew a cover to Planet Comics #4, which I was really lucky to get!

This pugnacious Thing is notable because Jake used a ben day sticker over top of his lines, which is how he created the greyscale effect that looks so cool!

Joe St. Pierre - Rhode Island Comic Con 2021

After NYCC, I got invited to the '21 Rhode Island Comic Con, where I sat next to Joe St. Pierre and got to chat with him for a while. Joe is a great artist who has drawn a bunch of stuff, but most historically significantly SPIDER-MAN 2099!! As we all know (everyone known this), the Fantastic Four 2099 all pretty much look just like their present-day counterparts, so drawing the Thing 2099 doesn't stand out among the other sketches in the book. Joe was kind enough to draw a flying car and "2099" in the background to help us all distinguish one from the other. Thing 2099! Yes!

Matt Smith - Rhode Island Comic Con 2021

I know Matt from his time on his Barbarian Lord comic, and he worked on quite a few FUBAR projects around that same time. Matt now does a lot of work on the Hellboy titles, which is really great for a fantastic creator with a beautiful style. Matt drew this dour Thing in the book that made the trip to Rhode Island worth it just from this.

Oh, and have we seen the leaked video of the Thing from Fantastic Four: First Steps? Comic accurate Thing, everyone!!

🎥 | New look at The Thing on the set of ‘THE FANTASTIC FOUR: FIRST STEPS’ pic.twitter.com/Zz2q8sQt4D

— Fantastic Four Updates (@F4Update) August 28, 2024

Here's some new Thing original artwork from Paradise X: Devils!

A number of years ago, I met writer Jim Krueger at a comic book convention. Krueger wrote one of my favorite Marvel alternate reality series, Earth X and its sequels, and I made sure that I let him know that - and also how much I enjoyed how he wrote the Thing in the book.

This spawned a rather frenetic conversation between the two of us, where we both said a number of things which all amounted to, "we love the Thing!" And so this was a great moment, and one that I'll always remember. He told me that he had to stop himself from giving the Thing all of the best lines and moments in the book, which I felt was unnecessary, because there's no reason to not make every (EVERY) book about the Thing.

This past October at the New York Comic Con, I sought out some original art vendors to look for a page or two that I might buy. Now, there are different tiers of original art vendors at comic conventions. Many of them sell Golden Age Superman pages for $30,000 or Will Eisner originals for $15,000. These booths are interesting to walk past, because they contain comic book history that I will never be able to afford, but I guess it's still nice to be able to see original Frank Miller Dark Knight Returns and Jack Kirby Fantastic Four pages in person. I imagine that the goal of these vendors is to sell one single page of art for the entire show, and then buy a car or something.

The other original art vendors at comic conventions have enormous stacks of pages and color guides from the 1990s Darkhawk series, probably bought from the original artist in 1997 for $1 per page, now on sale for $200 each. These are the booths where I generally spend time at, rummaging through binders and piles to see if somehow, there's a page that I can afford that also has the Thing knocking someone's block off.

On the last day of the '23 NYCC, I spent the waning hours of the convention looking for such a page, and I found a pretty good one.

It's a page from the Krueger-written Paradise X: Devils 2002 one shot by penciller Steve Sadowski and inker Andrew Pepoy!

Not only does the Thing appear on this page, but he appears in EVERY SINGLE PANEL. And not only does the Thing appear in every single panel, but it looks like there's more than one Thing present on this page. This is a great Thing-per-panel ratio. The smaller Things are actually Ben's alternate universe sons, Buzz and Chuck. They are honorary Things and they count.

Paradise X is set in an alternate future, and here he's joined by Reed Richards (minus an arm), Mr. S (Scott Summers), Daredevil and the reborn Mar-Vell. Even though this takes place in the future, the Thing looks the same as he always has, which is correct. He's also wearing his signature blue shorts.

Here's a panel with Buzz (or...Chuck), who wears glasses. Buzz and Chuck are the children of Ben and Alicia. There was radioactive clay involved.

The back of the page is pretty standard, with some copyright information stamped near the top and artist names in the corners.

I think that I got a good deal on this page. A lot of Things for my buck. That's a new saying that we're sticking with now.

Earth X was a great story. Things got a little bogged down in Universe X and Paradise X, though I enjoyed them both, as well as the more recent series, Marvel X. They're well worth tracking down if you haven't read them, because, if nothing else, you know that they're written by a Thing-loving author. And that should be enough.

About ten minutes before I left the convention, I found some very affordable art from Alex Sanchez (who drew in the Thing sketchbook at the show). Alex inked some pages in the TMNT: Armageddon Game series, and was selling some of the pages he worked on. By the time I found them, all of the pages with the four turtles were sold, but I still did pretty well with this action-packed page. It features none other than Metalhead, along with a Triceraton and some Utroms!

And then the show was over! Talk soon, everyone!

The Illustrated Al is nominated for an Eisner and wins a 'Ringo! award!

As 2023 winds down, let's look back at my best comic memory of the year:

The Illustrated Al: The Songs of "Weird Al" Yankovic was nominated for an Eisner award! By default, I demand that everyone recognize that I was also nominated for an Eisner! I will not be taking any questions. Also in 2023, The Illustrated Al won a 'Ringo! Award! I am a 2023 'Ringo! Award winner! I WILL NOT BE TAKING QUESTIONS.

Okay, The Illustrated Al is an anthology. A lot of talented creators worked on the book. But I was one of those creators, and I'm counting this is as a win in my book.

In July, I attended the Eisner Awards at the San Diego Comic-Con for the first time. This is what I took away from it:

It is very fancy.

People dressed up. People gave speeches. They sat at fancy tables and took home trophies.

I sat closer to the back. The ceremony lasted close to three hours. The presenters pronounced the book "The Illustrated A.I." I took home a program!

The program got bent all to hell on my trip home, but I'll still keep it forever. It's listed in the program! The Nib ended up winning the award, but I still had a fun time and was excited to attend and to have some of my work nominated.

Later on in the year, the anthology was nominated again, this time for best humor comic, and this time...it won!

Z2 Comics, the book's publisher, held a special signing for the book at their booth at the New York Comic Con, where I got to not only feel very privileged, signing books for fans, but I also got to see the award in person. This was a big deal for me! Here I am with Josh Bernstein, the book's editor.

Some of the creators of the book took a group shot and I decided to kneel down for it even though Bill Plympton is, like, 6'6".

This was my best comic experience in 2023. I will not be taking any questions.

Some thoughts on Artist Alleys and the New York Comic Con

 

Comic book conventions have gone through a few different iterations since I've been attending them since (gasp) the mid '90s. I've seen them morph from niche, comic-centric affairs in hotel basements to popular media-saturated extravaganzas held in some of the largest indoor and outdoor spaces in the world. Both can be great, and I find that I've enjoyed both in equal measure, because comic conventions give fans a chance to celebrate the things that they love and interact with others in what, at its best, is a welcoming environment.

I think that some conventions are still trying to find their way back from the pandemic, which affected, among other things, the ways in which we think about crowded spaces. The New York Comic Con is a good example of this, I think, as over the last decade it has been an incredibly well attended show both in terms of overall engagement as well as in the sense of let's see how many people we can possibly fit into this space at once time. I've said this before, but one of the big differences between NYCC and the San Diego Comic-Con is simply that there's a lot of room to spread out in San Diego, and in New York, you pretty much have the Javits Center to work with.

2023 was another big year for the show in New York, but there were some changes at the convention that I think were at least curious, and perhaps were a sign of different things to come in the future.

I attended the show on both Friday and Sunday, so I didn't see everything that happened over the four-day event. When I was there, it didn't seem like there were quite as many vendors as in some previous years (certainly pre-covid), but it was the placement of these vendors that really stood out to me, and in particular, how this affected the show's artist alley.

Artist alley at NYCC has always been a weird experience, at least for me. In years past, the show has experimented with the area's location. Before the convention center's recent renovation, you'd have to walk through the main hall and down a corridor before entering the artist alley location, and because of this, it always seemed to me that this was a separate part of the show. During and since the renovation, artist alley has been on the bottom floor of the main hall, which has produced good, bad and weird experiences.

One of the things that stood out to me about the main exhibit floor at NYCC was the lack of major comic publishers. Marvel had its regular spot, but I didn't find booths for publishers like Dark Horse, Image/Skybound or DC (which, to be fair, would sometimes show up in previous years and sometimes not). Smaller publishers like MadCave Studios and Z2 did have spots on the show floor, but not seeing many of the larger comic book publishers was a little strange. Was the cost of a premium booth that prohibitive for a big publisher? Did it finally get to the point of diminishing returns?

When I went downstairs to the artist alley section, I found IDW parked at the entrance of the floor, with a smaller and relatively pared-down version of what their booth has been in the past. ComiXology, if I remember correctly, was in this spot or a similar one in 2022. 

I walked through the aisles and something else stood out to me. Calling pretty much any comic book creator famous is pretty relative, of course, but there were more than a few well-known current and former creators in spaces that used to be occupied by independent and up-and-coming creators. Chris Claremont, the popular X-Men writer, for example, had a booth in artist alley this year. Seemingly whole rows were bought up by studios or agents, so every artist in a given space had the same representation and the same backdrop.

I think that this was a result of fewer publishers on the main floor. Where in the past, A-list creators would spend their time on the show floor, signing books and doing interviews at publisher booths, their best opportunity to sell some of their books and art this year was to set up in artist alley. This, I think, had the unintended consequence of squeezing out some of the lesser-known and more independent creators. This might not seem like a big deal, but I know that a lot of lesser-known creators use shows like NYCC to become...better-known creators, and I can't help but feel that the whole industry benefits when someone with talent and drive but not a lot of hype is able to show off his or her stuff at a big industry show like the one in New York.

Another consequence, and one that I'll gloss over fairly quickly, is that prices in artist alley this year were pretty steep. I don't begrudge any creator for getting paid as much as he or she can. But I saw some folks selling headshot sketches for $400 (and more) at tables and man, there was some sticker shock on my part. Again, if an artist can get that, I certainly don't begrudge him or her for it. But "well, I guess I won't be getting anything here" was a common refrain for me over the weekend.

I hope that there's a better balance in the future, where artist alley can really be a place where professionals and hopefuls can meet and collaborate. I think it's best for the industry. There's a place for a company like IDW at any show, I think, but I don't think it's taking up space in artist alley. And if companies like Dark Horse and Image choose to skip a big show like NYCC, then I think it's fair to question whether or not the show is really representing the industry as best it can.

Hey, let's look at a few pictures I took at the show!

I love the design of this Spider-Verse Doc Ock. I love most of the things the Spider-Verse did.

HEY BEN

Did Wolverine sneak up on Magneto while he was sleeping or something. Wolverine is made of metal, Magneto. I feel like the least you could do if you were any kind of supervillain would be to keep the metal person away from you.

Marceline! 

I love themed costumes that go beyond just the regular iterations of a character. Congrats, tennis Daisy and Peach!

I asked this guy what version of Spidey 2099 he was supposed to be in this adaptation of Miguel's second costume. Was it a video game version that I wasn't aware of? No, he told me, he made the alterations himself because I thought they looked cool. Hats off to this guy for looking great.

After the show on Friday, I went to Midtown Comics near Times Square and waited in line for a Skybound signing. I think that this was Skybound's biggest presence at the show. I bought some comics and got to chat with a few creators, like Daniel Warren Johnson, who's creating a great Transformers comic for Image, and Tom Reilly, who drew last year's absolutely amazing Thing mini-series. I told Reilly how much I enjoyed the book; he sighed and said, "I'm glad that at least someone liked it." Was this series not immensely popular? Was it not the best book on the stands? I will not hear anything to the contrary. The Tom Reilly-drawn Thing series was comics at its peak.

The signing was on the upper floor of the comic shop, so everyone had to move through the small space pretty quickly, but I still enjoyed getting to do this little event away from the convention center, and everyone in line got a new ashcan comic just for being there. It was a great experience.

Thing sketchbook, part 26

Has this Thing sketchbook approached legendary status yet? I think so. We're all anxious to see the next sketches of Benjamin J. Grimm, so let's go for it:

Franco - New York Comic Con 2019

Franco and Art Baltazar shared a table at this show, and I was able to get very fun crayon sketches from both of them. The simple lines make it look effortless.

Steve Becker - New York Comic Con 2019

I caught up with my pal Steve Becker at his booth at NYCC. He asked to see the sketchbook, then agreed to draw the Thing in exchange for a new orange marker, which is a deal I'll take any day. Steve actually drew this menacing-looking Thing on a sticker, which he then stuck to the page. Note the street sign signature at the top left!

Craig Rousseau - Rhode Island Comic Con 2019

I was lucky enough to get an invitation to appear at the 2019 Rhode Island Comic Con, where I met Batman Beyond and Impulse artist Craig Rousseau (who, as it turns out, is also a big Weird Al fan). Craig's got a style I really enjoy and I think it stands out in this head sketch.

Howard Chaykin - Rhode Island Comic Con 2019

Howard Chaykin is an industry legend, and I had to build up the courage to ask him to draw in the sketchbook after sitting near him for most of this show. He delivered with a classic Thing. I also love his signature.

Rafer Roberts - 2020

This barely merits mentioning, but 2020 was a tough year on a lot of people. At the time, I couldn't have known that RICC in 2019 would be my last show for quite a while. With most of the country on lockdown and comic conventions naturally on hiatus, I took a chance with the USPS and mailed my book out to a few people that I felt I could trust not to lose it.

First on my list was Rafer Roberts, a pal and a writer/artist who has seen some much-deserved comic book success in recent years. I knew that Rafer's style was suited to a different type of Thing, and so I asked him to draw the character as he appeared very early on, as a lumpy, misshapen monster from the first few issues of the Fantastic Four title. The trench coat, angry stare, no teeth and "Bah!" word balloon bring this all together for me.

We're deep into this sketchbook now. Look for more installments soon!

Let's take a look at "The Illustrated Al" from Z2 Comics!

Every once in a while, two great things converge. Sometimes the result is ranch dressing-flavored ice cream. But other times, two great things coalesce into a somehow perfect combination. Even more infrequently, I get to make the dang things. So here we are at today's much-anticipated blog post about The Illustrated Al, Z2's "Weird Al" Yankovic graphic novel, inspired by Al's catalog of songs.

As an aside, would you look at that picture at the top? I'm going to be buried with it. Anyway, let's move on.

The Illustrated Al is a collection of graphic adaptations of a number of Weird Al songs, mostly focusing on his original material from various albums over Al's decades-long career. I was contacted by Z2's EIC in May of last year asking if I would like to participate to this project, of which Al himself was overseeing. I've loved comics only slightly longer than I have loved Weird Al, so I naturally agreed and picked my contribution from a list of pre-selected songs. Wouldn't you know, my all-time favorite Weird Al song, "Good Old Days" from the 1988 "Even Worse" album, was available, so I jumped on that and contacted my friends Jeff McComsey and Mark Welser to help me make this short story. Folks, I gave it my all, and I'm happy with the results.

I knew from the beginning that I didn't want to just adapt the song in a literal way. First of all, "Good Old Days" is a very dark and violent song when taken at face value; making a comic about this means that right away, we're lacking the accompanying James Taylor-like musical track which adds half of the humor to the song. I could go on about how the combination of those two disparate elements creates a pitch-perfect package.

What I tried to do was create a narrative around the lyrics that centered around the story's main character looking back at his life and all of the havoc he's created. He's at the end of his life and he wants it all to mean something - he wants to perform his biggest and most terrible act yet. So he's pretty much a serial killer, which is an idea that is, in some ways, so difficult to accept as a concept that it lends itself to hyperbole from the beginning. Then I set it in outer space, because I like outer space.

Over the course of creating and submitting the story, I got a few notes from Al, his manager, and Z2's editorial team, but the story was mostly accepted as we made it.

I'll let the story speak for itself, but there are a few things that I want to call attention to. The panel above is from a sepia-toned flashback scene, where we meet the song's Mr. Fender ("who ran the corner grocery store"). There's only one line of dialogue in this story, while the rest of the lyrics are presented in dialogue boxes, which seemed more appropriate. This one line gave me the opportunity to use a different font, and I felt that I should probably use it to include my newly-minted McClellafont. Really, if there was a reason I made the thing in the first place, this was it.

Let me also point out that I did add several Easter egg-style references to some of Al's other works and the like in this story. A few people have found some to this point, and there are some in this very panel. Most of them are pretty obvious, though maybe not all.

In addition to lettering, I tried my hand at color separations (or flatting) for the first time with this story. This is the process of adding color to the image that a traditional colorist will refine later. I will say that this process didn't take a lot of skill (perfect for me), but it did take a LONG time to do. It was very time intensive. I did what I could.

In true form for the modern comic book industry, the hardcover volume was released with a few different covers. The main cover is on the left and has art by MAD Magazine's Drew Friedman. On the right is the limited Local Comic Shop Day exclusive cover by Mark Fredrickson, also of MAD fame. It's interesting to note that the LCSD version of the book was actually the first to be released in late November of '22, while the proper, wide release version didn't come out until early this year.

The back cover actually has my name on it (and they spelled it correctly, too!), alongside some real comic book heavyweights. You might notice, along with myself and Jeff McComsey, a few Planet Comics contributors in this list such as Hilary Barta and Weird Me creator Kelly Phillips.

"Good Old Days" is located toward the end of the book. It's surreal to see it printed in this fine collection. Oh, and I also feel like mentioning that I created the 3-D title effect in Illustrator specifically for this story.

There was also an oversized, super deluxe model that came with a slipcase, a cover by Mike and Laura Allred, and a bunch of extra stuff like trading cards, coasters, a turntable dust cover and a print set. There's supposedly a miniature accordion still in the works that got delayed in production. This version is really extravagant and it seems like a real collector's item that some folks will keep for years.

I mentioned Planet Comics earlier - issue #3 ran this ad in the back, which I believe is the only print ad for the book out there. I contacted the folks at Z2 and they put this ad together. I suggested they use the line, "give meaning to your boring, miserable life," which is along the lines of something Al would say about his songs and concerts in the past, and they went with it.

In the very back of the Z2 hardcover, we find this page, which was probably created to fill some blank space at the end. Am I implying that this sequence made it into the book because of my ad copy suggestion? I am outright speaking it into existence, my friends. You are all welcome.

Once the book was widely released in January, Al and the Z2 staff went on something of a mini promotional tour, talking with a number of comic book and mainstream entertainment outlets about the collection. I get how these work: so that a bunch of sites can claim that they have exclusive looks at the book, giving them an incentive to promote their interviews and by extension the product being sold, creative talent will talk about certain things with one site and other things with other sites. Cynicism aside, it was still very gratifying to see my name pop up at a few of these outlets, such as Entertainment Weekly.

The best of these interviews, bar none, came from Gizmodo, where Al mentioned the "Good Old Days" story, Jeff McComsey and me by name:

This was, and is, a pretty big deal to me, and I'm really grateful that Al noticed the story and some of the effort we put into it.

A lot of this coincided with Al's 2022 tour and the release of Weird: The Al Yankovic Story from the Roku Channel. And speaking of effort, I got to play "Weird Al Jeopardy" at the Pittsburgh tour stop and I cleaned up. Don't worry that one of the individuals I beat was a literal child.

After the show this night, I got a brief opportunity to speak with Al. Without any prompting (I promise), he told me how much he enjoyed the Illustrated Al story that I worked on. I realize that he is both a professional and an actor, but he seemed genuine and I choose to believe that this was a truly spontaneous moment. It is - without a doubt - a moment that I will remember for a long time to come, and I really appreciate his words.

There was a Weird Al flash mob that performed outside at the UHF screening, earlier in the evening: pic.twitter.com/fe0bI8bQ74

— Jeff McClelland (@JeffMcClelland) September 9, 2022

Around this same time, I got to attend the premiere of Al's movie in Toronto...

...and I found a seat at the Weird panel at the New York Comic Con...

...where I bought this "Fat" portrait from artist Clay McCormick.

At the very end of the year, a radio station in Wisconsin changed their format to all Weird Al, all the time for a brief period. Suffice it to say, 2022 was a big year for Weird Al, and a big year for me and a few different Weird Al projects.

I walked away from this project with some really great original art, too, starting with pencils (and a book of thumbnails) from Jeff McComsey.

I also managed to grab the title page image from Craig Rousseau, who put together the "Melanie" adaptation in the book.

Danny Hellman drew the trading card art that was also included as a set of pinups at the back of the book. I got this one, drawn on vellum, of the absolutely incredible "Living with a Hernia" piece. I'm debating on whether or not I should frame this one.

This was an incredible experience, and it was something in which I took a lot of pride contributing. I'm eternally grateful to Al and his team for considering me when this project was just starting out, and to Z2 for their work in putting the book together.

The book itself has had a pretty wide release, and you can find it at comic shops and bookstores worldwide, as well as online on Z2's website and the usual places like Amazon. I'm hoping to grab a bunch more to take to conventions with me this year.

I think I've made it clear on this site that I'm a really big fan of Al and his music, so this was a really big deal to me. And in case I need to show off my nerd cred even more, check out these stage-worn boxer shorts I just bought that Al rubbed in someone's face while singing "One More Minute:"

Take care, all.