Does this watch still keep time? What was it about Half Past Danger that endeared itself with the community to begin with? It was an incredibly witty book, but so are many others. It had some truly dynamic, inspired action scenes, but again those alone do not a great comic make.
If you were to hone in on one factor that separated Mooney and Half Past Danger from the plethora of comics on the racks, it would have to be the unfiltered devotion that Mooney showed during its creation. Hearing him talk about the project and its influences at a comic art exhibition in Cork City last year, it became immediately clear that this is a man who knows the tropes of pulp fiction inside and out.
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- Half Past Danger #4 (of 6) | IDW Publishing.
There was always the risk that he might steer too heavily into those familiar elements, but instead he created a book that both played into and subverted expectations. Happily, Half Past Danger 2 continues this tradition. Comics are the pinnacle form of collaborative storytelling.
Any creator will tell you how much is gained through that inherent back and forth, but Half Past Danger 2 is a reminder of the brilliance that can come from a singular vision fueling the creative process. While some of that give and take is lost, it often results in bold choices that allow a work to standout.
The two had previously worked on another pulp throwback in the form of The Phantom: Scarlet Sapphire , and their synergy remains impressive. Picking up a few months after their first adventure, Irish and Captain John Noble attempt to track down any traces of the stolen Nazi research data that Agent Huntington-Moss made off with at the end of the last story-arc. High-octane hilarity ensues. Unbeknownst to our heroes, the resident femme fatale is about to re-enter their lives and shake it up in ways they never thought possible.
This issue is very much focused on getting the band back together and figuring out what exactly that might mean given the revelations of the previous volume. While the book features a summary of the events of the original, it is no substitute to reading it for yourself, something any lover of comics owes it to themselves to do. Half Past Danger has always excelled in its character dynamics and this issue is no exception. Irish is that friend we all have, the bad influence. Plus, how can we not relate to a man who loves Jameson as much as he does? Captain John, noble by name and nature, is your classic principled super-hero who packs a mean punch as many the Nazi is sure to tell you.
John still has an air of naivety about him and Irish is still more than willing to use his super-soldier friend if it means he might get a date out of it, but you feel that they would do anything for each other.source url
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There are very protective of each other, even if they spend half the time slagging each other, but their verbal joasting is as entertaining as any fight scene. Some creators will often throw dialogue into their fight scenes out of a fear of silence. It had been burning a hole in my imagination for a long old time; years before I actually got around to mustering up the confidence to tackle it. The mash-up of all of my favourite genres and storytelling tropes was the big attraction for me — getting to throw all of my personal crap against a wall, just to see what might stick.
That swashbuckling, action-adventure style story was something I felt was missing from the market and by far my personal favourite brand of storytelling having grown up on Tintin, Raiders of The Lost Ark, etc. I felt like it was the one mechanic that I had a really solid handle on and something that I could definitely swing for the fences with. Oh, immeasurably. The seamless cohesion of having one person execute the entire storytelling process demonstrated to me exactly what was possible with this medium. I would sketch set-pieces right onto the script as I wrote, and there was never a need for me to go into any huge detail on shot descriptions, since I knew exactly how this particular writer envisioned the entire process!
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Even lettering the books taught me a lot about panel-to-panel story progression and how to better lead the eye around the page. All really invaluable stuff. Unlimited creative freedom. Chris had given me my first shot at American comics way back in on a CSI story.
Still one of my very favourite editors to work with to this day; Chris is ridiculously savvy and always available to assist in any capacity. Being an excellent writer himself, I knew his story input would be aces. The fact that I already had a long and trusted working relationship with Chris and IDW meant that they were my first port of call when looking for a home for my baby. My aim when setting out was to do everything. Write, pencil, ink, letter and colour the entire book. In the end I only managed around 35 interior pages and all of the covers, colour-wise.
The reason being time. It takes me so long to colour my work, often even longer than it takes me to draw the page! In the end, it was a great boon for the book to have her contributions which were huge and I really think she added an awful lot to the overall feel of the project. Did you learn a lot seeing how Jordie Bellaire interpreted your palette for the rest of the series? Oh yes. Like I mentioned above, Jordie added much to the overall tone and atmosphere of the book with her incredible palettes and colour choices. In The Dead Hand Jordie used sequences themed around one color.
Did you feel like that gave those pages a different kind of energy? Jordie infused them with a real immediacy and urgency that made those sequences sing. It felt like the way she slightly offset those harsh, stark colours made the pages almost vibrate with energy. Cracking stuff, on her part. Double page spread for The Dead Hand. I wanted to be a film poster artist when I was very young, inspired like so many others by incredible artists like Robert McGinnis and Drew Struzan, among many others.
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Those spreads are kind of my answer to that style of montage artwork. Kyle would come up with five or six character beats that described the origin of each of our major protagonists and I then would go about coming up with visuals to match. I had total freedom and leeway with them; Kyle was great to work with that way. Great fun and very collaborative. Lots of dramatic, moody shots of the characters being bad-asses, basically. Pepper that with little story elements that suggested character traits and motivations and we were golden.