for what? Why? The desire to do something well in comics, and the much rarer execution of that desire, is treated with deeply abstract (or, more accurately, opportunistic) reactions. It gets at a key point about Wood: all this relentless professionalism, all this ambition to be one of the best artists in his field and. Quite a bit of smoke and mirrors to get out of paying someone for writing. I saw when it came out, and Stan had changed five words-less than an editor usually changes. Bob Powell was suddenly pencilling Daredevil. Well, I said I couldn't contribute to the storyline unless I got paid something for writing, and Stan said he'd look into it, but after that he only had inking for me. He said he'd have to rewrite it all and write the next issue himself.
I wrote it, handed it in, and he said it was hopeless. I persuaded him to let me write one by myself since I was doing 99% of the writing already.
I felt like I was writing the book but not being paid for writing.Įvanier: You did write one issue, as I recall. I'd go in for a plotting session, and we'd just stare at each other until I came up with a storyline. He was being paid for writing, and I was being paid for drawing, but he didn't have any ideas. Wood: I enjoyed working with Stan on Daredevil but for one thing. It comes to us via an exchange between Wood and Mark Evanier: Here's a sad story, which can be found in the excellent The Life and Legend of Wallace Wood, Vol. Cover for Daredevil #10, 1965 (Marvel Comics) by Wally Wood The idea of Wood as a 'sci-fi' artist is one of many side roads diverting us from the richer truth of what he was up to.ģ. It might be the only point at which we confront Wood's art for what it really is: an expression of the complicated reality of Wood himself, an artist of enormous talent in an industry that was indifferent to all but the most superficial aspects of his expression. It's revealing that people care about this panel and not the six pages of so-called sci-fi it serves as a conclusion. Wood's art is about the human world, and very specifically his own world. I don't look to Wood to have my mind opened to new concepts of reality or what is possible within the cosmos. I love looking at it, and who doesn't? But thinking of Wood as a 'sci-fi' artist leads one astray. Panel from 'My World,' published in in Weird Science #22, 1953 (EC Comics) by Wally Wood 10 Cent Museum Notes Toward a Future Understanding of Wally WoodĪustin English | Panel from Total War #2, 1965 (Gold Key) by Wally Woodġ. Why is the art of Wally Wood so hard to describe, so hard to get at? Why am I so interested in the care Wood put into his art, while the similarly painstaking craftsmanship of a Joe Kubert or Will Eisner leaves me cold?Ģ.
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