More Kid Phantom stuff available online now!

More Kid Phantom-related stuff now available online via Frew Publications, including Poster, signed copies of Kid Phantom #1, and signed copies of the 52 page 'Work in Progress" Book for the comic book process junkies that want to see how the series came together. 

That book is printed by long-time 'Soldier Legacy' printers JEFFRIES PRINTING SERVICES: You're nuts if you use anybody else.

https://www.phantomcomic.com.au/collections/kid-phantom

Also available are Kid Phantom bookmarks as part of the 15 Phantom illustrators bookmark series, and the Phantom colouring book. 

OZ Comic-Con September 2016 photo dump

Catching up with Dad in Sydney 

Gestalt Comics Panel Sydney

Creating Clever Content panel

It's Clobberin' Time!

Ken Kirzinger and Jason Palmer.

Dinner out with Comic folk in Brisbane

Gestalt Comics Panel Brisbane

Creating Clever Content Panel

Something something panel (I can't remember :P)

ABC News national coverage of ACAF

A great weekend at the inaugural Australian Comic Arts Festival. A pleasure to hang out with good mates, catch up with old ones, and meet some awesome new ones. Many, many thanks to Cath Brinkley, and Wolfgang Bylsma and Bruce Mutard for the event- am so looking forward to next year.

Cheers too for the lovely ABC reporter and camera men who spearheaded this coverage. ABC iView cleared the news program already (which in all reports went nation-wide on Sunday and Monday on ABC), and the follow up article. Humbled to see 'the Soldier Legacy' book strike a cord. Also discussed were mates Mark Sexton, and Ryan Lindsay, along with quotes from my partner, and panel presenter Amanda: http://mobile.abc.net.au/news/2016-02-22/comic-artists-tackling-hard-subjects-through-their-work/7188278

Also a big thanks to Mal at Impact Comics in Canberra Civic. A sponsor of the event, he is also stocking trade paperback volume 1 and 2. An awesome shop, I managed to score some Wil Eisner material. Very pleased :D

Gotta run, but also want to send a quick thank you to the meet up crew at Brisbane Square Library for holding the fort while Amanda and I were away at the event. See you next month. Cheers!
Oh, you can read Amanda's far more comprehensive account of the event here: http://backflipbacchi.com/2016/02/21/aussie-comic-book-secrets-revealed-acaf-debrief/

Comic Book Workshop at Brisbane Square Library

FREE Event coming up just after Brisbane OZ Comic-Con, courtesy of Brisbane Square Library: 


"Local comic book icon Paul Mason, creator of The Soldier Legacy, shares his knowledge of comic book creation and storyboarding. He will assist participants in producing the framework for their very own comic. No previous knowledge required. Materials provided.
Ideal for people aged 15-25 years. Bookings required."
Details via the events page- search "Paul Mason" http://www.brisbane.qld.gov.au/whats-on/venue/library-events#/?i=2

Had the opportunity earlier in the year to host a couple of these at BSL, so should be a lot of fun.

Incoming! New edition of SOLDIER LEGACY Vol 1, and a brand New Vol 2

Thanks to the awesome and top quality outfit, Jeffries Printing Services in Sydney, I am pleased to announce that a new edition of the out-of-print volume 1 trade paperback of 'The Soldier Legacy' will be available at the upcoming Brisbane and Sydney OZ Comic-Con in September, where I have been invited as a guest to attend.

Further to this, A volume 2 will be available for the first time, which will collect #4, #5, the Strange Tales one-shot with good mate and top writer Christopher Sequeira (who just finished working with Mark Waid on Dynamite's 'Justice Inc. The Avenger'- congratulations again mate!), and a stack of extras, including pages from the wartime edition of issue 6 (which was released earlier this year in Perth, Adelaide and Melbourne). A massive thanks to Nicola Scott, Andrew Constant, Christian Read, John Higgins, Christopher Sequeira, and John Retallick for their extremely kind words that appear on the covers, to Baden Kirgan of Jeffries Printing for helping to make this possible, and to my partner Amanda for her support in the project. A volume 3 will wrap up the storyline, is aiming for a 2016 release, which will at this point include a colour version of #6 (not previously released), and the over-sized final issue 7, plus extras of course.

Priority at this point is also still to forge ahead with the current work on the drawing table, but more news on that when I can. Again, I'm so stoked to be doing something for this publisher and with kick-ass scripts from a great writer. The hard part is doing the words justice.

Anyways,
Thanks again.


Oh and just briefly, an update on the absence: Again, held up by a few things since the last post. Lecturing at QCA a large chunk of the weeks, with a fantastic and talented group of 1st, 2nd and 3rd year students. Awarded the Doctorate (yeah, Dr. Paul Mason…insert your jokes here), and the Monthly Comic Book Meet ups that I host (along with instigator and fellow Geek, the lovely Amanda Bacchi) at Brisbane Square Library are still going strong, with our 1 year anniversary coming up. Obviously all hasn't been sunshine and rainbows, but we all have our own wars to fight; all we can do is march on, right? Always be thankful for loved ones and close friends to help you out.

Speaking (somewhat) of which, A small full colour 5 page Soldier Legacy related story has been completed for the ComicOz Book 'Australia!', raising money for Beyond Blue, the charity battling Depression and mental illness. More on that one soon, and it was a nice opportunity to add another piece to the Soldier mythos, featuring a "Soldier" of sorts in the cane fields of North Queensland in the 1930s, and a pet bird in honour of our lost little mate "Chuck", who died on the operating table a few months back.
 Anyways, apologies for bringing down the mood, hope you are all well, and speak soon.

Inspiration: Steve Ditko

My issue 2 page tributes to 'Kick-Ass' colours

Page from #2 by me.

I have had the privalege recently of chatting on twitter to one of my all time favourite colourists in comics, Dean White. This man has this great painted colouring style that hasn't got me this excited over a colourist since John Higgins. And even then, as primarily considering myself a Penciler, I have never been one to look outside the pencilers and certain inkers that have inspired me over the years (and still do), be it their visual style or storytelling methods. See, I liked John's work on WATCHMEN, and got a chance to meet him in person and show him my work on the early pages of issue 1 after his lecture at my uni. He made me realise to not be afraid of using a broad range of colours, or be scared of colouring in general, but to understand colours and how they work in the context of the project.

'Fantastic Four" #1 painted cover by Dean White. Drawn by Jack Kirby 1961.

I was first introduced to Dean White's colours through his work on John Romita Jr's/Klaus Janson's work on books such as BLACK PANTHER, AMAZING SPIDER-MAN, DARK REIGN: PUNISHER and the recent AVENGERS run, but also as a huge 60's Marvel fan (as you guys already know thru my archived posts), I noticed and really enjoy his extremely faithful/beautiful colouring/painted works of Kirby/Ditko/Buscema's classic covers on the front of MARVEL MASTERWORKS.

'Kick-Ass' Cover by John Romita Jr, Tom Palmer and Dean White.

He also worked on John Romita Jr/Mark Millar's 'Kick-Ass', an awesome and clever satire/superhero book which I discovered AFTER I becgan working on the masked young grandson of 'The Soldier' ...damn. I'm always worried mine comes off as a copy, as I was inspired by the realism with the vigilante street-based heroes in Steve Ditko's AMAZING SPIDER-MAN and Wally Wood's DAREDEVIL. After reading 'Kick -Ass' there are many differences (thank god) , such as being set in two different countries, different settings, and the motivations/driving force behind the character's motives. For example: Dave in Kick-Ass is a teen who wants to be a superhero (loves the idea), dresses in the garishly bright costume, doesn't know how to fight or what he's getting into until later and goes through the ringer. Awesome stuff, great drama as I guess you never want your character to cruise through a story safe and confortable Mark Millar always pushes his characters to the brink (don't believe me? Read WOLVERINE: OLD MAN LOGAN, THE ULTIMATES series 1 and 2, WOLVERINE: ENEMY OF THE STATE or CIVIL WAR, and tell me they all had a good time ;P).

Page from #2 by Me.

When I wrote in the grandson story in the modern Brisbane/Australian Suburban setting, (not knowing anything about Kick-Ass), I made the character approach the vigilante idea more practically. A young man, not a soldier himself, but someone who's obviously honour bound somehow (delveloped in his upbringing) to make some sort of difference in the lives of even total strangers (more on this in later issues if I'm smart enough to pull it off :P) His grandfather wore a mask to 'keep lives safe' in WW2. His local neighborhood wasn't that safe anymore. He wanted to honour his Grandfather's legacy, but only engages conflict when absolutely necessary. (Such as attempting to save the unarmed woman in #2) He wears street friendly clothing- dark colours so not to be seen (thanks Batman ;) ) and could easily strip off the mask and zip up the jumper jacket if need be. Also, as later issues will show more in depth (*Spoiler*...well, not really), he is a trained martial artist. Not in the mystical manner, but an Aussie kid who grew up studying and training and continues to do so in his young adult years. But even then, realises he's not exactly Bruce Lee, so relies on surprise-not announcing he's a hero ready to save the day. Sure he does some fantastical stuff like that flying side-piercing kick you see above, but you have to embellish a little in comics, right? But all this isn't to say that this guy won't be put through the ringer too. If you've read the 2nd issue, a simple task of neighbourhood watching becomes a huge problem for him which will begin to snowball rather quickly when #3 comes along.

Page from #2 by me.

Anyways, I'm getting off track. The whole point of this to touch briefly on the visual approach I took, and it was Dean White's colouring that inspired me in scenes for #2, which I have posted here. Not that I got close to his application, but I do hope the influence can be seen.

Yes, that was the point to all that rambling.

At the end of the day, I am researching medothologies of various artists for my course, be it in storytelling visually, story writing methods/structure, penciling, poses, camera selection, composition and colour. I have no illusions: colouring isn't my forte' and it is difficult for a guy that just wants to draw pencils, but I believe a competent understanding of each mode of production is necessary to put out a product in the Aussie climate battling against a small industry structure/existence, small Aussie readership (in comparison to overseas) and superior American products from my favourite juggernauts.

Thanks for listening, check out more of Dean White's wonderful colouring here: http://deanwhite.deviantart.com/ . Take care all, more from me later as I start to put up some of my research for my degree.

(All pages in post copyright their respected copyright holders.)

Sydney Armageddon 2011 in brief

Successful weekend despite the low numbers, sold numerous issues of "The Soldier Legacy" #1 and #2, sketched my brains out, and was able to meet the awesomely nice Mr Dan Slott (The Amazing Spider-man writer) and Ms Gail Simone (DC writer for such titles as Wonder Woman and Birds of Prey) Her husband was a lovely guy too, and I'm always pleased when the professionals are so accomodating to the fans. I was very lucky to have them agree to answer a few questions in the future, prudent to my research degree paper, and also pleased they accepted copies of my comic books and signed my ones (as you may not realise, I've been collecting Spider-man since I was 13 so was pleased with this meet :).

Plus, I was identified by Mr Slott as"The guy that catches thieves for a living to afford to buy his Spidey books." Actually, yes...the only reason I restarted my Spider-man standing order at COMICS ETC. was that I picked up a Loss Prevention job and could afford the books again...Action isn't my only reward :P (Audience Groans).

Also Aussie comics wise, made friends with Jason Paulos and Jason Franks, met the Dark Detective: Sherlock Holmes illustrator Phil Cornell, met Bruce and Matt who have books with Black House comics, met Baden Kirgan, publisher of Black House comics and catch up with friends Chris Sequeira, Jan Scherpenhuizen, W. Chew "Chewie" Chan, Paul Abstruse, and Hayden Fryer. Nice guys and a load of talent. (And of course a few familiar faces like Paul from Aussie Fake Tats, Rob 'the main man' from Armageddon and Mark the volunteer). Thanks guys.

Last but not least I want to that the people who were kind enough to buy one or both issues of "The Soldier Legacy" or even if you just gave your support in the idea or got a sketch/caricature done. You guys are the ones that make or break me at these events and allow me to keep printing more issues and draw more stories. I hope you enjoy them, and please feel free to post feedback here or hunt me down on Facebook. Positive or negative, I am always learning.


Anyways, a good weekend, now back to work :)

Supanova 2010 quick recap

CFCA Editor in Chief Kevin Scarfe with Marvel/DC great George Perez with "The Soldier Legacy".

Tim McEwen and Me.

Stewart McKenny and Me.

Me and Marvel/DC writer Marv Wolfman.

Me and my "Mary Marvel" partner Libby :D

Fan sketch I drew of Mary Marvel.

Hulk vs. Hulkbuster Iron Man sketch for a fan

George Perez and Me.

Me and some really cool fans.

I am sending the crowd to sleep during a talk on Aussie comics :P Featuring Paul Abstruse, Kevin Scarfe and Chris Sequeira.

Me and "Sherlock Holmes" writer Chris Sequeira.

Me and Kevin Scarfe at the Cult Fiction Comics table :)

Thanks again for all the people who came to the "Cult Fiction Comics Australia" table and picked up a copy of "The Soldier Legacy" issue 1 (or even a comission sketch :D). You certainly kept me extremely busy, and I had a fantastic weekend meeting new people, speaking about the book, getting feedback from both the punters and the pros and generally soaking in the atmosphere.

I've thrown up a few pics from the day here, otherwise you can shoot over to my "fan page" on facebook ( search "Paul Mason Comics and Artwork"-thanks to my supportive and wonderful girlfriend for doing this without my knowledge :D) and see some more pictures there. I got a big kick out of catching up with Dave, Chris, Blake, Zac and the whole crew from last year, I think pretty much all of you got a sketch done of your favourite characters, and it was really refreshing doing cool battle scenes like "Hulk vs Hulkbuster Ironman" or "Deadpool and Spider-man vs the Scarlet Spiders" etc.

I was also very pleased I got to spend some time, chatting to W.Chew Chan (great bloke) and spend some time speaking to the greater writer Chris Sequeira (another great bloke), who was also at our table promoting his upcoming "Pulse of Darkness" release, also I got to spend a few mintues getting tips on Artwork from George Perez and a great deal of time from Stewart McKenny (whose Captain America print sits framed above my work area- thank you sir). I also was bold enough to hand a copy of the Soldeir book to Paul Jenkins, Marv Wolfman, Geroge Perez and Stewert McKenny (who came over later and asked me to sign it....extremley flattered), and another Aussie great Tim McEwen popped over to pick up a copy, for which I am very thankful. Paul Abstruse who was there plugging his book was great to catch up with again too.

All in all, it was a fantastic weekend, I almost sold out of my first issues and I was drawing sketches right up to 25 minutes after the event's colse *phew. I want to thank CFCA boss Kevin Scarfe and my partner Libby for a all their help and support too :D If I've forgotten anyone, my apologies, it's not intentional, I'd remember when I see you, I know some of my friends from my animation course came by to support the book, Barry, Leon, Dmitriy and others, thank you, and Kate, Alyx, Siobhan, thanks again.

New update shortly.

Thanks for your patience.

Paul

Progress- Page colouring

ok, quick update.
Penciling for story 2 has paused the last few days while I try and work through two more major projects that have cropped up (stressed as all hell at the moment), but I have managed to colour a few pages between shifts at work.

Colouring (if you've read the experimental project posts) is not my strong point, but they are turning out ok considering I chose to bypass the inking stage. I felt that I would just ruin the look of the pencils if I screwed it up, plus to have to colour and letter this first story and then do it again to the second story I havent pencilled yet, plus my thesis, plus the other two projects, I wouldnt get any of it out... plus the pencils and colour make it look rough and dirty like the environment. (and the inking of the later pages including the soldier fight in the jungle would be a pain to have to ink- especially when I'm not confortable with it.)
Anyways, enough talk. gotta run

Brainstorming for Project 1

Brain Storming for Honours Project 2009.

Art Style/Influences:
Jack Kirby
John Romita Jr
Tim Sale
Klaus Janson

Graphic Novel? How many pages (Colour or Black and White)
Think of the workload- plot, pencil, ink then scan prepare page, flat colours, shadows, highlights for EVERY page…?

Series of Issues making up a Graphic Novel/Story Arc?

22 page or 12 page?- (Stan Lee era stories where Marvel had two for one superhero comics that went for 12 pages eg: Tales of Suspense starring Iron Man and Captain America, Tales to Astonish starring The Hulk and Submariner etc.)

Tie in with animated trailer/s (similar to CFCA work experience project)?
Include printed promo material

Or animated Comic panels
- Depth of Field
- Moving Elements eg: Fire, Smoke, rain etc.
- Speech Bubbles (Dialogue?)
- Slight Movement of characters eg Hair) (similar to storyboard/animatics)
- Recorded Dialogue? Sound effects?
- Adobe After Effects?
Similar to “Batman Begins” Special Features comic or a more animated short piece version “Hellboy 2 Epilogue”

Dialogue/Music/Sound- Would need to storyboard/Animatic to co-ordinate timing.

Themes:
Ø Australian Superhero?
Ø Stan Lee/Jack Kirby era (beginning 1962) form of origin (atomic age powers/cold war era)
Ø Modern Setting- Brisbane? Sydney? Both?
o Or “The Phantom” Esk period- Linage of Vigilantes thru different eras?
Ø Man gains powers, unsure how to use them?
o Good: protects neighbourhood
o Robs Bank?
o Fame and fortune seeking?
o Police/army/overseas?
o Modern perception?- 1940’s Captain America political

Action comic
- Vigilante?
- Guns difficult to obtain, maybe makeshift weapons (Black Jack?)
- Costume?

Villains?
- Gangster? (period-Sydney)
- Corrupt Cops
- Graffiti gangs?
- Biker gangs?
- Street Race gangs?
- Terrorists?
- Ethic /white gangs?
- One main villain?
Big, Scary type (Similar to Kingpin in size and stature?) Long Black Hair? Drug Baron? (Cliché), People smuggling? (Cliché) Ex- Military or Rich Family Immigrant
Petty Crime gangs tie to main villain?

Political/Racial issues?
- Saves a Muslim shopkeeper from Bigots?
- Homeless
- Corporate villain- is he rich or poor?

Story hooks?
- The struggle to do good in modern context? –( Stan Lee and Steve Ditko Spider-man) or similar (Bendis and Mark Bagley)
- Kid? (Don’t want to copy concept of “Kick Ass”)
- Teenager? (Don’t want to copy “Spider-man”)
- Army Reserve? Martial Arts?- Don’t want to rehash “Ninja” stuff like Millar (Daredevil, Wolverine) or Iron Fist or Shiang Chi
- Taekwon-do angle?
- Poor? Middle Class? Prison? Ex-prisoner? Or villain ex-prisoner?

What Abilities?
- Trainer Fighter? No Powers?
- Super Strength? Flight? Jump? New Powers? Laser vision? (nah, too Superman/Cyclopes)
- Super Solider-like powers?
- Origin?
o Freak Accident? (“The Hulk”, “Fantastic Four”, “Spider-man”)
o Chemical/Science? (“Captain America”)
o Mechanical? (“Iron Man”)
o Magic? (“Shazam!”)
o Alien (“Superman”, “Captain Marvel”)

Ideas- session 1:
- Write based on own experiences – Brisbane/Sydney
- Start in Action before telling origin? Or discovers origin?
- Trailer- Sitting in Centrelink office interview
o Being told off for not making designated job interviews (Stopping crime on the way)- Sounds too Peter Parker ish
Costume:
Someone with limited resources and time
- Beanie with holes/Ski mask? (look too bank robber-ish
- Pillow case mask? Cloth wrapped around head?
- Not Ninja looking- “Amazing Bag Man”
- No Black Jacket- Been done to Death…(Matrix, Punisher etc.)
- Surgical Mask/Dust Mask?
- T-Shirt/Black Turtle neck?
I really like sometimes how the Punisher is drawn with a T-shirt with logo. Or a zip up jacket with a logo (or something like “Ben Reilly Scarlet Spider”)

Is there a definite style of Outfit or do they all evolve over time? From Pillow case to mask/outfit? (not spandex looking)- more functional like Punisher or Ultimate Captain America.

Pillow case- Baseball Cap and Dust Mask-could be mistake for robber/bad guy?
Jumper hood and mask around mouth? Sunglasses/ski goggles/Paint ball mask? (Maybe would become too much like the same process that lead to the “New Goblin/Harry Osborn” character in “Spider-man 3” Film.)

Here we go again...

Back for another year (I think...still waiting on the mail out). Anyways, been taking notes/jotting ideas so I'm ready to rock and roll when I get back. Will post notes and copy of proposal hastily typed in November after an all nighter working to the 3rd Year film.

Decided to focus on a main interest this year- Copy of original proposal below.

Marvel in the 60’s: What factors helped shape this creative period and how does this relate to recent Hollywood adaptations and Contemporary Concerns.

I have a huge interest in the Stan Lee/Jack Kirby era of Marvel comics- the period in the early/mid 1960’s where after the “Golden Era” on the 1940’s and the senate/public backlash of the 1950’s, the Superhero genre of Comic books came back into popularity mostly thanks to both the artwork and never-ending creativity of Jack Kirby and the storytelling/characterisation of Stan Lee. Together they made a struggling comic company spitting out a handful of romance/western/monster/flavor of the month comics into an American Household name, brought the world an almost endless stream of popular and original characters and changed the visual and written language of the comic book.

My interest lies in what factors both within the industry and the American political landscape helped shape this creative period (such as Superman and his influence, World War 2 and America’s role, the creator’s perspective of Hitler, The 1950’s backlash/Senate hearings and the creation of the Comics Code Authority etc.) and how much of an impact these characters had not only in the popular culture of the day but how these books are seen today in the comic book industry. The majority of these characters are almost 50 years old and yet their popularity, particularly in the realms of Animation and live action films are greater than ever before. The current trend in Hollywood sees a revival of these characters and stories that Lee and Kirby created so I wanted to explore not only the visuals and the comparisons between the books and the films but also what aspects appeal to the mass market and what was left out for cinematic/audience considerations (such as dated references and issues which don’t concern/no longer apply to contemporary ideology, years of continuity that a non-comic reading audience would not be aware of etc.). Contemporary adaptations of Lee and Kirby’s work exist in the Comic book industry too (in the form of “Marvel age comics” and in particular the “Ultimate” Universe series of Comic books and graphic novels) and I wish to touch on their relevance, the 40-50 plus years of cultural/social issues that differ between them and how this continuity of stories and characters reflect on the Hollywood adaptations.

Other artists that I wish to look at in relation to Kirby’s Influences is John Romita and John Buscema, who were artist that were in Marvel around the time the “Kirby look” was being pushed as a storytelling must in the Marvel Bullpen and modern artist John Romita Jr, who is influenced by his father John Romita and Kirby’s work also. He doesn’t have a contemporary penciling/storytelling style that is the popular/stylized trend of the day, and yet some of the major books including “The Amazing Spider-man” and “World War Hulk” crossover and Frank Miller’s “Daredevil: Man without Fear” contain his work.

In regards to the Studio proposal I would like to incorporate what is considered to be “Marvel” way of composition and artwork and produce a piece of work as a Graphic Novel format. This was a trend that Kirby predicted years before they surfaced as an alternative to main continuity of comic books and then as a way to repackage comic book story arcs into one volume that can be sold not only in Comic stores but reach a wider audience in book stores and libraries. He also felt that Comic books needed to do this if they were to survive as a medium competing with Television, and now Video games, Film and the Internet. At the same time, I would like to explore the trend of composition in comics and how Kirby’s artwork is designed in a sense to work within the frame and how now there is a consideration of frames in the composition of the entire page, which may not have necessarily been an important factor in Kirby’s art, and yet it works. Accompanying this is the growing cinematic considerations of storytelling within a comic book and how even though comic books are considered cinema’s “little brother”, the comic book is a medium that can interact more so with the reader as they play a roll in the “pacing” of the story and images, they can flick back and forth in the realm of the story, and can take more time to consider an image. Only a comic creator can limit the size of frame and what detail is shown in regards to the altering of time and ideas.

To accompany that I would like to do a small trailer for the Novel with some simple animation and camera moves- nothing long and fancy, but something that would incorporate the panels into a film/animated structure as a form of “cross-promotion”, similar to the videos posted regularly on Marvel’s websites promoting New story arcs or upcoming comic events (such as Planet Hulk, Civil War, World War Hulk, Secret Invasion etc.) Marvel Comics in recent years have reinvented itself into “Marvel Entertainment”, and no longer has total core business interest in just Comic Books, but in the licensing of its characters into other markets; Meaning it is aggressively branching into other mediums such as Graphic Novels for Bookstores, Cartoon series for Television/Web, Video games, Direct-to-DVD Animated Features, Live action films, Digital comics, Toys) in order to promote the characters and books.


The Outcome of all this is for me to have an overall better understanding of the process involved in creating a Graphic novel and promotion of such, and a greater understanding of the contemporary market for such stories and characters. From my freelance and work Integrated learning/work experience projects with Cult Fiction Comics Australia, I hope to have greater access into the smaller Australian audience and have it provide a bigger opportunity for the work to be viewed on top of just to its creation for my portfolio.

I believe this research/proposal is worth doing as it is a topic and a medium which I am passionate about and hope to incorporate into my future profession. Research in relation to Marvel is important to me as part of my future portfolio ambition is to apply to them- a background in their overall art style and characters is important in their criteria for entry.
For my approach, along with working closely with the research/source material that I have at my disposal (including detailed books on creators such as Lee, Kirby, Joe Simon, John Buscema, Klaus Janson, text books on various other writers and artist in the field, documentaries and a 700+ comic book and graphic novel library), I would like to work authentically in regards to drawing on Professional Blue Line pages and referencing photographs which I would like to take of various locations in Brisbane city and surrounding suburbs (narrative permitting) which would serve as possible locations for the Novel. I would like to incorporate Digital coloring and lettering as the contemporary industry does and hopefully produce a professional package with complementary promotional material. Considerations will be made as to whether it would be best to create a story arc which would release as various issues and then package the final result into a Graphic Novel or whether the project would suit better or appeal greater as a complete text.