ART - IFICIAL IN­TEL­LI­GENCE

Age Of Ul­tron comic book artist Bryan Hitch talks metal men­ace

SFX: The Sci-Fi and Fantasy Magazine - - Avengers: Age of Ultron - Nick Setch­field

Why does Ul­tron’s orig­i­nal de­sign en­dure as a comic book clas­sic?

I think the sim­ple an­swer is John Buscema was bril­liant. I know he didn’t like drawing su­per­heroes but he was so very good at it. It’s also one of those clas­sic de­signs, like most of Marvel’s ’ 60s out­put, that al­lows any­body to draw it ei­ther as a lit­eral copy or an in­ter­pre­ta­tion and it still be recog­nis­able. The open mouth burning with atomic fire? What kid wouldn’t love that? What did you want to bring to the de­sign in Age Of Ul­tron?

Sim­plic­ity for the sake of rep­e­ti­tion. I know I’m known for my de­tail but in Age Of Ul­tron I knew the en­vi­ron­ment of the de­stroyed world was go­ing to be quite de­tailed – and I do like my back­grounds – so in drawing large num­bers of Ul­tron drones, they needed to be easy to re­peat with­out killing me or my inker. Do you like what you’ve seen of the big- screen ver­sion? Joss has been talk­ing about this since we had din­ner af­ter the first film came out – and over many nights out while he wrote it. See­ing all that come to life is a joy. What I saw on set were mo­tion- cap­ture suits so the first time I saw the Ul­tron stuff fin­ished was in the trailer. Looked like Ul­tron to me! I liked that Spader’s Ul­tron Prime has a more ex­pres­sive face; you need to see his emo­tion, not just hear it. Re­mem­ber the con­ver­sa­tion with Goblin and Spidey in the first Spi­der- Man film? Can’t have that. It’s James Spader and you don’t want to waste that!

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