#mike mccraw
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The Sandman - art by Mike Dringenberg and Malcolm Jones III (colours by Tom McCraw)
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in love with with this superman/batman animation by artist mike mccraw
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The Superboy Gallery - Superboy and Krypto By Mike Parobeck, Ande Parks, and Tom McCraw
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Superman and Batman Magazine #1: Secret Origin of the Batman
by Kelley Puckett; Mike Parobeck; Rick Burchett; Rick Taylor and Tim Harkins
Cover by Ty Templeton and Tom McCraw
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And as we see Edith running from the idea of Miss MCCraw, of anyone, going so far against the social norms of the time as to not even be wearing a petticoat (and it’s notable that her scandalous garments would have looked not unlike this)
we see Albert running TO Mike, who looks pretty dead at the moment though of course I know he isn’t. It’s this sense of flight and the things that we cannot believe to be true, even if we’ve been warned of them. So, Edith has seen the red cloud in the sky, and knows that things are odd and strange and yet still when she sees Miss McCraw without a skirt, she can’t believe it. Albert, knowing that this is a dangerous land, and knowing that Mike is ill prepared for it, still has the shock of seeing him lying there.
This is very human. It’s one thing to know something intellectually. People are great at knowing things intellectually. Now, knowing something truly, in your heart? That’s a lot harder. To really feel something, is to go beyond knowing it’s possible, or even assured. Being there, in the moment, is the only way to make something real. And of course, people are varying shades of bad at this, some hav ea harder time than others, but in all, humans struggle to understand the inevitable.
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#animation#foil four#naomie money#mike mccraw#jessica temple#cartoon#science#educational#mastermind#2d#flash#heliocentric
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Stars and S.T.R.I.P.E
Volume: 1 #14
Heirlooms
Writers: Geoff Johns
Pencils: Lee Moder
Inks: Dan Davis
Colours: Tom McCraw
Covers: Lee Moder, Dan Davis
Featuring: Star-Spangled Kid (Courtney Whitmore), S.T.R.I.P.E./Stripesy (Pat Dugan), The British Bat, Mary Kramer, Mike Dugan, Barbara Whitmore-Dugan
DC
#Stars and S.T.R.I.P.E#Star-Spangled Kid#Courtney Whitmore#S.T.R.I.P.E#Stripesy#Pat Dugan#The British Bat#Mary Kramer#Mike Dugan#Barbara Whitmore-Dugan#DC#Geoff Johns#Lee Moder#Dan Davis#Tom McCraw#Comics
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We now know Bart's eyes are yellow and ppl can't get that right but now they also can't get his hair right either so what color is his hair and why am I okay with red?
It's frustrating enough when they give Bart brown eyes in the comics. Green is a pass as it is for the Young Justice animation as it is a bubble world.
Bart's hair however in the comics is wildly inconsistent as it bounces between a Hal Jordan Brown to Wally West Red, to even a fire-engine red as seen in my profile pic.
These two images come from the first 27 issues of Impulse that Mark Waid worked on. Same artist Humberto Ramos, same colorist Tom McCraw. Keep in mind these are the digital retouches so there is variation to the original printed version (someone has those scans, that someone is not me.) In the original prints the hair does not have so much red saturation but it is in the brown hair spectrum with orange tones. Brown with orange tones is described as auburn.
While Bart's hair is colored very inconsistently throughout the comics, it is also referred to inconsistently as well by characters and events.
The above is from issue #65 when Carol discovers the hair dye Thad was using to dye his hair. In this run of his comics his hair is drawn as a deeper true brown and it is the darkest it ever is during his solo run. The hair dye gives it a blatant name that it is supposed to be chestnut brown.
Chestnut brown hair is supposed to be a deep rich brown with reddish hues. So warm brown with red tones.
A real life example of chestnut brown is below.
We also see Rolly confirm in the comics that Impulse does have brown hair, but it has red tones compared to Mike's true brown hair. When compared to Mike in this shot you can see blatantly that yes, Bart's hair has more red.
Throughout Bart's comic run his hair is always leaning more towards reddish hues however depending on the colorist that can be full on ginger like Wally or true red like Mera. In reality when it comes to his own comics it is brown with reddish hues.
The 2021 DC Encyclopedia now lists Bart's hair as auburn which as stated above is brown with orange tones. His earlier appearances in Waid's run of the comics is pretty spot on for auburn in color as referenced below. It's a very pretty color. It's not red but it is not quite brown either; somewhere in between.
Whenever ANY reddish tone is involved with hair color the result is wildly inconsistent and difficult to track, color match and define.
The difference between chestnut brown and auburn can be subtle; chestnut brown being more brown, and auburn leaning more towards ginger but upon first glance they can read the same.
So in the end Bart's hair color should be some shade of brown with some sort of warmth in it and because of that warmth things can get messy and wildly inconsistent. The debate of "is his hair red" should be solidly capped that no, it is not, but there are red tones and hues mixed within it.
He's not Wally West. He's Bart Allen. He has yellow eyes, big feet and reddish-brown hair.
#bart allen#impulse#the great hair debate#i am not even going to reference teen titans i am just not no#dc comics#flashfam#fucking image formatting is going to kill me#mine
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i mean there’s alot going on but MAINLY what i got was the idea that victorian england and its ideals are unable to align itself with Australia. its not really in an anti colonialism way though, aboriginal people or the idea that are any even around is mentioned exactly once. the college is described as being a malignant growth on the Australian landscape (“an exotic fungi”), but only because it’s aesthetically lacking. there’s this feeling of loose freedom and complete wilderness of Australia that is of course, colonial itself in nature.
that sweet wildness of Australia is being constricted by victorian english ideals. take the corset, Appleyard’s steel-boned corset is mentioned almost every time she shows up. her and the house are the same, in the wrong place in the wrong time, an exotic and disturbing fungi. if we look at Minnie, one of the few adult women who is likeable, the first time she is mentioned she’s not wearing a corset. she’s also having sex which written as opposite to corsets. when Irma is found, the only reason people think she’s been assaulted is because she wasn’t wearing her corset. there’s alot of constriction in picnic at hanging rock as well, Sara is literally tied to a wall at one point, but also think of how Lumely is unable to do anything without her brother (who is probably the only man who openly hates women), Albert and Irma are not able to ever speak to one another, and how McCraw is at a middling girls college despite being an actual genius.
there’s alot about wealth and women’s roles and sex and the book is deeply sensual and homoerotic at points too (sara and miranda, madimoiselle and irma, and albert and mike, and maybe even mccraw and marion too if you wanna REALLY read btween the lines). oh and also wilderness and danger and alot of mysticism. it is very very very colonial though the way Linsday writes about nature is almost verbatim to Muir’s writing on nature in the US.
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The history of the DC Multiverse according to Justice League Incarnate #4, by Joshua Williamson, Dennis Culver, Chris Burnham, Mike Norton, Andrei Bressan and Tom Napolitano, based on the marvelous works:
Crisis on Infinite Earths
Marv Wolfman, George Pérez, Dick Giordano, Tom McCraw
and John Costanza
Swamp Thing #50
Alan Moore, Steve Bissette, Rick Veitch, John Totleben, Tom Mandrake, Tatjana Wood and John Costanza
Zero Hour
Dan Jurgens, Jerry Ordway, Gregory Wright, Gaspar Saladino and K.C. Carlson
Cosmic Odissey
Jim Starlin, Mike Mignola, Carlos Garzón, Steve Oliff and John Workman
Infinite Crisis
Phil Jimenez, George Pérez, Ivan Reis and Jerry Ordway
52
Grant Morrison, Greg Rucka, Mark Waid and Keith Giffen
Final Crisis
Grant Morrison, J.G. Jones, Carlos Pacheco, Matthew Clark and Doug Mahnke
Doomsday Clock
Gary Frank
Multiversity
Grant Morrison, Ivan Reis, Chris Sprouse, Ben Oliver, Frank Quitely, Cameron Stewart, Marcus To, Paulo Siqueira, Jim Lee and Doug Mahnke
Dark Nights: Metal
Scott Snyder and Greg Capullo
Dark Nights: Death Metal
Scott Snyder and Greg Capullo
Infinite Frontier #0
Joshua Williamson, James Tynion IV, Scott Snyder, John Timms, Alex Sinclair and Troy Peteri
With infinite thanks to Gardner Fox, Carmine Infantino, Robert Kanigher, Harry G. Peter, Len Wein, Jerry Siegel, Joe Shuster, Bill Finger, Olive Byrne, Elizabeth Holloway and William Moulton Marston.
#crisis on infinite earths#swamp thing#infinite crisis#new 52 comics#final crisis#doomsday clock#multiversity#metal#death metal#infinite frontier#justice league incarnate#operation justice incarnate#dc comics#52
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Shrinking Violet info page
written by Tom & Mary Bierbaum
art by Mike Leeke, Al Gordon, & Tom McCraw
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Catwoman is canonically a former sex worker who fights to protect sex workers. It gets on my nerves the way the fandom likes to pretend this never happened. They’ll say stuff like “oh only Frank Miller ever wrote her as a prostitute” (none of these images come from comics written by Frank Miller). Or “she wasn’t a prostitute, she was just a dominatrix”, as if being paid to sexually dominate people isn’t prostitution.
1. Batman #79 (2019), pencils by Clay Mann, inks by Clay Mann and Seth Mann, colors by Tomeu Morey. (Referencing Batman: Year One.)
2. Catwoman #12 (2002), written by Ed Brubaker, art by Cameron Stewart, colors by Matt Hollingsworth.
3. Catwoman Secret Files & Origins #1 (2002), written by Ed Brubaker, pencils by Michael Avon Oeming, inks by Mike Manley, colors by Tom McCraw.
4. Catwoman #1 (1989), a.k.a. Catwoman: Her Sister’s Keeper, written by Mindy Newell, pencils by J. J. Birch, inks by Michael Bair, colors by Adrienne Roy.
5. Catwoman: Selina’s Big Score (2002), written and drawn by Darwyn Cooke, colors by Matt Hollingsworth.
6-8. Catwoman #2 (2002), written by Ed Brubaker, pencils by Darwyn Cooke, inks by Mike Allred, colors by Matt Hollingsworth.
9-10. Detective Comics #849-#850 (2008), part of Heart of Hush, written by Paul Dini, pencils by Dustin Nguyen, inks by Derek Fridolfs, colors by John Kalisz.
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Superboy #4: Superboy the Animated Series by Karl Kesel, Tom Grummett (pages 3, 4, 8, 21-22); Mike Parobeck, Doug Hazlewood (pages 3, 4, 8, 21-22); Ande Parks, Tom McCraw and Richard Starkings; cover by Tom Grummett and Mike Parobeck
DC
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Hanging Rock Anon Again! Took me a while to type up my thoughts: (1/3) I find it is fascinating that we never really get a reoccurring and clear look inside Miranda’s head. Hell, we never even get her last name. She seems to be a cipher that plays a different role or aspiration for the other characters. I think one of the reasons why Marion, Miranda, and Miss McCraw disappeared is that they are all disconnected or operating on a different wavelength from the rest of the world.
(2/3) Do you think they were specifically called to the Rock or that they stumbled onto some kind of supernatural force that was able to take those three because of their kind of otherworldliness? SPOILERS for anyone who has not read the book, the scene where Sara’s ghost shows up to Albert threw me through a loop. I had a feeling there were long-lost brother and sister. However, Albert tells it to Mike is just downplayed, which makes it more tragic and creepy.
(3/3) “Good-Bye, Bertie. I’ve come a long way to see you and now I must go” broke my heart. Because of this, I definitely think what happened was supernatural on some level. I got that a time warp was happening but not what was causing it or why. Maybe my childhood in mountainous, densely forested region of the US where the the land could seem imposingly alive & my knowledge of folklore makes me biased but I wonder if it is a genius loci situation???
I hate Mrs. Appleyard as a teacher, but I respect her hustle as a con-woman. The juxtaposition between Sara writing and memorizing a poem with Mrs. Appleyard’s believing that Felicia Hemans wrote "The Wreck of the Hesperus" was very funny to me.
Thanks for letting me talk about Hanging Rock with you!
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Caveat to my response: it’s been a good four or five years since I last read the book, so I’m a little rusty on it, but your examination of it is both delightful and insightful!
I don’t know whether it’s supernatural or not, and I’ve always liked the fact that the book is brave enough to never, definitively answer it. I think it reflects on the mysteriousness of life; sometimes weird shit happens and there is no explanation for it. And you just have to live without knowing.
And I think the whole Sara and Bertie thing is a great example of that. They were separated as children and have gone so long without each other that they’ve almost forgotten each other. They pass almost like ships in the night. We go through life so close to those people who might have some significant role in our lives and sometimes we meet them, and sometimes we never do.
Mrs Appleyard, though, is a brilliant character. Up there with Nurse Ratchett from One Flew Over The Cuckoo’s Nest. Do you think she killed Sara, or do you think that she just watched Sara jump from the window without doing anything to stop her? Does it matter either way?
I also love that it has become so well known in Australia (in a very surface level way) that a significant part of the population genuinely believe that it’s a story based on real events.
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I don’t know if you can tell from these caps, but she doesn’t look directly at the cloud, she looks at it through a reflection, a reflection in the water, that I would GUESS, though with cap comparison it’s actually kind of hard to do, is water gathered into the same pit in which Mike started his fire.
I’ve thought a lot about the red cloud ever since I watched this show for the first time, and a lot of this show resists direct interpretation, and that’s some of what I love about it. I think it’s much more interesting to talk about what something could be than what it is, you know? Same reason i love the Green Knight, it can be about multiple things. Obviously, my reading of this show ties heavily into ideas of class, because I tend to analyze things from a class lens. That doesn’t mean I’m not capable of seeing other things of course, but most people who look at books, movies, etc, at least at complex narratives, have their own leanings. ANyway, the red cloud is something I’ve never settled on an answer I like for.
But I do think that it’s significant that she doesn’t look directly at it, and so, is that why she escapes the cloud? We could say it’s because she didn’t take the oath, but neither did Miss McCraw. So what is it about the cloud? Why is it there? Is it just weird spooky to have a weird spooky because well, there is a disappearance? I mean, I can take that as an answer, but the show is so well considered that I don’t know that I would believe that right off.
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