That said, I think that the defining artwork of time, courtesy of artists like Jim Lee or Todd McFarlane, was nothing more or less than a particular style. After all, the handful of comic books I would have read as a child came from that era, and it undoubtedly colours my perception of the time. Still, I have a soft spot for a lot of the work from that late eighties and early nineties period. And there’s no denying that the decade produced its own artistic excesses. It seemed that, in the wake of their departure, Marvel spent a lot of energy seeking imitators rather than looking for original artistic talent. I think the company only really suffered after the pair (and other notable artists of the time) left to form Image. Although McFarlane took the artistic reigns on The Amazing Spider-Man towards the end of the eighties, it’s hard to deny that the artist helped to shepherd in the nineties for the character.Īlthough nineties artwork tends to be much-maligned in comic book fandom these days, I have to admit a fondness for the early work of Todd McFarlane and Jim Lee. In fact, I’m surprised that a nice oversized collection of McFarlane’s work with Peter David has yet to be collected, since that really was a definitive run for the green goliath. Honing his skills at Marvel during the eighties, the artist would enjoy extended runs on both The Amazing Spider-Man and The Incredible Hulk. McFarlane is renowned as a hugely important comic book artist.
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