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mr-d

BACHALO CHRIS [ (1965) ]

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Δημιουργός:
BACHALO CHRIS
Επίσημη Ιστοσελίδα:
Ημερ. γέννησης:
23/08/1965
Τόπος γέννησης:
Portage la Prairie, Καναδάς
Εργογραφία:

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Ο Chris Bachalo (γεννήθηκε στις 23 Αυγούστου 1965) είναι ένας Αμερικανός σχεδιαστής/δημιουργός κόμικ.

 

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Έγινε γνωστός απο τις δουλειές του στο Shade, the Changing Man της DC και απο τα δυο mini series της Death του Neil Gaiman.

 

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To 1994 κέρδισε το βραβείο Eisner για το Best Comics-Related Product (ένα άγαλμα της Death του Gaiman)

 

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Έχει σχεδιάσει αρκετά κόμικ γνωστών χαρακτήρων της Marvel αλλα κυρίως αρκετούς Χ-τίτλους, όπως το Generation X, X-Men vol 2, Uncanny X-Men, και Ultimate X-Men.

 

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Επίσης έχει δημιουργήσει και δυο δικά του κόμικ το THE WITCHING HOUR (με τον Jeph Loeb στο σενάριο) και το STEAMPUNK (σε σενάριο Joe Kelly)

 

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Τέλος, έχει δημιουργήσει και κάποια εξώφυλλα δίσκων, όπως του Wu-Massacre απο κάτω:

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Δουλειές του στα Ελληνικά υπάρχουν στα THE AMAZING SPIDER-MAN (Anubis 2010), ULTIMATE X-MEN (Anubis 2005),

DEATH: THE HIGH COST OF LIVING (Anubis 2010)

(αν υπάρχουν και αλλού συμπληρώστε :P)

 

Edited by mr-d
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πρόσφατη συνέντευξη του απο τον Θωμά Παπαδημητρόπουλο για το comicdom.gr

 

Όπως έχω αναφέρει και στο παρελθόν, σε αυτή εδώ τη στήλη φροντίζω ο καλεσμένος της κάθε εβδομάδας να είναι κάποιος που βρίσκεται στην επικαιρότητα, με μια νέα του δουλειά ή με οποιαδήποτε άλλη αφορμή. Έχοντας θέσει από την αρχή αυτή την προϋπόθεση, είμαι αναγκασμένος να περιμένω πότε κάποιος από τους καλλιτέχνες που πραγματικά θέλω να φιλοξενήσουμε εδώ θα βρεθεί στην επικαιρότητα, με αποτέλεσμα να έχω μια λίστα ανθρώπων που περιμένω να κάνουν κάτι καινούργιο.

Αρκετά ψηλά σε αυτή τη λίστα, βρισκόταν μέχρι πρόσφατα ο καλεσμένος αυτής της εβδομάδας, Chris Bachalo. Βλέπετε, εκτός των άλλων, ο Bachalo είναι υπεύθυνος για το 50% μιας σειράς που όταν πρωτοδιάβασα με ενθουσίασε: του SHADE, THE CHANGING MAN. Έχοντας ήδη μιλήσει με το… υπόλοιπο 50% (τον Peter Milligan), ανυπομονούσα να μάθω περισσότερα – αυτή τη φορά για το σχέδιο. Και, φυσικά, να μάθω περισσότερα πράγματα για τον άνθρωπο που έχει σχεδιάσει μερικά από τα καλύτερα comics των δύο τελευταίων δεκαετιών, με αφορμή το νέο WOLVERINE AND THE X-MEN, στο οποίο ο Bachalo ανέλαβε το σχέδιο.

Ο Bachalo, όμως, δεν είναι πρωτάρης στους X-titles. Από τη δεκαετία του ’90 έως σήμερα έχει συμμετάσχει σε αρκετούς τίτλους και έχει σχεδιάσει εκατοντάδες μεταλλαγμένους. Η αρχή έγινε το 1994 με το X-MEN UNLIMITED #1 και ακολούθησαν, μεταξύ άλλων, τα GENERATION X (το οποίο συνδημιούργησε με τον Scott Lobdell), UNCANNY X-MEN, ULTIMATE X-MEN, X-MEN, καθώς και τα mini series ΑGE OF APOCALYPSE και CURSE OF THE MUTANTS.

Oι μεταλλαγμένοι, πάντως, δεν ήταν οι μοναδικοί ήρωες που επαναπροσδιόρισε με το σχέδιό του ο Bachalo. Προηγήθηκε ο Shade του Steve Ditko, τον οποίο επανέφερε στη ζωή ο Αμερικανός καλλιτέχνης μαζί με τον Peter Milligan. Οι ιστορίες του SHADE, THE CHANGING MAN ήταν συνεχώς εξωφρενικές και το σχέδιο του Bachalo έπαιξε τεράστιο ρόλο στο ύφος του comic. Την ίδια περίπου εποχή, είδαμε την οπτική του Bachalo πάνω στο universe του THE SANDMAN, με το mini series DEATH: THE HIGH COST OF LIVING. Και, στην άλλη όχθη, στη Marvel, σχεδίασε ουκ ολίγες φορές πρωτοκλασάτους χαρακτήρες, όπως ο Captain America, οι Avengers, ο Spider-Man και άλλοι.

Και, ανάμεσα στα licenced properties των δύο μεγάλων, ο Bachalo βρήκε το χρόνο να μας παρουσιάσει και δύο creator owned comics, στα οποία, οπωσδήποτε η σχεδιαστική ελευθερία ήταν μεγαλύτερη: το THE WITCHING HOUR, με τον Jeph Loeb στο σενάριο, και το STEAMPUNK, σε σενάριο Joe Kelly. Παράλληλα, ασχολήθηκε και με projects εκτός της βιομηχανίας των comics, σχεδιάζοντας για λογαριασμό videogames και album covers, μεταξύ άλλων.

Ανάμεσα, λοιπόν, στις αυξημένες υποχρεώσεις του για το νέο WOLVERINE AND THE X-MEN και τα υπόλοιπα σχέδιά του, ο καλεσμένος αυτής της εβδομάδας, Chris Bachalo, βρήκε το χρόνο να μας απαντήσει (για δεύτερη φορά στην καριέρα του) σε μερικές ερωτήσεις:

 

In what level did you take advantage of the creativity freedom that a comic such as SHADE, THE CHANGING MAN offered? How much of the weirdness was your own input?

SHADE was my first gig and I was really shy going in and pretty much stuck to script on the early going. It was around issue five and six, the Hollywood Babbleon story, in which I started to feel a little more comfortable and began experimenting with the format and with issue seven I made a big leap with style and the quality of my drawing. I started to relax, to feel comfortable. Up to that point, I was fixed on trying to please the writer, the editor and to make sure I didn’t screw things up. By issue seven I slipped into a comfort zone. I felt like the book belonged to me and it was time to break out and own it. I was transfixed with Dave McKean at the time and started putting a lot of his stylings into my own work with the textures, layouts and overlays — I threw down some of my own inks. That was turning point with me on that book. I received good feedback and walked that road, pushing myself being as creative as the format would allow. It was the perfect book for me to start my career on. Pete was weird and [his stories] were weirder. His scripts were visually challenging and Karen managed with loose reigns.

 

What are the challenges in designing or redesigning characters?

Shade was my first experience with taking on an established character and I really struggled with it. I didn’t know what to do with his costume. I think I was hung up on the Ditko version of the character and Karen and Pete wanted something crazy. You could see my ambivalence in the promo art we did for the series, the first piece we did. He was generic man. It was when I saw the drawings that Brendan McCarthy was creating for the covers that the image of the character kicked in. That’s where the circles on the jacket came from. My second experience working with an established character was with Death. That was a heart attack. Landing that book was huge break for me and didn’t want to screw it up. I struggled with emulating Dringinberg’s famous take on her or taking stab at my own version. I settled for the latter, figuring I was going to blow my brains out trying to fake Mike’s style. That worked out well and it’s more or less how I approach new characters, like on X-MEN, that I come across and even ones that I’ve spent time with before. If I ever did another DEATH series, I imagine I would draw her different than before.

 

During your run in GENERATION X, we witnessed a change of style in your artwork. How did this come about?

Style can be influenced by many things. More often than not it’s a manifestation of your exposure to what’s around you, what you enjoy, your skill level and the subject matter. I took a big swing in style with GENERATION X because I left the independent imprint Vertigo and entered the world of Marvel and superheroes. I found myself working in a different genre and was exposed to a different style of art. I went from Dave McKean and Duncan Fegredo to Jim Lee and Joe Maduriera, to dark stories of realistically portrayed characters to heroic people with powers that dressed in costumes. It wouldn’t feel right to me to draw them with the same style. Late in my run on GEN X, I embraced a cartoony, manga-ish style. I was looking at a lot of that around that time.

 

Is there any chance we get to see any new STEAMPUNK stories?

Yes…

 

What should we expect from the new series, WOLVERINE AND THE X-MEN?

A new school, with a new headmaster, new students, new villains and a great sense of humor. That’s the part of the book that I was not expecting. I’m still cutting my teeth on this, as I work on issue two but, like with SHADE in the early going, I’m figuring it out and it promises to get even better.

 

Considering the main character is Wolverine, should we expect a more action-oriented story, in comparison with the new UNCANNY X-MEN, or something completely different?

I don’t know what they’re doing with UNCANNY but I imagine its different. WX has an off-the-wall, slightly over the top sci-fi feel to it. Closer to what Morrison did with NEW X-MEN. And it has a sense of humor. Not what I was expecting but it’s right in my ball park. It’s fun to draw. Lots of interesting things happening.

 

What is it in the X-titles that keeps you coming back for more?

The X-Men have a wonderful sci-fi vibe that I’m attracted to and, more than any other universe, I enjoy the characters. There are very few that I don’t enjoy working with. Funny, because I never read X-MEN growing up. I was and anarchist. A contrarian. If everyone wore black I wore white, if everyone ate pizza, I’d eat a cheeseburger. Every one collected X-MEN when was growing up. I read CONAN. Yeah, not one of my better investment decisions, but it still feels odd working on a popular X-book.

 

You have also worked for non-comic projects, such as character designs for videogames, album covers and others. Do you approach differently these kinds of projects or you see everything as a blank page waiting to be filled?

They are all different and they are all the same. Each project has its unique challenges. On ARMY OF TWO the creative director asked me not to use black, which affected the way I approached the drawings. With Neiman Marcus I landed the writing gig after the writer backed out. On ALIENS: RESSURECTION I had to deal with scale — as the drawings were going to be reduced to fit on a small display. In the end, I try and infect each challenge with a sense of style, energy and pacing that I enjoy.

 

Do you consider any specific works as your career highlights?

On SHADE — Edge of Vision, the Road and A Season in Hell.

GENERATION X — I would say issue 17 and Generation Next.

X-MEN — definitely Supernovas.

On Spidey it was the Hammerhead story with Kelly.

STEAMPUNK and WITCHING HOUR remain super high on my proud list.

 

Do you have any other projects planned for the immediate future?

Being a monthly, WX will keep me super busy for the foreseeable future. I hope to expand upon my business by selling signed books at my website, maybe t-shirts and a few other fun items. Selling my art takes up a bunch of time and I’m squeezing in a few commissions. Sketch and art books are in the planning stages. Joe [Kelly] and I are switching publishers with STEAMPUNK and we hope to expand on that franchise. Then there’s a bunch of other stuff that I’m always thinking about but never seem to have the time to get to. I’ve always wanted to do a strip like CALVIN AND HOBBES or BLOOM COUNTY, make a children’s book and do something with live action. It would be nice to hit the road and attend a few cons.

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Ο Bachalo στην αρχη της δεκαετιας του 1990 ειχε μια αλλη χαρη. Το στιλιζαρισμα

του ηταν χαρακτηριστικοτατο και αρκετα προσωπικο. Γουσταρω με τα χιλια old school Chris.

Shade, Generation X (τα πρωτα τευχη) και Generation Next, Death και ενα one shot Ghost Rider.

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+1. Οι δουλειές του την τελευταία δεκαετία έκαναν τον X.Forester να ιδρύσει Bachalo Haters Club. :sad1:

 

Προσωπικά, έχει δικό του στυλ. Αλλά όταν το παρακάνει, δεν καταλαβαίνω τι διαβάζω. Ενδεικτικό καλό παράδειγμα: Death: The High Cost Of Living και το story με τον Lizard στο story arc του ASM Gauntlet. Ενδεικτικό κάκιστο παράδειγμα: Sinister Spider-Man και κάτι X-Men.

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Χάρη στην καινούρια μπούρδα με τους παγωμένους κουβάδες νερό (πόσοι θα το θυμούνται όταν θα διαβάζουν αυτό το ποστ μετά από χρόνια...),  μαθαίνουμε επιτέλους από τον ίδιο πώς προφέρεται σωστά το όνομά του :P

 

Αν και στις καρδιές μας θα είναι για πάντα Μπάχαλο :lol:

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