[Originally written as part of a comic library blog/fundraiser.]
For all my indie comic navel-gazing, I still love a well-told superhero story: if someone (and it’s usually just a single someone, not a team) can take their time to tell me about hope, power, responsibility, and morality writ large without resorting to a physical fight or a fist-clenching theater of self-destruction, I’m there. And hey, that’s Walt Simonson.
Coming out of a studio that he shared with Howard Chaykin and Frank Miller, Simonson seems somehow free of the bombast that accompanies the other two. He seems to revel in a tale well-told; he pulls the trigger on plots instead of holding mysteries and plot twists over readers’ heads.
Compared to most mainstream American superhero books, Simonson’s work is almost strangely seamless. He doesn’t seem like an artist who’s trying to write or a writer who’s learning to draw; he’s a storyteller, and the pacing of the art, placement of the dialogue (often with cohort John Workman), and structure of the plot are all inextricable from each other. For an example of this, see Orion‘s 5 x 5 mythic structure (somewhat hindered by the way it’s printed in the omnibus) and Thor‘s self-contained meandering as a hero learns of himself.
And I’ll forever be impressed by his bold (in superhero comics) adoption of shapes and vectors, realism be damned. If the Image Comics founders had stolen Simonson’s storytelling chops along with his “lots of lines” approach, the ’90s would’ve been a lot different.* His work stealthily prepared my brain for more abstract work, such as Margot Ferrick’s Sec (see below).
* No offense meant to the Image founders. Thanks to Sarah Horrocks, I’m a fervent Rob Liefeld apologist.