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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