#olivier copiel

[donnatroyprincessofthemyscira]

Art Credit to Olivier Copiel

[namor-the-submariner-dot-net]

Thursday Two or More: Teams

AvX #8 variant by Adam Kubert

Phoenix Five

Another very short lived team, but boy were they powerful, and even more, they looked awesome and hawt. The costumes were designed by Olivier Copiel The team was made up of Peter, Emma, Namor, Illyana, Scott, so some fans referred to them affectionately as P.E.N.I.S.

Basically in a conflict with the Avengers over the approaching Phoenix Force and Hope Summers, Iron Man ended up splitting the Phoenix Force and it possessed these five mutants. Even though the Phoenix Five were using their powers to solve the world's problems, the conflict with the Avengers continued and the Phoenix Force corrupted them. For 'reasons' Phoenix Namor was the first to go Dark Phoenix and attacked Wakanda, which was harboring the Avengers and captured mutants. It happened in this issue with a great cover by Jim Cheung.

AvX #8 by Jim Cheung

Read more about them at Marvel Fandom Database entry

[tokupedia]

A special variant of Marvel’s Rise of Ultraman Issue #1 has a familiar face sitting on the shoulder of a legendary giant! 

This variant and the main cover will be on sale in September!

(Note: I know Ultraman isn’t to exact scale in size, don’t nitpick, its still a cool image!)

#Ultraman and Spidey

Art is Copyright of Mr. Olivier Coipel and the staff of Marvel Entertainment, a subsidy of the Walt Disney Company.

[themarvelproject]

The X-Men of the Australian Outback Era by Olivier Copiel from his variant cover to Uncanny X-Men #600 (2015)

[hackedmotionsensors]

I think about this Steve panel by Olivier Copiel at least three times a day

[twiststreet]

Jonathan Hickman’s Claire North’s X-Men:  I read that X-men comic people are all excited about online.  I don’t know-- one good issue out of the four, so that’s not bad.  I’m not really a Hickman guy-- I think he does the work, and I admire that; he’s certainly got his own voice; he’s done stuff I’ve really disliked but you know, nothing where I’m like “fuck that guy as a person 4ever” or anything.  I just can’t figure out a way into his stuff. The construction’s interesting but I just don’t have an experience that I care about chasing after when I read that stuff.  Like, I enjoy interviews with the guy, he seems like a person, I think he’s an interesting dude, but I just think we probably worship at different churches.  How it goes, I guess...

Or his stuff like a lot of comics lately is all very science fiction or space opera, and I’m just not an audience for that stuff (except 4 Kojima love you problematic-buddy).  There’s a lot of science fiction in comics right now, and I just don’t... The world’s gotten so weird that inventing a bunch of fake hoosits and whatsits just to make a point is a little peculiar to me, but...  Or like, when I look at my favorite movies at the end of the year, they’re usually just stuff happening in the world that I can romanticize and I guess... I guess I don’t think about the future romantically anymore. No future that’s coming is going to be all that rad, either personally or socially, so.  I’m at an age where all the stuff coming up is going to be bigtime No Fun.  So something like Once Upon a Time in Hollywood being this obituary for the movies, a sort of sad lovesong for a time that’s passing hit me a lot harder than anything some comic’s going to be able to deliver for me (really enjoying thinking about that movie lately)... Or like, with Marvel stuff, I like that Hulk stuff more because it’s just stuff happening a little more present tense and immediately (though I’m behind there...)

Anyways, the X-books: there’s a good issue early on, where they just spend time with one character.  That one’s solidly good-- I can’t complain about that one; that one’s solid; it’s mostly exposition and there’s not much drama within the issue itself, but it’s laying out an interesting dataset at least; I get the hype there.  The others are just bouncing around 2-3 plotlines in different eras, but none of them are anything I’m interested in-- something about robots or something, I don’t know.  Folks: the robots are at it again. 

They’re world-build-y, but the mood just being a constant “this will pay off later” feels... I mean, I think that’s the right mood for these books to have being that they’re super-expensive, to keep the ball in the air (and I’m sure they’re about something to people who are into this stuff), but that’s not really a fun mood if you’re just living in the moment, present tense, having an evening; I’m not playing the Long Game here like I guess other fans are.  

But I mean... My favorite X-Men comics (and Marvel comics generally of the last few years) have just been in a relatively recent re-read of Claremont-Silvestri, a two-parter where Dazzler goes to Hollywood and fights a stalker. I talk about it all the time because I love those issues -- if I wrote about comics, I’d want to interview Chris Claremont about just those two issues.  Those issues have just this personality to them that I would both laugh at and mock, but also connect with-- they’re dopey and silly and kinda-shitty but also about Claremont’s writing women and his obsession with, like, emotional survival as being the ultimate heroic act; other people’s insistence on how the metaphors of the X-Men comics should or do work ruins the X-Men for me, as I don’t think Claremont really shared those opinions and I like his themes more; plus, it’s about characters reinventing their status quos after their world’s have fallen apart, which is sort of a big theme in Claremont’s final days and one I find fun and cool ... And I mean, respectfully, they’re horny comics, it’s Claremont writing about Dazzler, he was horny for Dazzler; respect 4 the horny; the Hickman stuff’s super-sexless which ... I guess is the way to go to be classy now, but a not-horny X-men comic just seems weird to me...

But so like, this recent stuff is the opposite of what I’d want from an X-Men comic experience, in comparison to that.

Here, the craft is much more intense, though.  Boy, the way comics are colored now-- I mean, look at just the colors in that panel!  Super-intense lighting, zip effects, holding lines getting colored; every panel’s got so much labor going on with the colors... Other panels are doing a lot with, like, photoshop focus-effects, or opacity focus-pulls.  The art’s that kind of Olivier Copiel thing or Jim Cheung or somebody; I don’t know-- I don’t really have the language to describe what they’re all shooting for, I guess, but it’s all very impressive. Enjoyable?  Not for me, no-- it doesn’t make me want to draw or miss drawing when I look at it. And none of the character designs make me go “Oh cool!” But technically impressive, in that modern comics-as-expensive-cinema way.

It’s all very clever, but it’s clever about something that I give absolutely zero value to being clever about.  (Or being a fan of-- this is one of those comics for people who make Wikipedias or annotations or “Explainers” or some shit, and I’ve never wanted to be that kind of reader jesus take the wheel).  I think I’m just more into the Hulk right now, for my mainstream comic dollar, because it’s... It’s doing a similar thing of creators making a very old, very dusty used-up book feel like they own the place and no one came before them mattered... But it’s doing that in a way where... I think it’s speaking to a set of influences that I get more, and I can see how it connects with and aspires to be a part of a lineage of comics that I enjoy spending time thinking about.  When I read a Ewing Hulk I think to myself “see!  You can make a comic like ___ if you just try hard enough and they leave you alone enough to do your job”, whereas with the X-men stuff I just... I’m not sitting around thinking about Grant Morrison’s X-Men because fucking why would I??? If there’s a lineage it’s connecting with, it’s one I’m not interested in at all, I guess because my own personal obsessions where that title is concerned is kind of exclusively admiring the ... very noticeably peculiarities of Claremont and what he did there... Or I feel like the Ewing Hulk is powered by emotions, at least, whereas Hickman’s always just a creature more of intellect...

But I don’t know-- you know... I admire that Hickman guy’s... I don’t know, it sounds belittling but ... effort’s not the right word, it sounds insulting, but... You know, there are people who talk a big game, and then they don’t deliver something that’s really that ... intense in their, ah... intense in their vision, not really.  I read other Big Comics all the time, some recently, and they just have nothing to them, past their surface presentation or big concept.  This book’s intense in presenting its vision, at least.  And I think with comics, that’s like... If you can do that alone, there’s an audience that just wants that, being around that, and I think that’s... how it should work, you know?  But yeah: it’d just take a miracle for me to give a shit about an x-men comic in 2019 and it’s not a miracle... 

I’d want to know if there are more like that single-character one because I’d read more of those (and/or I guess I should just read the Claire North book), even if it was a little Wikipedia...

[artverso]

Olivier Copiel and Marko Djurdjevic - Thor 

[biggoonie]

Batman #38 by Olivier Copiel

[sillyblizzardparadise]

Batman #38 by Olivier Copiel.

[culturejunkies]

This Marvel artist's take on Dragonball is... interesting

By Kenshiro

It’s always interesting to see American comic artists takes on anime favorites.  The two styles couldn’t contrast more astoundingly than what talented French illustrator Olivier Coipel did on his Instagram.

  View this post on Instagram

  KAMEHAMEHAAAAAAAAA!!!!!! . . . #dragonballz #dragonball #goku #songoku #manga #fanart #watercolor #colorpencils #ink #inkdrawing #sketches #drawing #illustration #artwork #art #oliviercoipel

A post shared by Olivier Coipel (@oliviercoipel) on Jan 6, 2020 at 8:57am PST

The longtime Marvel artist took a shot at drawing our favorite anime hero and we must say, the results are cool, if not a very unique take.  Especially since its rendered in watercolor, giving it a more textured look than what we’re accustomed to seeing from either mediums.

Copiel’s art can currently be seen in J.J. Abrams’ Spider-Man, but if you’re a fan of comic art in general, you could certainly do much worse than to follow him on Instagram.

While you’re at it: you should follow US too.  (Shameless Plug +1)

[comicdesks]

Artist Olivier Copiel. 

[artverso]

Olivier Copiel - Wolverine 

[feedmecomicart]

"War of Kings" #2

Variant Cover by Olivier Copiel

[brokenspinecomics]

X-Men #1 - #3

written by Brian Wood, art by Olivier Copiel

The truth about working on an already established title is that there is a trap wherein the stories that were told once upon a time will be told again -- in some form. It can be avoided, but avoiding the trap is incredibly rare. More often, the best a creator can do is make something old new again.

Avengers writers seem to get this right more often than others, likely because the Avengers story is one of constant combatting of planetary threats. It's a forgiving theme. Sure the Kree-Skrull War has never been directly retold, but most of the Avengers' invasion battles find their roots in this granddaddy tale.

Unfortunately, Brian Wood has fallen into this trap with his new X-Men, and he hasn't found the success I expected he would. His X-men is a different in team make-up, the plot is different in specifics than those similar tales that have come before, the villains are different, and tons of the details are fresh-ish, but in the essential core of the story, this opening X-Men arc feels too much like Joss Whedon's opening Astonishing X-Men arc, wherein the Danger Room gained sentience and targeted its creators. As a result, my disappointment in Wood was quick to set in.

I dig Olivier Copiel's art. I love Wood's dialogue, and any X-comic with Jubilee makes me smile (and boy was it nice to read an arc without Wolverine), but after the perfectly paced opening issue the story does little but rehash -- and poorly -- what Whedon had done before.

My hopes for this comic have already diminished, so the next arc will have the benefit of my lowered expectations. This arc, however, is all wasted potential and that's a huge bummer.

Sorry, Mr. Wood, but I expect much, much better from you.

[joderquebuenoes]

Thor, por Olivier Coipel

[wtfel]

A bunch of unedited footage of me raving about X-Men #1 

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