Friday, February 5, 2010

Adventures in Sound: Part 16

I normally like to let these sound effect posts stand on their own, but I just had to point out some things about this panel that just knock me out. Taken from an issue of Superman's Pal, Jimmy Olsen, the illustration shows a line of marching robot sentries being taken out by a rock flung by Superman. It not only has that unique Jack Kirby style, but what could have been a throw-away panel takes on a life of its own.

First, Mike Royer's sound effects are all different from each other, but every one also reflects the sentries' robotic nature — there aren't any squishy, organic sounds here. The layout is also something a little different, taking advantage of a landscape view to showcase the trip Superman's missile takes through his opponents. But my favorite part is the way Kirby took the time to put every sentry in a different pose, varying the way their individual bodies react to the sudden trauma of a rock through the melon. It's really a study in body language and posture, and it's fantastic how it works with the sound effects to give the reader a hinting look at the moment just before all those robots go crashing to the ground.

Panel from Jack Kirby's Fourth World Omnibus, Volume Three
Letterer: Mike Royer


rob! said...

I've never seen this before, that is a great shot--both by Superman and Jack Kirby!

Scott said...

I'm curious what you think of Greg Pak's sound effects in "Incredible Hercules" and "World War Hulk" and related titles? Too silly? Properly evocative of mood? Good fun but not classic enough?

Maxo said...

Rob: Reading all the Fourth World stuff really gives you a different take on Superman; it almost reminds me of Golden Age Supes in a way. Plus, Clark is a lot less mealy mouthed, which I always enjoy!

Scott: Good question. For the most part I'm OK with the Greg Pak sound effects, especially for "Incredible Hercules" since it seems to fit the overall tone of the book. But, I do kinda wish it wasn't such a common gag now — I think overuse weakens its impact, and has the added danger of distracting from the actual scene instead of working with it.