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CSBG Archive

365 Reasons to Love Comics #355

Another one of my favorite comic artists today… (Archive!)

12/21/07

355. Philip Bond

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Bond, Phil Bond’s art is just pure pop pleasure in sequential art form. His crisp, slightly-blocky style is filled with a manic energy, and his terrifically animated figures carry with them an inherent earnestness that’s quite refreshing to see on the page.

He worked on various British anthologies that I’ve unfortunately never read, drawing things for books like Deadline, Crisis, and 2000AD before crossing over to the American industry with work on things like Shade the Changing Man, the Invisibles, and Angel and the Ape. And somewhere in there, he did some Tank Girl. Now I’ll talk about some of his other projects I’ve enjoyed.

I’ve talked at length before on another one of his major works, Kill Your Boyfriend, with Grant Morrison. One of my favorite-ever comics, Bond’s art totally sold me on the darkly optimistic madcap farcical nature of it all. It’s gorgeously drawn; like most of Bond’s work, the expressions of the characters sell the story because of how finely cartooned they are. Sex, drugs, murder, and rock and roll, baby!

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Philip Bond has a habit of working with some of my favorite writers. He and Peter Milligan collaborated on a neat little mini called Vertigo Pop: London about an aging rock star and the young musician with whom he swaps bodies. I don’t think it was collected, which is a shame, because I think it would go over really well in the right circles– but then, I could say that about all of Phil Bond’s stuff. His style is “cool” and “hip,” as the kids might say– his comics are the kinds of things that could sell well in music shops. Bond also filled in for an issue of Milligan’s X-Statix run in a great one-shot story about Edie Sawyer.

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Phil re-teamed with Grant Morrison for Vimanarama!, a fun mini-series for Vertigo that probably got overshadowed by its kin, Seaguy and We3. I didn’t appreciate this series as much as I should have back then– silly me. It’s an epic adventure and also a romantic comedy, set to the tune of Indian-mythology-by-way-of-Jack-Kirby. It gets mighty weird at times, but Bond pulls that kinda thing off with ease. Sweeping cosmic action with gods and monsters? Down-to-earth, soul-baring young romance? Bond does it all in this one. Check out these pages here, as well as the crazy Bollywood dance number splash at the top of the post.

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You can currently find him drawing covers for the Exterminators. I’d love to see him on more interior work soon, because I’m quite willing to pick up anything he does. Last thing I saw him on was the first issue of the Escapists, but another artist took over after that one. Perhaps he’s a perfectionist, or perhaps he’s getting some better-paying work outside the medium, but nevertheless, I eagerly anticipate further comics art from him.

Like I said, I adore Phil Bond’s art style. It’s a jazzy, pop-rock type of art you don’t see very often, pulled off with an expert’s craftsmanship. Nobody does it half as good as him. Baby, he’s the best. He should be a comics superstar! What’s the deal?

You can find much more from Philip Bond on his website. It includes an amazingly comprehensive bibliography of his work and an excellent gallery of his art.

5 Comments

What’s the deal, indeed.

Bond needs more gigs and more exposure.

He’s great.

Great choice! I first saw his artwork in a color reprint (of a 2000 A.D. story, I think) in a Greek comic book on vacation. I couldn’t understand the words, but I remember being impressed by his layouts, pacing, and characterization. He can tell a great tale with action scenes, but he excels at drawing folks just standing around and talking as well.
He should be a superstar. Is his style too cartoony for a lot of people to take seriously?

Yeah, Phil Bond’s artwork is criminally underrated. I also love his brilliant DeadEnders covers as well.
Don’t forget his work on The Escapists, with BKV!

Y-E-A-H-!

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