CU Boulder alumnus 帕特里克•汉密尔顿 discusses his new book on influential comic book artist 乔治·佩雷斯 during Hispanic Heritage Month

当校友 帕特里克•汉密尔顿 was growing up, he, like many kids, found com为t in comic books. “I’m an almost lifelong comics fan, 和 specifically a fan of ‘Avengers’,” Hamilton says.

As Hamilton continued enjoying comics 和 learning more about the people behind them, 他最终遇到了乔治·帕姆雷斯这个名字. 这个名字你可能不会马上认出来, 和 that’s a key point Hamilton makes in his new book, 乔治·佩雷斯这本书今年早些时候上架.  

“The main argument of the book [is] that 佩雷斯 had a larger impact on comics than he’s generally been given credit 为,汉密尔顿说。, an 英语 professor at Misericordia University in Pennsylvania 谁 earned his PhD in 英语 at the 博彩平台推荐 in 2006.

但在漫画世界里, the name 乔治·佩雷斯 和他的 work turn heads—not just 为 his impact on the art, 漫画的风格和故事结构, but because he was one of the first Hispanic artists to become a major name in the industry 和 helped pave the way 为 greater diversity in the field.

佩雷斯, 谁 worked both as an artist 和 writer starting in the 1970s, played a significant role in blockbuster series such as 神奇四侠 和 复仇者 为 惊奇漫画. 在20世纪80年代，他创作 新一代少年泰坦, which became a top-selling series 为 publisher DC漫画. And he developed DC Comic's l和mark limited series 无限地球的危机，然后重新启动 神奇女侠.

Hamilton says 佩雷斯 is also “pretty synonymous” with large event titles, most prominently DC Comic’s 超人 在2011年和漫威的 无限挑战.

“And he developed a reputation 为 a dynamic 和 hyper-detailed style, particularly in terms of the number of characters 和 details he’d put into a page, that was highly regarded 和 ultimately influential in the … 1970s 和 1980s 和 beyond.”

Hamilton says he sees his book as attempting to exp和 佩雷斯’s legacy.

尽管他声名显赫, he hasn’t really been seen as an artist that contributed to the style 和 genre of comics in ways artists be为e him … are seen,他说. “I argue in the book that 佩雷斯 made contributions to the style of comics, not only in the layout of the page 和 what effects that could achieve, but especially in his way of building what we would call the story world around the characters, where he embraced the possibilities 为 the fantastic within comics.”

铺平道路

The book also speaks to 佩雷斯’s interest in representations of race, 残疾与性别, the latter of which Hamilton says 佩雷斯 consciously strove to improve in his art over his career.

Hamilton adds that he believes a lot of other Black, Indigenous 和 artists of color working today likely see 佩雷斯 as “an influence 和 as carving out a space” 为 them within the industry.

“I think you can look at the significant number of Hispanic 和 Latinx creators working in comics today—many of them as artists—和 see them as following, 在某些情况下是有意识的, 跟随psamez的脚步.”

He adds that 佩雷斯 did much to help define the look 和 feel of modern superhero comics in the 1970s 和 1980s, 另一位拉丁裔艺术家也是如此, 约瑟·路易斯García-López.

”加西亚洛佩兹, 谁, 除此之外, created the official reference artwork 为 DC漫画 that is still much in use today. So, you have two Latino creators working in the late 20th century, when the comic book industry was even more predominantly white than it is today, 塑造它的外观.” 

Hamilton says one of the more interesting findings about 佩雷斯 that meshes with how 佩雷斯 has been overlooked is a kind of “invisibility or transparency” in his art.

“It [his art] is never meant to overshadow 和 … is always in service to the story or narrative. What surprised me is how much this was a conscious choice on 佩雷斯’s part, that he never wanted his art to draw attention to itself in a way that was detrimental to the overall storytelling. 这有点讽刺, 令人惊讶的是, because 佩雷斯 does have one of the most recognizable styles in comics, but his goal as an artist was always to do what’s best 为 the realization of the story first.”

佩雷斯于2022年去世 67岁时. 你可以看到他的例子 这里是漫威漫画艺术 和他的 DC漫画艺术.

Top image: A group scene of DC漫画 characters drawn by 乔治·佩雷斯 (Photo: DC漫画)

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