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Mark Bagley is an American comic book artist. His career has included lengthy runs on Amazing Spider-Man and Ultimate Spider-Man. Bagley got his big break through 1983′s Marvel Try-out Book, a creation of then-Marvel editor Jim Shooter designed to bring new talent into the industry. The contest gave artists a deconstructed comic book to complete and submit to Marvel. Bagley won first place in the contest, which led to a series of pencilling jobs with the publisher. In 1990, Bagley was assigned to the New Warriors title and in the mid-90s was given a shot on The Amazing Spider-Man. Then he worked on Ultimate Spider-Man title on Brian Michael Bendis scripts bringing the title to an enormous success. Since you drew also “original” Spider-Man let’s consider you as a “classic” SM artist. How did you try to diversify original SM from the Ultimate one? Bendis scripts often had not so much “action” inside. As a reader I felt like you had fun in drawing these “daily life” scenes. Did you really liked them or you prefer action ones? Is there a series of number you prefer compared to the others? You came back on USM to draw Peter Parker death saga. How did you feel actually in killing a charachter you handled for so long? What do you think about new “Miles Morales” USM? You can find Italian translation of this interview here Etichette associate: Puoi leggere anche: Condividi: Potrebbero interessarti anche :
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Did you specifically refer to Ditko and Romita Sr. when you started drawing SM? Did you refer to other classic SM artists?
Not specifically to those gentlemen. Though I am a fan of both, I really keyed on Gil Kane‘s run on Amazing. I always found his style really influential with me. That could be because I was in my teen years, and really loved how Kane drew the action sequences, and the characters.
That was really pretty easy for me. I really felt Ult. was “MY” Spidey. Mine to interpret. I felt no real obligation to be loyal to all of Amazing Spider-man’s history. Drawing Ult. was very freeing for me, and I loved the fact that we kept Pete as a 15 year old.
Not really a “choice”, just a function of having a different style than them. I did embrace quite a bit of their storytelling devices…broken panels, an emphasis on the “image” over pure storytelling. I learned a LOT from what they were doing. I tried to really meld the traditional old school storytelling I’d grown up with, and been encouraged to utilize, and the Image guys’ breaking of a lot of those rule and conventions. I think it made me a better and more exciting visual story teller.
“Prefer” is not the right term. I DID come to enjoy the character moments as much, or more than the action sequences. I love portraying the characters “acting”, and I think the fact that I’m not a very realistic artist lets me draw feeling and emotions with a lot of life.
Ahhh, that’s difficult. But looking back on my Ult. run, I think the Clone Saga was a real high point in both story and art. It helped that we seemed to have the perfect team.. John Dell, Justin Ponsor , and Drew Hennesey really made what I brought to the page shine.
I just loved the book. I loved Brian’s writing. I enjoyed the fact that we were a stand alone product, so we didn’t have to worry about a bunch of crossovers or company wide events. We could just tell our story, and the fans loved the book. I only left the book for professional reasons…I felt that I should go and let folks know I was capable of drawing other things. To be honest I still miss it.
I love Miles…Ultimate Spidey is still one of the only books I buy. Brian’s writing is top notch, and Sara (l’italianissima Sara Pichelli – ndr)and David are terrific artists. I was really honored to be asked to draw the Death storyline, and it was a great way to reintroduce me to the Marvel universe. The fact that it was my Spidey made it a really nice circle of life if you will…I think I really would have been hurt if I hadn’t been asked.
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