By Taylor Anderson
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Going to a comic convention can be a dangerous thing. No, I’m not talking about the festering cesspool that is the men’s bathrooms at C2E2 — I’m talking about artist alleys at present at all cons. With so many talented artists in one place, it’s easy to spot at least twelve pieces of art that catch your eye, which are a feast for the senses but a pain for your wallet. The thing is , it’s just hard to say no when you see a piece of artwork that appeals to you. Luckily, sometimes a monthly roles around that’s as easy on the wallet as it is on the eyes, as is the case with Guardians of the Galaxy 12.
To be direct, the art in this is simply gorgeous. Rod Reis does both pencils and colors here and one page after another reveals artwork that is a wonder to behold. As is the case when I see a piece of art at a con that I like, it’s somewhat difficult to express in words exactly why it appeals to me. What makes us appreciate art is a pretty personal thing and it can be difficult to pin down why one artist’s work appeals to us and another’s doesn’t. But putting those feelings into words is the whole point of an article like this, so here goes.
Reis does an excellent job of combining watercolor-like hushes and brushstrokes and heavy outlines to create an effect that is wholly his own yet timeless all at once. There’s several instances of this, particularly in the numerous portraits of guest stars in this issue, yet the full page spread where Manthing shows the Guardians alternate dimensions has to take the cake.
Here we get the best of everything Reis does in this issue. In the center you can see the watercolor affect I was talking about earlier. It lends Manthing an ephemeral quality where the outline and certain parts of his body are clearly defined, but after which all bets are off. The same applies for the alternate dimension guardians all of who share the same quality. This of course fails to mention the excellent composition of this page, which is wonderfully balanced and symmetrical so as to present us with four identical scenes, which are all slightly different from one another. Just like the different in dimensions themselves!
All in all, Reis is on fire this entire issue and a lot more could be written about what makes his artwork so compelling. However, given space constraints, I’m happy to just say I like it and that I’d shell more money than I should if I saw any of this work at his con table.
The conversation doesn’t stop there. What do you wanna talk about from this issue?