Born in 1951 in San Francisco, Wendy Pini will always be remembered as the artist who, with her husband Richard, created the world of Elfquest with its many characters. Her visual imagination was at work, however, long before the day, in 1978, that Elfquest became one of the first independently created and published comic books. From even the earliest days of childhood, worlds of magic and imagination had infused her with an energy that could only manifest itself through art, her muse ignited by the visions of many who had gone before - from William Shakespeare and Arthur Rackham, to Walt Disney, Erte and many other masters of literature and art.
From the beginning Wendy proved herself an inspired and talented artist. Her earliest published art can be found in some of the many fanzines that had burst upon the vibrant amateur comics scene of the late 1960s. The creative juvenilia of a future master, her stylistic elegance, humorous sensibilities, and trademark slanted eyes and pointed ears were evident throughout her work.
Much of her best early art was done during her one-woman attempt in the late 1960s to animate Michael Moorcock's classic fantasy adventure, Stormbringer. The project was born of an obsession with the saga's central character, Elric, and Wendy's driven and indulgently baroque interpretation brings an intense, focused dedication to the original novel. Literally hundreds of sketches, drawings and paintings were created, the best of which can be found collected in "Law and Chaos," published by Warp Graphics years later. Her dream, however, was doomed from the beginning as impossible for one person to realize, and eventually Wendy put away her brush and started to look to new horizons, away from the fatalistic and dark worlds of Moorcock's haunted anti-hero.
"It's the most personally revealing thing I've done... Elfquest was nowhere near, never the kind of obsession with me that Stormbringer was when I was a teenager... This was my mystical ovation to Brahma or whatever!"
-Wendy Pini
In the early 1970s, Wendy turned to professional illustration - a new world for the young artist, that of science fiction magazines, covers and the pressures of deadlines. There seems to be little published art to show for this period - her first truly professional work being the subject of much pained hunting by the legion of EQ fans, whose hunger for her product is quite voracious!
Before the actual publication of Elfquest itself, what insight we have into her style comes in the form of the title's pre-production sketches and designs as collected in the "Big Elfquest Gatherum", an encyclopedic overview of the lives of Wendy and Richard mixed with much behind-the-scenes trivia and fact. In many ways, it seems apparent that the production of Elfquest itself was the process by which Wendy firmed up her style and found her true artistic voice. The character designs, scenes and sample layouts are fascinating for anyone interested in the development of the art of Elfquest, and here Wendy seems to be stretching her talents in every way. But although the nascent art is yet rough and unbalanced, the proportions and depth of field seeming to lack confidence, this is offset by the already-present charm and character of the cast. It's clear that the story, and its heroes and heroines, were already well-formed in her mind, and the early EQ art stands as a testament to her initial attempts to breathe life and vigor into Elfquest's protagonists. Despite a few minor artistic shortcomings, the tale works well, and the first few issues of the original quest show the swift and effective manner by which she developed and polished her talents.
"Perspective was a huge problem to begin with. I think I was just blundering ahead... Just as the series itself progressed and the story got more complex and more refined, so did the artwork. It was a learning process"
-Wendy Pini
The twenty original issues of Elfquest and its sequels are themselves the history of an artist in constant evolution, both spiritually and in aesthetic style. Within the first two issues the characters and format are firmed up, the line made sharp and confident, the concerns of perspective and chiaroscuro resolved. The elves lose much of the structural "human-ness" present in the first episodes and become comfortable in their own "alien-ness" - a point no more successfully illustrated than by a comparison of Cutter as seen in the very first issue, and again in the more recent Kings of the Broken Wheel (KOTBW) series. A technique by which the elves are further beautified by contrast against roughly-drawn and somewhat ugly humans is nicely demonstrated in the encounter between the elves Cutter and Skywise, the human couple Nonna and Adar, and the men and women, both beautiful and hideous, of Olbar's tribe (as shown in graphic novel #2, "The Forbidden Grove").
"I haven't said much on this subject before, but now that the "next generation" of EQ artists are tackling the same problem, I should point out that the trickiest challenge in drawing EQ has been the portrayal of humans and elves performing on the same 'stage.' To me, the elves are beautiful because they're half-angels with the savage innocence of wild animals. So it's easy to see them as superior to brutish Cro-magnons. But that's the whole point of the story, the 'message,' if you will. We must look past appearances! Though my primitive humans have, generally, filled the roles of opponents and competitors to the elves, they are beings with hearts, minds, souls and beauty of their own. Any time my (or any other Warp artist's) art hasn't conveyed that, I consider it a failure."
-Wendy Pini
"1977 was a dreamtime. I remember living in some kind of furious daze of non-stop creativity - I was inspired by the fantasy-conscious times, by all that was going on in the world of entertainment."
-Wendy Pini
In many ways, the development of Wendy's art can be seen by examining it in chunks, as divided by the series of graphic novels (GNs) in which the original comics are collected. The first GN ("Fire and Flight") is the beginning, the introduction to Elfquest and the scene setter for the rest of the series. The art reflects this, displaying a swift and consummate mustering of resources and flair. The art of the second GN is more comfortable, demonstrating well Wendy's aptitude for humor, facial expressiveness, fashion design and architecture.
"In a comic like Elfquest, in which time does not flow smoothly for its inhabitants, but is composed of long periods of sudden action, the technique (of manipulating time through sequences of panels) is remarkably effective"
-Jane Fancher
With the third graphic novel ("Captives of Blue Mountain"), the story takes itself into the subterranean world of the Gliders, and the plot adopts a more subtle, cerebral tone. Many of the underlying themes and motives resolved in GN4 ("Quest's End") are introduced here, both explicitly and more surreptitiously, and the art takes a turn toward elegance and hollow finery, as reflected in the baroque serenity of Blue Mountain. Here we see the influence of Erte and Art Deco surfacing in the swirling, magically-sculptured rock and in the Gliders' featherlight, whimsical clothing. The play of light and shadow, especially when realized in the colored GN's, adds an intense, almost surreal atmosphere to the proceedings. For all the apparent simplicity and emotive sensibility of Wendy's linework, at this point in the series the design becomes powerful through its concentrated imaginative vision and the directness with which this is realized.
In GN4 - the conclusion to the original series - it is the manner in which the characters are drawn which sends Elfquest spiraling to its epic conclusion. After the attention paid to scenario and background in GN3, the build up to the climax, the stars themselves take center-stage, their varied and conflicting motives providing the fuel for the dramatic narrative. Clearly, at this stage in Elfquest, and in the lives of Wendy and Richard Pini, things were getting pretty intense; a striking, rather acerbic over-attention to detail and shadow provides a reciprocal intensity to the art. The elfin faces become sharper, angular and even more human. The bloated, distorted cartoon features of the trolls develop into true ugliness, a dark and seeping malevolence far from the comedic cowardice of the trolls from the Wolfriders' original holt. Sex and violence are introduced into the tale in more explicit ways, and are presented with maturity and matter-of-factness, devoid of artifice or grace. The troll caverns, blunt and dank, stand in grim opposition to the mannered refinement of Blue Mountain.
"There have been times when [Elfquest] seemed to be dominating our lives... Toward the end of the series in 1984... my health was failing. I was so involved with the characters and what was happening to them, because that's a very violent part of the story. Sometimes you can forget about yourself and let yourself be consumed."
-Wendy Pini
The final issue, with its revelations and conclusions is, by comparison to the issues directly preceding it, awash with brightness and shine - the discovery of the Palace of the High Ones and the discovery of the elves' distant ancestry is played out in the cold light of day. As if emerging from a bad dream, the art of the final issue is triumphal in its use of space, light and cleanliness. And yet, there is a hangover - the art for the harsh-edged reality of the Troll War lends a sense of bruised, hollow thinness to the scene. It is only with the Wolfriders' return to the woods, the healing of wounds and the resolution of the true themes of Elfquest -- love, belonging and family -- that Wendy Pini seems, artistically speaking, once more at peace.
The comic book series "Siege at Blue Mountain" (SABM) heralded the return of Elfquest in 1986, two years after the end of the original series. Wendy was joined by longtime inker Joe Staton, whose influence on Elfquest's visual style -- sketchier, more oblique inking -- lent to the art a feeling of fast action and driven motion. Some complained at the loss of the cleanliness of Wendy's own inking; the direct symmetry of facial features and polished cross-hatching, deployed to such effect in the original series, was replaced by an edgier, less stylied feel. Nevertheless, Wendy herself was by now clearly a master of cinematography, and was manipulating time, space and event with an apparently untroubled command. The rolling pace and swiftly-unfolding plot of this series demanded a sensation of speed and sharp direction that could have spoiled the slow-moving subtlety of the original series.
"I go back and look at 'Siege at Blue Mountain' and I'm very happy with a great deal of it; it was great to work with Joe. He has a feel for cartooning that very few inkers who do realistic work have."
-Wendy Pini
The third, and most "cosmic" Elfquest story was "Kings of the Broken Wheel" (KOTBW) in 1988, in which a sharp change occurs in Wendy's art, especially apparent in her inking. In some ways a return to the style of the original quest, Wendy's characteristic cleanliness and sharpness of linework is taken to the extreme and given a more manga-esque and "animated" feel. The complex shadow-work present within the original series becomes refined into highly stylized hatching, and the limited introduction of graphic "assistance" (in the form of Zip-a-tone textures and borders) gives to the art of Elfquest its most solid and highly polished sheen yet. Almost like the work of 19th century Japanese masters, the art of KOTBW is driven nearly entirely by the linework. From a single stroke of the brush Wendy conjures the shape, placing and depth of field of an entire object - the cast of an eyebrow, the apex of a mountain or the precise emotional pitch of a secretive smile.
"[Richard and I] were not able to work so closely together on SABM.With KOTBW we are back to having a whole lot of fun working together"
-Wendy Pini
"Of all the work I've done on EQ, KOTBW is the effort I'm most satisfied with. The story of terrible loss and ultimate reunion makes my heart soar. Not a drawing or a word would I change - truly a rare feeling for me. In line and layout, bold influences from manga and anime are obvious. The Japanese well understand the delicious tension of extremes: in essence, the cherry blossom crushed under the wheels of a futuristic tank. I believe this was the best way to express both the mystical and science-fictional aspects of KOTBW."
-Wendy Pini
Prior to the "Hidden Years" (HY) series of "graphic short stories", which began in 1992, there had been relatively few examples of Wendy's art that had been, from conception to realization, created in full color (aside, of course, from the static scenes portrayed by cover art). In many ways a showcase for Wendy's talent, the five short tales that make up her contribution to this Elfquest series stand as beautiful examples of some of the best art she has yet produced. Within the medium of black and white comic art, any evaluation of the standards and techniques involved rests upon an examination of how well the artist utilizes the process of penciling and inking. Darkness and light, texture and line are of paramount importance to the direct visual effectiveness of the art. Given full color, as in "Hidden Years," the emphasis changes. To many Elfquest fans, it is precisely those technical factors involved in the production of black and white art, and Wendy's particular stylistic use of them, that provide Elfquest's appeal. This is, of course, a matter of personal taste, and as such many readers will always prefer the particular look and feel created by black and white. Nevertheless, the depth and vivacity of the HY stories add a new warmth and sensuality to Elfquest. In no other work do we see Wendy's various talents so well applied to the conjuring of a beautiful or moving scene. The color, naturally, reflects the world we see with our eyes all the more closely, and in doing so the fantasy and the enchantment become all the more vivid. The color adds a further dimension to Elfquest, another tool for Wendy to wield with her customary excellence and vigor.
"I had to settle for about 80% of what I wanted in each of the five painted HY stories, because of our bi-monthly schedule. That meant producing a story, a full script, 28 pages of pencils translated into watercolor paintings and a full color cover every six weeks! This is yet another fine example of being too dumb to know that something's not possible. Richard and I get a lot accomplished that way -- still do."
-Wendy Pini
After Pressman Films optioned the rights to produce the Elfquest movie in 1994, Wendy moved out to southern California in order to take an active role in overseeing the development of Elfquest as an animated property. Several years passed, in which the artistic maintenance and growth of Elfquest's storyline fell into the capable hands of Brandon McKinney and Steve Blevins, among many others.
Wendy's return to the series came with the final issues of "Shards," a series that ran until 1996. The climactic episode, in which Cutter confronts the human warlord Grohmul Djun, presents us with another showcase piece -- though this time it is again black-and-white, pencilled and inked art that shows her at the height of her artistic prowess. Although there may be an element of familiarity, as her style here is essentially the same as in much of her previous work, Shards #16 represents one of her finest achievements, demonstrating especially the decisiveness and clarity of her drawing skills, the flowing ease of her "directorial" style, and the genuine closeness and familiarity she shares with the characters.
With the consolidation, in 1996, of the Elfquest universe into a single monthly title, Wendy's art develops and adopts a distinctly new and different flavor. The "Dreamtime" stories, more laid back and restful than much of the Elfquest saga, are illustrated with an animated, more "cartoony" sheen; the characters' features and movements are more easygoing and light-hearted. The central character of this series is the storyteller (and dreamberry drunkard) Pike - and his squirrel-cheeked effervescence and shaggy mop of ginger hair positively shine amid the smooth, rounded textures of the new style. Again, some fans found it difficult to adjust to the new look. In some ways the individualism of the protagonists is distilled by the apparent simplicity of the art into flatter, more two-dimensional archetypes. One particular criticism leveled by some readers is that the Dreamtime style makes the characters seem less "sincere."
In many ways, however, Dreamtime represents a unique and unusual entrance into the Elfquest universe. Here Wendy and Richard present a tale in which the elves are in no physical danger, in which the core narrative is concerned purely with the recollection of dreams, and in which it is Pike's quest to unravel their meanings. As such, the change of style fits well the more indulgently fun-loving segments, as well as the dreamily sentimental ones.
Immediately after the conclusion of Dreamtime, Wendy turned to "Wolfrider," a new series featuring the wily chieftain Bearclaw, scripted by veteran television writer Christy Marx. Again the style changes to fit the tone of the story, and the versatility and range of Wendy's talent is made clear. There is a levity and grace, as ever, to the proceedings but overall the feeling becomes one of rough-edged drama. Artistically this is especially noticeable in the shading - sharp, almost violent strokes of marker block out areas of shadow or the texture of an angry bear's coat. With "Wolfrider" we see Wendy exploring her artistic options, and reflecting well the changing nature of the Elfquest stories she and her husband oversee.
"'Wolfrider'" represents the first time I've drawn an EQ story I've not written. Originally, I didn't want to illustrate this piece - I felt it called for an edgier, more masculine style than mine. The story Christy Marx and I came up with is absolutely brutal, shadowed with doom. Frankly, I hate it. But it has fallen to me, so, in hate I'll find the passion to portray it. My struggle is to cover old ground in a rough, primitive, even unattractive way. Things are going to be revealed - things even Cutter doesn't know - that will make the fans regard Bearclaw and the birth of the monster, Madcoil, in an entirely different light. What a tragedy!"
- Wendy Pini
This feature is an attempt to present a general summary of Wendy's art in relation to the changing forms that Elfquest has taken over twenty years and more. Of course there is no substitute for the genuine article, inadequately represented here by the small collection of images that illustrate this feature. As Elfquest celebrates its 20th birthday throughout 1998, we can all look back on two decades of splendid, visionary artwork from Wendy, and hopefully look forward to more years as well!
There exist other splendid articles that go into more depth on the subject of the art of Elfquest. "The Big Elfquest Gatherum," available from the online Warp*Store or through your local comics retailer, features excellent studies by artists Jane Fancher and Paula O'Keefe, among others.
© Copyright 2004 Warp Graphics, Inc.
