Alex Ross is a comic artist that has serves as one of the most famous in the business. In fact he’s so notable that during the Covid Pandemic he provides artwork for numerous covers and even curates comics. Heck the man has documentaries about him. Now it’s time for my take. Unlike most artists who rely on pens, Ross makes use of painting, and only in the physical format. He has a philosophy behind that and his artwork even evokes something reminiscent of renaissance men. Some spoilers ahead for some of the series by Ross.
The Alex Ross Influences
Alex Ross has his beginnings in art through his mother Lynette and possibly his minister father Clark Norman Ross. Lynette was a commercial artist whose occupation goes into different styles including efficient shorthand and the realistic detail. One of the latter styles include movie posters in the like of Star Wars. Can you imagine doing styles like that constantly on a deadline? Compare that to the artwork of John Romita Sr. The shorthand on their provides enough details to get Ross interested. He along with Neal Adams and George Perez also provide inspiration for Ross. Just enough detail to provide the illusion of order in chaos. Just imagine sharing space with all of those details, yet finding a way to make everything fit together.
Now imagine this style meeting the likes of Bernie Wrightson, co-creator of Swamp Thing. The detail that goes into simple brushwork patterns create an emotional resonance. Yet something was still missing, something that Andrew Loomis and Norman Rockwell fills in. These art styles combine realism with absurd yet relatable emotion. Finally comes Ross’s education in Chicago where the likes of Salvador Dali provide surrealism to a hyper-realistic canvas. So all of these influences combine into the iconic style that is Alex Ross.
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First Impressions
Ross’ comic debut comes in Terminator: The Burning Earth, and what a first impression it is. The publisher with the Terminator license at the time (NOW Comics) depicts this franchise in a more cartoony manner. With Ross at the pen… uh… brush however comes a realistic cinematic style like a movie poster comes to life. Considering Ross’ first major job as an artist is storyboarding, this is practically a given. But not one to gamble his success on one title, he finds work in other titles like a 9-page Miracleman story at Eclipse Comics. I mean, Neil Gaiman must have recommended Ross for a part in Sandman Mystery Theatre since he was the Miracleman writer at the time.
This gets plenty of people’s attention with Marvel asking Ross to do an anthology piece. Only for the company to cancel the title before Ross’ piece publishes. Fortunately, Alex Ross does find work in Marvel’s license in Clive Barker’s Hellraiser. Eventually he crosses paths with Kurt Busiek who works with Ross to submit proposals. One of which reaches fruition in the form of Marvels. Ross’ hyperrealistic artwork really brings out a sense of wonder in superheroes. Through the eyes of a photojournalist, these moments from the times of Ross’s inspirations are shared with the reader. Is it any wonder he wins numerous awards for this?
Alex Ross: A Modern Renaissance
Marvels proves not just a critical success but something that inspires everyone involved with it. Ross along with Busiek and Brent Anderson decide to expand on their views of superheroes through Astro City. Which might or might not include influence from Ross’ experience with Miracleman given the society influencing themes. It’s around this time that Ross prefers to do his work painting. Due to the amount of time that takes to make these unlike pens, it’s not very good for monthly releases. Yet that doesn’t keep Ross from making strides, including a premise that Ross finds with a character he does a cover for.
Thy Will Be Done
Remember that bit about Ross’ father being an inspiration. Well it turns out he may have influenced some major story elements for Ross’ collaboration with Mark Waid. Through Clark Ross’s roll as a minister, DC’s right hand of god The Spectre, and superheroes effects on the world forms Kingdom Come. The series serves as superhero renaissance in reaction to the “grim-and-gritty” Dark Age. Waid being a critic of these times displays how these gun-toting man-children despite offering short-term solutions to overarching problems leave a bad influence. So destructive, their shoot-first methods nuke Kansas.
At first glance this is a battle of old vs. new; the figurehead of this Dark Age even has the biblically apocalyptic name of Magog. The older generation superheroes like Superman have this air of the Renaissance’s depiction of religious and historical figures. They serve as the foundations of heroism and their return marks the need to unravel the aesthetics of both times. Through the minister Norman McCay (modeled and named after Ross’ father), Ross explains that despite the flaws of all sides there is value in the grand scheme of things. To put it simply, to fix the flaws of both eras and advance they must connect with their respective humanities. If man is the measure of all things, the super should remember the men.
Liberty and Justice
Ross would do this same principle again with Uncle Sam, a critique on America’s purpose with its dark past. Imagine how the recruitment posters would change their subtle meanings of messages of “I Want You!” It gives you perspective on the subject, no longer are you just going to war. You go out with full knowledge of the flaws of something yet choose to love it anyway. It’s what leads to an encounter with Paul Dini. This begins the first in what becomes The World’s Greatest Super-Heroes anthology.
In each issue of this collection, Ross illustrates the core of some of his and Dini’s favorite characters. Superman’s godly presence represents the potential of mankind’s chance for peace. Batman stands for justice in a never ending battle against the nature of crime, one that is so close to his identity the cowl is part of Batman’s face. Shazam is the power of hope that a superhero can give to people in the bleakness of their lives, especially if they can become that hero. Wonder Woman meanwhile is about accepting the hard truths with empathy and understanding, otherwise you lose connection with everyone around you.
For Real This Time
But it’s the JLA, their origin as a group, and how they function that really solidifies this. It’s all too easy for great power to be without responsibility, sometimes that responsibility is a burden. When a pandemic breaks out, the league tries to minimize the damage but people turn against them. It’s actually scary how real this stuff can get. Even then everyone has to do their part to reach a compromise between all of the powers that be. Alex Ross finds that he has more power than people think.
Alex Ross and Jim Krueger
Ross’s idea and designs of a dystopian Marvel universe for a magazine request becomes a full on series. This becomes Earth X with one of Ross’s regular collaborator Jim Krueger at the helm. Much like previous works, superheroes influence the world. But now, they’re so common the actions of these heroes fundamentally change the entire world. In every circumstance comes a need to fill a niche. The world will always need a hero, but also a villain. As Loki finds out the nature of this comes from how people view others. Put an idea into people’s heads so much and they will become someone or something else. But even then people can get sick of some ideas and decide to make changes as Loki and Thanos do. It’s funny how many of these ideas manifest in the main Marvel comics after a few decades.
…And How They Resist Exploitation
Alex Ross and Jim Krueger have plenty of ideas in their time together. One of the most notable is DC’s Justice. At first glance it’s a pretty standard superheroes vs supervillains romp. Yet here the villains are driven by a motivation to save the world in an event the Justice League can’t stop. At lest until the above plot of Earth X turns on its head. It turns out the bigger villains are the ones who implant that world ending idea into people’s heads. All so that these minor league villains go along with the Legion of Doom to take down the Justice League. Take what you will from this like executives wanting to profit off ideas being a joke. Ross has the motive for that.
Ross Stands His Ground
Alex Ross certainly has a lot of power over his role in the creative industries. His beliefs come from years of success with trial and error. After so much of it, he outright refuses to go into digital painting which becomes more readily available. But it’s not for anything like his integrity, it’s really because he doesn’t want to deal with editors. Painting only in physical form prevents the simplifying aspects of fixing even an easy mistake. But with Ross’s skills, it makes them both valuable and a form of protests. Editors might want something different from anything Ross might come up with. But with Ross’ work ethic, his acclaim, and how much revenue he generates companies have to compromise.
Ross can just as easily leave any company to do work in other fields, having made a career in covers and promotions. Yet Ross always comes back to comics because he’s a fan of the characters and makes friends in that field. He and Krueger even do work at Dynamite for Golden Age character crossover Project Superpowers. All while using his influence to compare and contrast the past and present with stories like Avengers/Invaders. Especially when these series shame characters who have a history of believing they know what they’re doing, only to royally screw up. I’m talking about you Iron Man! But it’s also possible Ross used the elections at the time of 2008.
Alex Ross Today
Alex Ross continues to work closely with people he calls friends including Kurt Busiek. Not just for tributes to Jack Kirby, but because he values these times and people greatly. These creators and the characters they work with inspire people to create their own stories. It’s why he curates the Marvel anthology with Busiek and creators of varying histories. The old give the young a platform and in the worst of times make something good out of it. It’s why Ross takes the time to immortalize everyone’s favorite heroes in Marvel’s office. In bleak times like the Covid pandemic, being next to the heroes you love and admire can serve as inspiration.
Even after Alex Ross is long gone he solidifies his legacy. A legacy of inspiration from who came before, how inspirations build a person up, and meeting new people who share your dreams. It’s always nice to bounce ideas off of one another, especially if they provide insights. That sense of humanity can do many things into anyone’s development. It’s almost like the Renaissance period of comics comes and goes as times change.
What do you all think? Is Alex Ross really comics’ equivalent of Leonardo Da Vinci? Or is he something else? Thanks for coming and as always remember to look between the panels.