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May 11th, 2009
12:42 am - David Mazzucchelli
Some of you may know the work of David Mazzucchelli through his late 80s superhero work and some of you may be more familiar with his indy friendly output. It’s a gross overgeneralization but Mazzucchelli’s fan base has always been divided into those two camps (with the occasional gray areas) so I’m sticking to it. The tail end of Batman: Year One and the emergence of Rubber Blanket is about the time that Mazzucchelli redefined himself and, for better or worse, the industry. What’s interesting are the elements that led up to that era and the projects that followed.
Ranging from franchise characters to cover illustrations, this Master Post shows an inkling of Mazzucchelli’s artistic transition and range.
Don’t judge too harshly…
…you were once young, too.
Mazzucchelli’s first professional outing was for Master of Kung Fu #121 (Feb. ’83). Written by Steven Grant and inked by Vince Colletta for Marvel Comics, Mazzucchelli was still at college student at the time of this first comic book job.
Despite crushing nature of the deadline art industry, Mazzucchelli kept at it long after his underwhelming Kung Fu job. His next few assignments began trickling in about a year later. One of them being The Further Adventures of Indiana Jones #14 (Feb. ’84) which was written by David Michelinie and inked by… “the Saint” (probably a bunch of Bullpen staffers pulling an all nighter; feel free to correct me).
In World’s Finest #302, April ’84, “No Rest for Heroes” plays up Mazzucchelli’s strength as a naturalistic artist, devoid of fancy tricks and concerned more with moving the story along. David Anthony Kraft wrote this 5 page back-up tale (inked by Rodin Rodriguez) showcasing two DC Comics superheroes taking a breather.
By June of the same year, Mazzucchelli was back at Marvel and penciled Star Wars #84, written by Roy Richardson and inked by Tom Palmer. This one page is more Mazzucchelli and less Palmer, a small wonder considering the inker’s dominant style.
ROM #61 (Dec. ’84) is Mazzucchelli’s first non-Daredevil cover art. He had already become the regular penciler on Daredevil and did little else during that run.
It was during his run on Daredevil where Mazzucchelli’s style grew beyond the Marvel House Style, especially during the “Born Again” storyline written by Frank Miller. Any of you guys heard of it? I hear it’s pretty good.
From the Official Handbook of the Marvel Universe Deluxe Edition #3 (Feb. ’85, all inked by Josef Rubinstein), Daredevil…
…Death (also from #3)…
… and Kingpin (from #7, June ’85).
Who can name what comic book this image is from?
Yay! You win! Batman: Year One is Mazzucchelli's second major collaboration with Frank Miller in 1986-87 for DC Comics. Given the high level of reverence that Year One receives from just about everybody, it’s no surprise that this is regarded as a sacred cow in mainstream comics.
DC Comics’ Who’s Who series was unlike Marvel’s counterpart in presentation alone. There was a wider range of artists who drew a bit more than your average stock pose. A dumb little detail, I know, but when you get a couple of entries by someone like Mazzucchelli, every bit counts.
The Riddler from Who’s Who #19, Sept. ’86.
Commissioner Gordon from Who’s Who Update ’87 #2.
Unused cover for X-Factor #16, for which Mazzucchelli penciled as well.
This marks the last full length mainstream comic Mazzucchelli drew, written by Ann Nocenti for Marvel Fanfare #40, Oct. ’88.
After taking a short hiatus after the Year One period, Mazzucchelli returned to comics with a considerably different approach to comics. He began self publishing Rubber Blanket, a magazine-sized kommix anthology with wider thematic ambition than the general marketplace that made him popular. The style he developed at this point had more to do with personal expression, cartooning, and Art history filtered through an unorthodox sensibility that isn’t ordinarily championed by the commercial comics world.
Rubber Blanket #1, 1991.
Back cover to Rubber Blanket #1.
If you own a copy of Rubber Blanket #2, congratulations. I don’t think Mazzucchelli himself owns a copy. If you don’t, you may have to resort to getting the Italian Edition of “Discovering America” (Coconino Press, 2001), which reprints the main feature in RB #2 as well as "Near Miss” from #1 and “Stop the Hair Nude”, Mazzucchelli’s love letter to Japanese obsession.
Above is the inside back cover to Rubber Blanket #3, which was then more of a varied anthology rather than a one-man show. The main attraction for the issue, though, is the classic “BIG MAN” (also reprinted by Coconino Press). Below is a minor sampling of the true power of the story. It may not make much sense out of context, but it's still dramatic and beautiful. Forget all that Batman stuff; “BIG MAN” shows what Mazzucchelli was really capable of as an artist and a writer at the time. I almost cry every time I read it.
Another major work in the post-Year One phase of Mazzucchelli’s career is his collaboration with Paul Karasik on “City of Glass” (’94), which was originally written by Paul Auster in ‘85.
The next story of note that Mazzucchelli worked on was “Rates of Exchange” for Drawn & Quarterly #2, vol. 2 (Dec. ‘94). In this semi-autobiographical tale, Mazzucchelli utilizes a looser, thicker line to enhance the feeling of memory and distance. It’s no Rom, but it does the job.
Cover for The Comics Journal #188, July 1996.
The definitive interview in The Comics Journal #194, March ’97.
"Sorry", which appeared in Nozone #5 (Nozone, ‘93), is one of my favorite one-pagers.
"The Fisherman and the Sea Princess", for Little Lit: Folklore & Fairy Tale Funnies (Joanna Cotler/Harper Collins, 2000, reprinted in 2006), was the last lengthy comics work by Mazzucchelli to date. Let us not forget what technically WAS the last printed comic of his was: "The Boy Who Loved Comics," published in The Comics Journal Winter Special, 2001. (And seriously, who could forget his "Jack Kirby" pages in Evan Dorkin's World's Funnest?)
While it’s known that Mazzucchelli is a superior cartoonist (if not in fandom then definitely amongst pros), his output in the last decade hasn’t been high. It hasn’t been uncommon in the past couple of years, though, for a member of the comix cognoscenti to innocently let slip by that Mazzucchelli has been hard at work on a graphic novel. Believe it, readers, when it’s described as being the “best thing he’s ever done”.
The book is ASTERIOS POLYP, and it will be released this July 7th from Pantheon. According to their site, Asterios Polyp is “an engrossing story of one man’s search for love, meaning, sanity, and perfect architectural proportions.” Also, it happens to be an “imagined world of brilliantly conceived eccentrics, sharply observed social mores, and deftly depicted asides on everything from design theory to the nature of human perception.”
That’s cool, but what are the chances of a Batman vs. Daredevil mini?
Xoxo Michel Fiffe
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Comments:
I approve the fuck out of this post.
There may not be a better cartoonist living today.
Thx, Fiffe. I love your love letters to master comix makers.
![[User Picture]](http://l-userpic.livejournal.com/84295935/17842531) | | From: | ![[info]](http://l-stat.livejournal.com/img/userinfo.gif) natsch |
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| Date: | May 11th, 2009 06:34 am (UTC) |
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whoa - i want that Cartoon Workers Party poster
![[User Picture]](http://l-userpic.livejournal.com/27406571/6480712) | | From: | 4_eyez |
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| Date: | May 11th, 2009 05:39 pm (UTC) |
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Agreed and agreed. Thanks for sending this to me, dino
no pages from City of Glass? That's one of the most important GNs to date, in my opinion. I know Karasik did most of the layouts, but still...
It was either that or the Star Wars page.
I think City of Glass deserves its own post actually.
![[User Picture]](http://l-userpic.livejournal.com/44094792/6480712) | | From: | 4_eyez |
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| Date: | May 11th, 2009 05:38 pm (UTC) |
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Agreed — it's one of my top five comix EVER.
that would be much appreciated if possible:)
This post is going to break livejournal in two with all the traffic it brings. Bless you for it:)
A terrific overview, thanks for posting it. I had no idea he'd done so many bits 'n pieces prior to Daredevil. I have vivid memories of reading DD: Born Again and being fascinated by the way his art developed over the course of the series, going from that heavily-shaded naturalism to a more stripped-down expressionism by the end. I hadn't seen a paradigm shift like that in mainstream comics since Bill Sienkiewicz. And he's continued to evolve and reinvent himself ever since. City of Glass is one of the all-time greats. Can't wait to see Asterios Polyp.
Bookmarked with gratitude.
Quick question: if you have a copy of DAREDEVIL: BORN AGAIN handy, do you suspect that Miller did at least the breakdowns for the splash pages in the earlier chapters, the ones that show Matt Murdock sprawled out on his bed or in an alley or whatever?
MAZZUCCHELLI responds: "Not only did Frank Miller not do any layouts for DD: Born Again (or any of the work we did together), but the sequence of splash pages over the first four chapters was my idea."
Great write up, Mike! David Mazzucchelli's work is a great inspiration to me. I really enjoyed his recently created backups in the Batman: Year One hardcover, which are a perfect mix of his early and current work.
might I beg you to scan/post the other four pages of that World's Finest backup story? it's hilarious.
It's a little known fact that not only is Mazzuchelli a brilliant cartoonist, he is also a stone-cold fox.
![[User Picture]](http://l-userpic.livejournal.com/88737241/20063457) | | From: | solar77 |
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| Date: | May 11th, 2009 05:33 pm (UTC) |
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| | excellent renditions of body motion | (Link) |
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Rendering bodies in conflict that is both aesthetic and realistic is one of the most difficult of feats. Mazzucchelli is the visual equivalent of a Robert E. Howard's prose in his artistry of the human form in physical combat.
I think Year One and The Big Man are Mazuchelli's strongest Pieces of work, Though I still haven't read Discovering America (who has? Where can you even find this?). And I think his Daredevil Born Again story line was better than anything Miller did on the title, solo.
I like Big Man visually and for it's narrative flow, but I think the story is a little sentimental and maudlin. Still, it's some of his best art.
Later on I feel Mazuchelli pared down his style to such a degree that he started concentrating more on form than anything else, and I really miss the powerful imagery of his earlier work.
Also, just to make the distinction: "aesthetic" does not necessarily mean idealized or romanticized or even beautiful or pretty. Not that that's what you intended it to mean, but that's often how it's misrepresented or misunderstood. I once read a quote by Kurtzman who said that Basil Wolverton's work was accomplished, but not "aesthetic" and I don't think that's what he thought he meant.
Thanks for posting this. I recently re-read the bulk of the Mazzuchelli stuff I have; he's easily one of my 5 favorite cartoonists. I wasn't aware of the D&Q, Little Lit or Nozone strip. I'll have to track that stuff down.
I was fortunate enough to find Rubber Blanket #2 at a con a couple years ago. I just recently found out how rare and expensive it is.
![[User Picture]](http://l-userpic.livejournal.com/91843844/2486400) | | From: | salgoodsam |
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| Date: | May 11th, 2009 07:26 pm (UTC) |
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| | My gateway out of comics | (Link) |
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Cool summery, neat to see some of the early stuff from before i personally discovered his work. Mazzucchelli was the last comics artist i was truly obsessed with before - and more or less responsible for leading me to look at painters and artists in other forms. Look forward to seeing Asterios Polyp, but no mater what the work he's done already has earned him my highest regards :)
Some gems you missed.
5 pages of sketchbook drawings in The Comics Journal 150, May 1992
6 page story "Midori" in Manga Surprise 1995
6 page story "still life" in Manga Surprise 1996
Various awesome New Yorker covers. I have 3 at hand - July 26, 1993, May 2, 1994, Oct. 24, 1994.
You should have run the Angel cover from that Marvel Fanfare. It's a classic. Discovering America is one of my all time favorite comic stories. We miss you David!
What are you waiting for? POST!
The was also an crime-themed issue of New Yorker where DM illustrated all of the feature articles. Gorgeous stuff.
![[User Picture]](http://l-userpic.livejournal.com/63773042/13340263) | | From: | joewilly |
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| Date: | May 13th, 2009 12:25 am (UTC) |
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| | Great post! | (Link) |
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I was amazed at how much of his work I have or have seen. Totally agree on Big Man- that story really gets me. Pardon me if I missed it but I think you omitted a story for an earlier D&Q issue (before it went to the thicker size- it was more like Buzzard if I remember correctly) called "A History of Civilization" (I think) that has an ending that may be the biggest punch to the stomach of ANY comic story. They should charge double for Asterios Polyp because people like me will pay whatever they ask.
What a fucking beautiful post.
Thank you.
Mazzuchelli's pretty amazing. He's one of the few cartoonists that when I read their work I feel like my brain is exploding out of my head, it is so awesome.
| | Oe Kenzaburo and The Big Man | (Link) |
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This has been irritating me for some time.
DM's 'Big Man' short story in RB#3, while remaining one of the best, literate comic short stories ever created, is taken nearly completely from world renowned and awarde Novelist Oe Kenzaburo's own short story entitled, 'The Giant'. The Giant is about a black American soldier shot down over and stranded in Japan during the war. He is found by the villagers, who being japanese are quite tiny in comparison to this hulking soldier. events unfold almost scene for scene. I would have no problem with DM's masterful homage, (i've never had the pleasure of reading a more powerful opening sequence than the Big Man washing ashore), but Oe is never given his due.
And who came first, Gary Panter or 'Alternative DM'?
just had to get that off my chest. Been bugging me for YEARS!
I'm first in line for Polyp, tho. don't get me wrong.
ciao!
![[User Picture]](http://l-userpic.livejournal.com/86752638/19129090) | | | Re: Oe Kenzaburo and The Big Man | (Link) |
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Thanks for the clarification. I've never heard of "The Giant", but it sounds good. Is it confirmed that Mazzucchelli drew major inspiration from it or is there a chance that it was coincidence. Doesn't sound like the latter, but you never know...
Mazzucchelli has cited Panter as being a prime influence in his post-superhero reformation. Panter was doing Jimbo back when Mazzucchelli was penciling Daredevil.
| | Re: Oe Kenzaburo and The Big Man | (Link) |
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I'm relieved to hear he cited Panter.
That's what's bugging me about the Oe story, though, he never cites or confirms directly, THAT I KNOW OF. Maybe in one of his interviews he give credit.
The Big Man story isn't nearly a direct copy of The Giant as, say, Sergio Leone's Fistful of Dollars was to Kurosawa's Yojimbo. It is as i say a masterful Homage, yet undeniably taken from Oe's story. The only reason i'm so certain is that i had been reading Oe only weeks before having read Big Man.
Hearing that DM cites his own 'Japanese period' is confirmation enough for me. I've got to go find that Oe Kenzaburo story again. It's in a collection of short stories. can't remember which.
Please don't think i'm knocking David Mazzucchelli! I've been seeing his stuff around since Marvel Age, X-factor, Year One. It was just too obvious an occurrence to let go and it's been bugging me ever since.
Kudos for a great post!
| | Re: Oe Kenzaburo and The Big Man | (Link) |
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In the hair splitting sessions to follow where we define, 'major inspiration' and 'direct appropriation' I think everyone must come to the conclusion that Oe should have been cited.
| | | Re: Oe Kenzaburo and The Big Man | (Link) |
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Mazzucchelli responds: "While I am certainly aware of Oe, I must confess that I have not read any of his fiction; and I never heard of "The Giant" until this post. Similarly, for years after Rubber Blanket 3 had been published, people had been telling me about a story drawn by Alex Toth, called "Daddy and the Pie" (I am not nearly as well-versed in Toth's work as people seem to think). I first saw it (finally) about two years ago, and was chilled up my spine at the similarities to "Big Man," even down to some panel compositions. Clearly, "Big Man" is not built upon the most original plot in the world (I know I was reminded of "Big Man" while watching the movie, "Sling Blade") -- it originated out of some drawings of giants that kept appearing in my sketchbooks; but I hope I was able to fashion it into something worthwhile."
| | Re: Oe Kenzaburo and The Big Man | (Link) |
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Well, then...my apologies, Mr. Mazzuccelli. I'll find the book and the story title and post it ASAP. If you think you were flabergasted with 'Daddy', you'll be blown away with this one!
I certainly allow for what Alan Moore has called 'Idea Space'. Meaning your interest and study of Japanese culture may have brought you in contact with the story in a purely mental realm. Stranger things have happened.
Please know that i thought Big Man was a wonderful, literate, amazingly dramatic visual story. A pinnacle in literate comics storytelling. It was just too coincidental and synchronistic that i'd read both Big Man and The Giant within weeks of each other. it freaked me out.
Can't wait for Polyp!
r.
| | | Re: Oe Kenzaburo and The Big Man | (Link) |
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| | | Re: Oe Kenzaburo and The Big Man | (Link) |
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Mazzucchelli's response to Romero Burruel:
"Thanks, 'R.' Now, of course, you've got me really curious, and I'm going to look for that Oe story myself."
| | Re: Oe Kenzaburo and The Big Man | (Link) |
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Just found out the Oe story is called THE CATCH, and not , the Giant. it can be found in a collection of short stories by the same name.
dig that 'Daddy and the pie' post!
OMG... that TCJ story you led with and that unused X-Factor cover are just sublime. I wasn't really conscious of this guy, tho I recognize the name. Wow... I'll have to take a look back.
Nice work. I love having a look at the evolution of someone's style. It's amazing when I see old JRJr stuff and he was just a normal draughtsman, where as now he's a ninja with a pencil.
Yes! I love his art. I haven't seen everything that you posted. Wonderful. ^^
Wow, there is a lot of stuff there that I didn't know he had done! I have been seriously excited hearing the pre-news on ASTERIOS POLYP, as I had long since written off Mazzuchelli as having given up on comics. Happy to be wrong!
(I have all three Rubber Blankets haha!)
This is such an awesome post. David Mazzucchelli is quite an extraordinary artist. I've been a huge fan of his ever since Daredevil, and I've followed his independent work, which much difficulty, from halfway around the world. But it was worth it.
A few years ago I was startled to find a bunch of new Daredevil and Batman artwork for sale at Ebay. Very stunningly done. Although I couldn't afford it, I managed to save the images at the very least.
That Riddler Who's Who piece I hadn't seen before. Fantastic!
Hello. I know it's been a while and I don't know if people still check this page, but it's worth a shot.
I just want to write to David. I tried sending a letter via his Rubber Blanket address but it got marked "Return To Sender". I really would appreciate any help getting a message to him. I don't even need to know his address... if anyone could just forward my message to him I'd be extremely grateful. Thank you.
gerryalanguilan at yahoo dot com |
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