Martinex1: I am going to keep it pretty simple today... I like Sal Buscema's art. And how many other artists have their own comic panel "meme"? I think you will spot it pretty easily in the myriad of panels below. Enjoy all of these selections from solid Sal. And keep the comments coming!
So there you have it - from one of the most prolific and consistent artists of the Bronze Age! A special thanks to 80pagegiant.blogspot.co.uk where some of these images previously appeared.
Hop on the Sal Buscema bandwagon with me and share your comments! Cheers!
15 comments:
AGREED! Looking back at some of my favorite story lines and Sal was the artist. I'm not sure why he isn't more celebrated. I like his stuff better than his brother John. I know that will get some wound up, but its true. Sal had a way of making single panels have the impact of an entire splash page. His facial expressions were spot on too, especially a character recoiling in terror at what they'd seen. Not to mention he must have been a machine to crank out so much work during this time.
A wonderful montage Marti. Sal is my Bronze Age guy too. Perhaps he isn't a super-skilled draughtsman like his brother, or an attention to detail guy like Perez. But boy, can Sal tell a story, and his panels bleed action.
Last year I picked up the beautiful Sal-signed IDW Incredible Hulk Artist Select Series book. It's the only signed comic item I've ever cared for which says something.
Thousands of pages, decades of high quality work and a nice guy to boot, thank you Sal.
GREAT post, Marti-- I love this so much!
If I were more frivolous, I'd be inclined to find a way to turn your collage here into wallpaper--
And thank you for pulling images from across the spectrum of Sal's career, well done. That AVENGERS ASSEMBLE page is from pretty darned early on, IIRC. In those days, his style generally resembled his older brother's more than a little, but he didn't quite capture John's natural fluidity with his figures. If anyone out there has Hulk #124, I believe it was one of Sal's earliest penciling assignments-- either filling in for Herb Trimpe, or working over his rough layouts, I think-- and you can see that there's a talented, capable artist just waitin' in the wings.
Here's why I love the Buscema Blast so much: It's pretty much a physical/anatomical impossibility if you think through what the entire blow had to have been. But we completely buy it because all we ever see is the hyperbolic result of that blow-- which almost falls into the realm of folklore. Like if Mark Twain or Will Rogers were painting an oral picture of the fight, "Wellllll, that Spider-fellow hit that Electrical-fellow so hard that he came clean out of his boots, flew head-first 'crost the room, and ricocheted off yonder wall, knockin' Aunt Masie's wedding photo down and breakin' the glass. My, and she loved that photo. . ."
It's the perfect synthesis of power and slapstick. And it couldn't really happen, y'know? For the many non-super folks depicted, a blow that hard would simply kill them on the spot-- in a couple of grisly ways. Heck-- where does the blow actually connect? (Again, it's the UNSEEN aspect of the blow that makes it work so brilliantly well!) Since the head is always the leading the outward flight, one assumes that's where the haymaker landed, yup? How do any of these folks, super or non- , have any teeth or facial bones left--? But they do-- which is what takes it out of the realm of scary-violence and into the realm of dramatic-license-for-effect. And- hunh- I wonder if this a particular comic book convention that doesn't have an effective film analog? Does this move work on film? Have we seen it anywhere?
HB
Count me among those wanting to drive the Sal bandwagon. Sure, his art can be predictable, but for me that's part of the charm of it. I have never considered Sal a hack - rather, I really think he pours himself into every panel. Do we see some repetitive poses? You betcha. But that's what makes the Buscema Blast such a great thing. How is it different from waiting for the expected "It's Clobbering Time!" or "Avengers Assemble!"? You know it's coming... and you can't wait.
I'll side with others that say Sal's latter-day work wasn't of the same likability as his Silver and Bronze material. But he was a pro - one can't say that he didn't keep trying, keep evolving to fit the market. I think the market moved away from many folks our age. Sal just went along for that ride. Hey, fella has to make a living, right?
I absolutely love the Vision/Wonder Man tussle from Avengers #158, so thank for including a couple of shots of that. While only ("only"...) lasting half the issue, that has to be one of, if not the, best hero v hero battles of my childhood. Sheer power. And, like your typical high school fight, over a girl. Awesome.
Doug
You always knew you were going to get a quality comic when Sal Buscema was involved.....nothing so earth-shattering, but always pleasing to the eye and just what was needed every time. What I liked about him was that he could draw everybody the way they were supposed to look. His action panels were always entertaining......seeing all these panels brought back great memories. I never really appreciated him when I was reading these back in the day, but looking back now, I wish I had.
Enjoyable post! I think DD 89 was the month when I finally started my "deep dive" into comics at age 11 (1972) which would continue for 2 - 3 years. Sal's cover just grabbed me! (And the Gene Colan interior art was nothing to sneeze at!). Subsequently, every month I just had to get another half dozen comics and Sal was part of that great time. And that great time brings me to this great blog. Talk about serendipity!
Graham, I think you nailed it when you mentioned "he could draw everybody the way they were supposed to look". When I think of Marvel's "House Style", I always go to the advertising art/style guide-type of depictions of Marvel characters as rendered by John Romita. But when you think of Marvel characters in the four-color, sequential comic book, maybe Sal's was the real house style. As you say, if you go from Avengers to Marvel Team-Up/Marvel Two-In-One to the Defenders and further, there probably aren't any Marvel characters he didn't touch.
Doug
I remember getting a Hulk vs Abomination issue in the late 70s and Sal's art was so slapdash and terrible I thought he was a hack. Looking back it was obviously the Dreaded Deadline quick job. Now that I can appreciate things more, I look at Avengers#89 cover and say to myself, "What an awesome artist he was."
Yoyo
I'd go with Sal as 'the Bronze House Style' as Doug and Graham proposed. His work on Cap's blows were where legends start. Truly a superb benchmark.
Nice to see the panel with YJ in Defenders mode, one of my fav Hank Pym iterations.
In his prime, he had such a clean style, conveying impact like no one else ever could, arguably Kirby came close. But it wasn't as 'satisfying' as Sal's work.
For my brief initial collecting period, I knew if I saw Sal's name on the splash page for interiors, I was in for a memorable ride, repeat enjoyment, and a well spent couple of dimes.
Excellent post, partner! Once again, you present a Spectacular, Amazing, Incredible array of imagery!
Doug- echoes to your love of that Wonder Man/ Vision battle. Just classic.
I prefer his 70s stuff to his later work, but the Blast is timeless.
Oh, that Defenders double-page battle spread-!
Man, do I love those, too.
There was at least one other from this same period, IIRC-- in the arc w/ the Guardians of the Galaxy, fighting a whole mess o' them Badoons. . . Possibly issue #29?
They're the kind of image that tickles the comic-loving kid in all of us, 'cause it's exactly the sort of scene we would tend to draw ourselves when the inspiration took us. . . ha! You have to figure that Sal got the same sort of indulgent kick out of it, right?
And yoyo's comment about slapdash work isn't badly-taken-- and the fact that it was Sal means that he may well have been called upon to do four or five other books that month as well, and HULK was the easy one to fudge 'cause it was his home-base "comfort" book. From a management perspective, who's going to do comparatively the best work when speed is the only consideration? Heck, Sal-- no question.
I might also submit that some of the rushed Hulk issues from that period were also hampered by some really lame (also rushed?) coloring jobs. Flat, unimaginative, ridiculously dominant pastel tones-- much more appropriate for wedding announcements than a super-hero book. . .
HB
Thanks for all of the commments gents! As I expressed, I really liked Sal Buscema's work. His early Avengers work with Sam Grainger is really a favorite of mine and the characters were always spot on and top notch. Everybody was recognizable. He wasn't flashy with his panels but the art was always clear from a story perspective. As time went on his backgrounds became more sparse but the panels always looked full. For me, he did the quintessential Captain America, a wonderful Yellowjacket, and I really liked his Vision and Goliath. One of my favorite artists. he is ranked up with John Byrne for me. When I look for original art the first names I scan for are Byrne and Sal Buscema.
I love that he had the Hulk send Ghost Rider's Horse go flying in that one example -just great.
HB - I think you explained Sal's enthusiasm and the subtext of the images very well.
I have never had the pleasure of meeting Sal Buscema. From what I have heard he is a real gentleman with respect for the fans. I hear he is a class act. He is 81 years old if I have my dates right; I hope he is well. He gave me hours and probably years of enjoyment.
Just a late comment on our pal Sal.
I didn't take note of creators' credits until I was about 12, and over the years, looking over my various favourite Marvel comics from before then, I was amazed at how many of my most cherished comic memories were drawn by Sal Buscema. Only John Byrne competes with him in terms of art that I pored over, oblivious to the name behind the pencils.
Sal drew the definitive Hulk for me, and I loved his work on various Avengers, Captain America, FF, Defenders, Thor and Spider-Man stories over the years. He even drew the first comic I ever owned (Nova #12)!.
Thanks for the excellent tribute to one of the greats!
Yeah our Pal Sal was definitely one of the artistic workhorses in the Bronze Age. Kirby was the master of grandiose kinetic energy, Big John Buscema was the master of conveying majestic power, Sal's cartoony style was the perfect fit for many of the titles he worked on, from the Hulk to the Avengers to Spidey.
- Mike 'Silvio Buscema?' from Trinidad & Tobago.
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