Simon and I were sitting in a cafe, chilling after a signing session at a Central London

shop.
Publisher
Kevin Eastman A guy approached, holding open a collected edition of Simon’s SLAINE stories. “Could you

sign the inside cover, please?”

Executive Director
Howard Jurofsky Simon uncapped his felt-tip, shaking it to loosen the ink—a line of fat, black blobs

spattered across two pages of pristine paper. The look on the guy’s face changed from
Design elation (at meeting the Mighty Biz) to nausea (he’d just paid ten bucks for this book and
Lorenzo Sperlonga and Julie Spicer
now that asshole Biz had ruined it).
Managing Editor I’ve destroyed more than a few fans’ books myself over the years.
Debra Yanover
To facilitate signing, I once flattened the spine on a collection...and every page in the book

Subscription Manager fell out. Another time, I spilled boiling-hot coffee over a fan’s $50 hardback. I always felt
Pat Hayward obliged to buy them a new copy, or at least send a signed script to make up for my

unintended vandalism.

But Simon just snatched the book from the guy’s hand. “Don’t worry,” he said, his

PF O
thumb already smearing the fat blobs together into an unholy mess. He dabbed at it a

couple of times with a swirling finger, then took a fork from the table and started work.

P BOYR A AL LA ANN GGRRA ANNT T

R RÓ E L W OO G
I watched as, with just a few lines, Simon transformed the inky chaos into a wild and

violent portrait of Judge Death that would have made an amazing poster.

A minute later, Simon was handing the book back to its owner...”Drawn in 60 seconds,” he

said. “An original Biz. Better than a signature.”

Simon Bisley makes his art look easy. Almost as if his hands have a brain of their own,

working away diligently, while Simon’s other brain is goofing off-chatting up girls, counting

up how much he owes in taxes, or figuring out a way to squeeze an extra 10 horsepower

from one of his motorcycle engines. From the moment he first burst into the pages of 2000AD

with his unique blend of exuberant, Frazetta-inspired madness and mayhem, it was obvious

R D
THE ART OF SIMON BISLEY that a Major Artist had arrived.
Is published by METAL MAMMOTH, INC.

O
100 N. Village Avenue, Suite 12, Rockville Centre, NY 11570 Simon has a feel for movement, an eye for the absurd and grotesque, and a thoroughly
All rights reserved. wicked imagination. He brings something extra, something special, to every character he
No part of this book may be reproduced without the written permission
of the copyright holders, except short excerpts for review purposes. handles. Witness his exquisite painting on the Batman/Judge Dredd team-up “Judgement
ISBN Hardcover Limited Edition 1-882931-75-0
On Gotham”, the vivid surrealism of his “Heavy Metal Dredd” series, and the controversial,
ISBN Hardcover Regular Edition 1-882931-76-9
Slaine and Judge Dredd images © Rebellion. All rights reserved. over-the-top violence of “Lobo”.
For more information on 2000 AD, publisher of Slaine, and Judge Dredd,
please visit their web site at www.2000adonline.com Check out his startling work for “Heavy Metal”, his stunning parody in the “Corpse
Page 60- Batman, Lobo, and the Joker ™ and © 1990 & 2000 DC Comics.
With No Name”, and his alien and robot designs for half-a-dozen Hollywood movies.
All rights reserved. Used with Permission.
Pages 61 & 62- Lobo ™ and © 1990 DC Comics. This is art to drool over. Art to keep forever. Savour it on bleak, sunless days and watch the
All rights reserved. Used with permission.
Page 63- Lobo™ and ©1992 DC Comics. colour explode. Admire it in mid-summer, and send a chill shiver through the rest of the year.
All rights reserved. Used with Permission Stare at it on Christmas Day and feed your paranoia; maybe Santa Claus is an expert with the
Page 66 & 67- Doom Patrol™ and ©1990, 1991 DC Comics.
All rights reserved. Used with permission. gutting knife.
Teenage Mutant Ninja Turtles © and ™Mirage Studios.
All rights reserved. Used with Permission. There aren’t many geniuses at work in the world of comics. Simon is one of the few.
“Very Angry Seven”, “Melting Pot” and “Thump’n Guts” copyright and TM Kevin Eastman, Simon Bisley, and Eric Talbot. We should thank our lucky stars we’ve got an Original Biz.
“FAKK2” copyright and TM Kevin Eastman and Simon Bisley.
“Fistful of Blood”, “Simon Coldwater” and “Lost Angeles” copyright and TM Kevin Eastman and Simon Bisley.
“Simon Bisley’s Illustration’s from the Bible” copyright Simon Bisley.
All other images © Simon Bisley. All rights reserved.

3
 Most people when they first see Simon Bisley’s paintings they usually say outloud, “Man—this is some crazy-ass-cool-
SHIT! This guy is like an INSANE GENIUS!!”
After spending a good part of the past nine years working with him on various projects (and a fan for years before
that) I feel I am in a solid position to confirm that.
I N T R O D U C T I O N Simon and I have collaborated on more than 500 wacked out pages (think “Salieri” [me] directing “Mozart” [him])
via millions of phone calls, roughs, doodles, and faxes over 7000 miles apart, one thing always remained the same
Simon’s heart.
Although I feel at times people might look back on the stuff we did together as low points in his career, perhaps even
Simon, that never mattered to him while we were in the moment.
E A S T M A N

Whether he was working through some lame ass part of a story I was trying to justify, or some wicked cool visual
concept he wanted me to help him “work in” he always put his heart and soul into the “PIECE.” He believed in it, and
“Damn the BLOODY Torpedos” he did everything he could to try and make it work—even when he was 100% sure it
wouldn’t.
For the past 30 years I have been a fan, a student, a collector of all kinds of art, although mainly fantasy illustration.
I love it more than anything else my entire life. As an artist my primary working method is the “Pleasure and pain
principal”—you know, when you have a talent that can give you imense joy, but at the same time can be a “Horrifying
K E V I N

Battle” just to finish a single painting—so I feel I know a real artist when I see one.
The first time I went over to his studio to do backgrounds to help meet a deadline, I knew I was watching the “real
deal” at play. He’s one of those talents that has that “connection” straight from his brain to his hand. It was effortless
for him—it just seemed to flow out of him uncontrollably, like someone had turned on a faucet.
B Y

Imagine he’s painting away in a studio that doesn’t look like it has been cleaned ever—there’s a half eaten plate of
curry covering part of a painting, a cigarrette dangling from his mouth dropping ashes everywhere, and all the while
he’s talking about something with a 427 Hemi in it, one of his mates saw down at the local pub—and the magic just
pours out...
But that’s only on the surface—I swear that at the same time you’re watching this brillant painting appear
before your very eyes, the image he’s seeing in his “mindeye” is probably a 1000 times cooler, its just that he’s
already bored with this one, and just wants to get through the physical process of releasing it so he can get on
to the next one.
Man—I hate this guy.
Of course I don’t—I love him like a brother. I’m sure when I’m 96 and have the grandkids dragged to see me, they’ll
say stuff like, “No Grandpa, we don’t want to hear the one about you and Simon doing shots, wearing the Mexican
wrestling masks, and tag-team kick boxing the inflatable dolls—we’ve heard it a million times!”
Personally, I think one of Simon’s most interesting traits (besides his constant lying about work he’s finished, and has
already sent off to you fed-ex when he hasn’t even started it yet) is trying to live up to the “wildman” legend that has
been created about him. Some of the scariest and some of the best moments I’ve had in my entire life have been with
Simon (and a lot of Vodka) watching him add to the legend—hell, my wife swears and fears for my life whenever she
knows we’ll be spending anytime together—but that is only on the surface.
That is not the real Simon, that is “The legend of Simon—the one that he thinks public requires Simon to be.
I feel I’ve been lucky enough to get to know the “real Simon” over these many years, and it simply comes down to
this—Simon’s the kind of guy that would take a bullet for someone he cares about without a second thought, and
would be the first one out of his chair to help someone he didn’t.
That Simon is in there, no question about it, I’ve seen it, “God Bless” him, and I hope more of you get to meet “that”
Simon someday.
I’ve wanted to do a book like this on Simon for at least five years, but kept putting it off because I always felt that no
matter how hard I worked on it, it wouldn’t do his body of work justice. No matter how great the design or printing is,
it will never replace sitting and staring at one of his originals placed about three feet in front of your nose. I hope you
get to meet one of those someday too.
It was very interesting to sit down to write an introduction for this collection, I actually intended to write
TIGER LADY

something completely different, but decided to let whatever came out, come out, and to continue in that
direction.
I’m glad I did, as I’m hopeful you’ll get more of a feeling of the “Man Inside” from my ramblings before you see the
masterpieces of an “Insane Genius” on the pages to follow.

4
MIDNIGHT DANCE

GODDESS OF WAR

7
 JUNGLE FEVER

HEAVEN MEETS HELL

 11

THOR
 Character designs for
Heavy Metal:
Geomatrix Videogame.

Although many of the paintings in this collection of Simon’s recent

work were done straight from his brain to the canvas, many others
are what his fans love best - Simon’s versions of their favorite
characters. The illustrations on this page represent another layer of
demand for Simon’s characters and design - these were done
specifically for the capcom videogame “Heavy Metal: Geomatrix”.
Once Simon completed all the details of each character, they were Character designs for Heavy Metal:
then turned into final computer generated “game” characters. Geomatrix Videogame.

12 13
 15

FALLEN ANGEL
14
 F.A.K.K.2, ODIN AND ZEEK
Character designs and scene concepts for Heavy Metal: 2000.

Character designs and scene concepts for Heavy Metal: 2000.

GRINNER

16
 HANGIN’ IN THERE

CHICKEN OF THE SEA

 CLEOPATRA

F.A.K.K.2 KERRIE AND ZEEK

 SNOW LEOPARD

SIMON COLDWATER
 To enter the world of Simon Coldwater is truly a journey into the land of the bizarre, the violent, and
the naughty, all mixed up with a little “Ranxerox” meets “Monty Python!” He is a rogue 007 style
agent from the future, that after a nasty beating from three equally nasty female double agents, has
lost his memory. Wandering in and out of various pubs, most of which are destroyed by the time he
leaves, he searches to scratch an itch that never shall - or will he?
We’ll never know, as the complete story was intended to be play out over eight ten page
installments for Heavy Metal Magazine - only three were completed before it was moved to the side
of the drawing board in the late 90’s, but who knows what the future could bring...

24 25
26 27
 Heavy Metal cover concepts.

Character designs for Heavy Metal:

Geomatrix videogame.

28 29
 31

FINAL SHOWDOWN
ONE MORE FOR THE ROAD HOLYLAND

30
 Originally created by Kevin Eastman and Eric Talbot - Simon Bisley was brought
into finish the job in the early 90’s after reviewing the existing 50 pages of
development. Multiple “across the pond” working trips by all the artists
involved resulted in one hundred and twenty pages of repulsive characters
brutalizing each other though a nasty tale intended to start bad, get worst, and
end badly. Originally published by Kitchen Sink Press as a comic series and then
later became a collection in 1996.
Melting Pot is currently being revised and expanded into a one hundred and
forty four page graphic novel inteded to be published by Heavy Metal
Magazine.

32 33
34 35
 BIKER CHICK
LINGERIE KICKBOXER

36
 THE ELDER

One billion years ago we had a thought... we would become gods. We open our arms

to your poor, your wretched, your insane... give us one thousand of your worst.

One million times we repeat or harvest, from as many different worlds. Two hundred

and ninety nine years ago, we found a garden, and lay the seed. An asylum where

nightmares walk and survival is the sole obsession.

A prophecy awaits on the Melting Pot.

THE WARLORD OF THE MELTING POT

38
 Bisley’s exceptional concept of style and space gives added

value to the works he makes for book and magazine

covers. This British illustrator has, for example, produced

some of the most outstanding, spectacular covers for the North

American magazine, Heavy Metal – a publication which has

introduced the American readership to some of Europe’s most

accomplished contemporary comic strip artists. The force

behind Bisley’s bodies is best seen both in the generous

female forms and the powerful movements of the ferocious

monsters created by his imagination, as seen in the sketches

on this page.

Bisley focuses the readers’ attention on a central element,

which he gives a certain wild, morbid sense, in order that the

finished work has an appropriate environment and is full of

details. These two sketches also demonstrate that one of this

illustrator’s strengths lies in the spontaneity of his stroke,

which reinforces the sense of movement with a simplicity that

is, at times, awesome. In fact, the richness of his brushes and

the ease with which he paints his creatures with just a few

strokes could turn either of these two sketches into a finished

cover illustration.

JULIE WITH BALLS

40 41
 BAD HAIR DAY

GUARDIAN AT THE GATES

42
44
SAINT JULIE

LOW PLAINS DRIFTER

 GERMAIN ST. GERMAIN
Character designs and concepts
for Heavy Metal: 2000.

PRINCESS JULIE

Character designs for Heavy Metal:

Geomatrix videogame.

46 47
 SLÁINE 1 (© Rebellion. All rights reserved)
Although the popular 2000 AD character Slaine was created by

Pat Mills and Angie Kincaid, and drawn by many artists over the

years –the Bisley period has always been a fan favorite.

Slaine Mac Roth, the Celtic Warrior King, who rules the highlands

of Ireland with the help of his mighty axe “Brainbiter” was the

playground for relative newcomer Simon Bisley in the 80’s.

Simon wanted to tryout his painted style, after having just

finished a run of black and white work on 2000AD’s “ABC

Warriors”.

Slaine’s pages are a compendium of all Bisley’s virtues – an

illustrator who has shown without doubt that he can clearly

differentiate between illustration and storytelling through comic

strips. His expertise in comic strip techniques, has enabled him

to synthesize his style, giving narrative to every one of his pages,

without ever losing one of the essential constants of his work – the

spectacular nature and force of his images, which hit the reader

like a punch in the face.

Slaine’s pages can be read on two levels – something which comic

artists who use colour directly are rarely able to achieve. On one
SLÁINE 2 (© Rebellion. All rights reserved)

hand, they offer a careful aesthetic conception and an intelligent

mix of colours, and on the other, each of the actions in the frames

carries a narrative element sufficient to give the kind of agility and

versatility to the reading which all good comics should provide.

The composition of each of the plates in this work is a risky

balance between the showiness of the aesthetics and the efficiency

of the content.

SLÁINE 3 (© Rebellion. All rights reserved)

48 49
 51

SLÁINE 6 (© Rebellion. All rights reserved)

(© Rebellion. All rights reserved) SLÁINE 5 (© Rebellion. All rights reserved) SLÁINE 7
SLÁINE 4 (© Rebellion. All rights reserved)

50
 SLÁINE 8 (© Rebellion. All rights reserved) SLÁINE 9 (© Rebellion. All rights reserved)

52 53
 SLÁINE 11
(© Rebellion. All rights reserved)
SLÁINE 10 (© Rebellion. All rights reserved)

55
 Many moons ago on a trip to the “States” to visit an ol’ pal, the

subject of “John Woo” films came up—the likes of which he’d never

seen.

Three movies later, (“Killer,” “Hard Boiled,” and “Bullet in the

Head”) the idea of doing the longest running gunfight in comics

came up, as a concept...

Add the interest of doing a TMNT story, Image comics, and the title

“Bodycount” later, and you have a 100 page blood bath that even

Dario Argento would be proud of!

Given the critical honor of having the “highest flying eyeball” count

of any comic book in history, and climbing right to the top of the”must

have” list for every TMNT fan on the planet.

These are the covers for issues #1-4.

BODYCOUNT

56
58 59
60 61
 WHITE RONIN BLUES
BODYCOUNT COLLECTED
 DAVID AND GOLIATH
A great friend and fan of Simon’s talent asked him back in the late 90’s, “If someone
could fund you to draw anything you wanted - what would that be?”
Without missing a beat Simon answered, “A collection of illustrations from the Bible.”
A great friendship over many years of inspired drawings and paintings later, the dream
would be full filled for all the world to enjoy.

65
 ANNUNCIATION

67
 ASCENSION

69
 LOST ANGELES
THE SPIDER QUEEN

71
72
RAPTOR WARRIOR PINK NIGHTMARE

THE VERY ANGRY SEVEN KERRIE

BLIND DATE
 Unpublished until now, “The Very Angry Seven” was the brainchild of Simon Bisley,
Kevin Eastman, and Eric Talbot. Designed as the next great licensing property it ended
up being more of a project that was to edgy for a kids property and to kid like to be
edgy.
Twenty four pages of shitting dogs, reporters in lingerie, a graphic murder scene, and
seven mutated critters that run around yelling, “Let’s Get Angry!” how could you go
wrong?

74 75
 “Yojimbo” collides with “Last Man Standing” in this insane goth

horror, spaghetti Western, ripped from the minds of Kevin Eastman,

and Simon Bisley.

Deadly and sexy, a voluptuous female gunfighter wanders into an

isolated, semi-abandoned “ghost town” deep in the badlands of the

American Southwest. She soon finds herself caught in a violent,

threeway turf war between desperate townies, and battling gangs of

Vampires and Zombie Outlaws.

This dangerous “bad girl” is quickly forced to put her deadly guns to

use in an effort to survive the battle for the soul of the town and save

the lives of the innocents caught in the supernatural crossfire.

Hot chicks, six guns, and armies of the ghoulish undead—Kurisawa,

Leone, and Hill never dreamed this would happen...

Ninety six pages of the coolest hell bent black and white pages

Simon’s ever done.

76 77
78 79
 FISTFUL OF BLOOD

ONCE UPON A TIME IN THE WEST

81
 A massive motorcycle rumbles down the futuristic streets of

“Mega-City One” as judge, jury, and executioner, Judge Dredd

belts out “I am the Law!” Don’t think Stallone, think one of the

most popular British comic book hereos of all time.

Created by Pat Mills and Carlos Ezquerra in the 70’s, it has

always been the cornerstone of 2000AD, and a jewel in the crown

of many a up and coming artist -Simon being no exception.

What is interesting about Simon’s work on Dredd is the noticea-

ble growth, and developement as an artist. After years of labo-

rious realistic detail and discovery while painting on “Slaine,” it

is clear to see the exploration and the pushing the limits more

and more in each weekly eight page segment he produced.

Most fans look at the Dredd stories Simon did as the place where

his sense of humor and timing reall started to show through, as

well as all those “goofy little background characters” that still

appear in his stories today.

(© Rebellion. All rights reserved)

JUDGE DREDD

JUDGE DREDD (© Rebellion. All rights reserved)

86 87
 JUDGE DREDD (© Rebellion. All rights reserved)

(© Rebellion. All rights reserved)

JUDGE DREDD

88 89
 Originally created as a supporting “Justice League of America” character by Keith Giffen, “Lobo” didn’t find its main stream

appeal until it was revamped, and redesigned by Simon in the early 90’s.

Working with Giffen, and Alan Grant the team drove the fast shooting, hard drinking, bounty hunter “Lobo” straight to the top

of the sales charts through a couple of four issue “Mini-Series”.

Still an extremely popular DC Universe resident, with all kinds of creative teams handling it, Simon still likes to come back and

play with one of his favorite characters for a special issue, like he did with the “Batman/Lobo” cross over in 2001.

Rumors have it there even used to be a cat in the Bisley family named Lobo...

LOBO: THE LAST CZARNIAN (Lobo™ and © 1990 DC Comics. All rights reserved. Used with permission.)
(Batman, Lobo and the Joker™ and © 2000 DC Comics. All rights reserved. Used with permission.)
(Lobo™ and © 1990 DC Comics. All rights reserved. Used with permission.)
LOBO: THE LAST CZARNIAN

BATMAN / LOBO

90 91
 93

LOBO’S BACK LOBO’S BACK

(Lobo™ and © 1992 DC Comics. All rights reserved. Used with permission.) (Lobo™ and © 1992 DC Comics. All rights reserved. Used with permission.)
(Lobo™ and © 1992 DC Comics. All rights reserved. Used with permission.)
LOBO’S BACK
LOBO: THE LAST CZARNIAN (Lobo™ and © 1990 DC Comics. All rights reserved. Used with permission.)

92
 SWEET EMBRACE GEOMATRIX

LORD TYLER

LAST STAND STRANDED

95
 97

BAD BOY NIGHT CALL

JUDGEMENT DAY
HELL’S AT THE GATE

96
 DOOM PATROL
Called “The Strangest Superhero Team in Comics” the “Doom Patrol” has had

more than a difficult time finding an audience to stick with it over the years.

(© DC Comics. All rights reserved. Used with Permission.)

Created by Bob Haney and Arnold Drake back in 1963, it reached its peak in

the early 90’s with Grant Morrison’s original style of writing, and Simon’s

outrageous montage style covers.

Considered by a large part of Simon’s artistic critics to be his best work to date,

it is impossible to find any of these paintings for sale on the “Art Collector” or

“Comic Art Collector” markets.

Simon believes he completed over forty paintings for the series before it was

cancelled again in 1995, and would love to see them all collected in one book.

Perhaps someday we all will.

DOOM PATROL (© DC Comics. All rights reserved. Used with Permission.)

98 99
100
GLADIATOR

THE FORTRESS FALLS

ATTACK!

101
 ELF PRINCESS

SEDUCTION OF EVIL
102
 ARBAN
PRINCESS AND THE APE

104
106
F.A.K.K. 2

GRINNER’S BATTLE

107
 HI OCTANE

SWEET RONIN

108
 Wanting to make a statement in the world of the insane collectors craze of the early 90’s,
where most of the mainstream publishers were selling millions of copies of multi covered
collectors edition comics, Simon teamed up again with Eastman and Talbot to produce
“Thump’n Guts!”
The title coming from pal Tom Skulan, the three set off to create an all new super hero
based event that included three different covers, three different endings, six random
trading cards, a collector poster, all stuffed into a “pre-marked up” poly bagged
package entitled: “Project X!”

110 111
112
GOD ZEEK

ODIN TYLER

LATE FOR DINNER

113
 LORD TYLER AND GRINNER

THE THREE SINS

One of the strongest conceptual influences on Bislety’s style is the mix of icono-

graphy generated by the more contra-cultural trends of the end of the twentieth

century. His figures, therfore, have an aggressive and challenging attitude, rein-

forced by the dominating presence of sadomasochist type paraphernalia. Maybe

because of this, the sensuality of Bisley’s women is a combination of libidinous

attraction and morbid repulsion, although our voyeuristic side prevails over any

outmoded moralistic thoughts which may arise.

BO BOPPER

Bisley’s women are, in the end, so real that they look ready to “leap out” of their
LUST

bi-dimensional state to remind us that we also have a darker side.

114 115
 SWAMP SHOWDOWN
READY FOR ANYTHING

117
 MEDUSA
LORDS OF MISRULE

118 119
 WOLVES IN THE DISTANCE

120 121
122
PROTECTING HER YOUNG TYLER MEETS HIS MAKER

LORD TYLER

THREE’S A CROWD
124
WELCOME HOME THEY ARE BACK

ELITE GUARD SEWER MUTANTS

HEAVY HOMAGE ONWARD

125
126
ALLEY OOPS!
128
LORD TYLER THE RAT

TYLER & GRINNER SHOWDOWN

HOLYLAND WARRIORS

129
This is the official adaptation of the second Heavy Metal movie itself. In a collaboration
between Kevin Eastman and Simon Bisley 70 new paintings were created as concept art
for this upcoming animated feature. These two artists dug back into many of the plot
points and have carried on with the violent action style the fans have come to expect
from “Heavy Metal”. This eighty page graphic novel delivers all the “Good Stuff” the
studio wouldn’t allow in the final film.
It also allowed the creators to explore many of the characters and landscapes originally
created for the “Melting Pot” graphic novel nearly a decade before.
132
HEAVY METAL: 2000

READY FOR MY CLOSE-UP

 el día en que nació Simon Bisley, el 4 de marzo de 1962, marcó una de las fechas
Simon Bisley’s birth, March the 4th 1962, marked one of the darkest days in all of England, and the
más negras de inglaterra, y aquel día el imperio se puso de luto. ellos sabían que
empire mourned. They knew that “WHAT” had been brought into the world would forever tarnish its
lo que había nacido mancharía por siempre su real reputación cuando el planeta
“Royal Reputation” once the planet discovered that one of the greatest fantasy artists of all time
descubriera que uno de los artistas más formidables de todos los tiempos se encon-
would reside on their soil.
traba en su país.
Simon, a natural talent, according to his “Mum”, started to draw as soon as he could hold a crayon
Simon, un portento de la naturaleza según su madre, comenzó a dibujar en cuanto
and usually didn’t require paper as long as the house had walls around it.
consiguió sostener los primeros lápices de colores en las manos y muchas veces
One of Simon’s first jobs was as a construction worker and says, “There’s nothing like digging ditches
ni siquiera le hacía falta papel puesto que para algo estaban las paredes de su
to really inspire an artist to make a go of it!” He shortly thereafter began working for the United
casa.
Kingdom company Fleetway where he cut his “Cartooning Teeth” as “Steve Bisley” on a new black
Uno de los primeros trabajos de Simon fue como peón y, según él, «¡no hay nada
and white, weekly series entitled, “The ABC Warriors”, much to the fans delight!
como cavar zanjas para dar rienda suelta a la imaginación de un artista!». Poco
After convincing the editors (and accountants) at Fleetway his name was “Simon Bisley”, and
después, ya empezó a trabajar para la empresa británica Fleetway donde dio sus
wanting to really break away from the pack, he developed his own insanely fast painting style,
primeros pasos como Steve Bisley en una serie semanal en blanco y negro llama-
inspired by some of his heroes such as Richard Corben and Frank Frazzeta, and went to work on a

BB ii O
y

da The ABC Warriors. ¡los fans saltaban de alegría!

new series called “Sláine”. The fans went crazy!
e

Después de tener que convencer a los editores (y a los asesores financieros) de

People all over the island were blown away by the style and craftsmanship of this kid (even inspiring
l

Fleetway, su nombre pasó a ser Simon Bisley, y con el propósito de ir por libre,
folks like Mel Gibson, who later used it for specific reference in a little film he called BraveHeart) but

O G
S

desarrolló un estilo propio, frenético, que se inspiraba en algunos de sus héroes —

he still had one more mountain to conquer... “Judge Dredd”, the most popular Brit character since
i

G RR AA PF H
Richard Corben y Frank Frazetta— e iniciaba su andadura en una nueva serie
B

the Queen.
conocida con el nombre de Sláine. ¡los fans se volvieron completamente locos!
After accepting awards for nearly all his work on the above titles, he now wanted to focus his ass
n

Todo el mundo en la isla enloqueció con el estilo y destreza del chico (hasta el
kicking talents on America. His first efforts with the DC Comic character “Lobo” not only brought him
O

punto de inspirar a tipos como Mel Gibson, que después lo usó como referencia en
legions of new followers (and more awards), but led him to the front door of one of the greatest cross
M

una peliculilla que llamó Braveheart), pero aún le quedaba otra cima que coronar...
over Graphic Novels of all time, “Batman VS Judge Dredd”.
i

Juez Dredd, el personaje británico más famoso después de la reina.

S

After the world wide success of “Sláine” and “Dredd” and “Batman / Dredd” it was on to a series of

Í Ay
Tras recibir premios por casi todos los trabajos mencionados anteriormente, ahora
other crazy projects like the Graphic Novel “The Melting Pot” with Kevin Eastman and Eric Talbot,
se disponía a arrasar en América. Sus primeros esfuerzos fueron dirigidos hacia el
another Graphic Novel “Bodycount: A Teenage Mutant Ninja Turtles adventure” published by Image
personaje de DC Comics, lobo, que no sólo le proporcionó millones de seguidores
Comics and a new series for Heavy Metal entitled “Simon Coldwater”.
(y más premios), sino que lo condujo a las puertas de uno de los mayores logros
PHOTO: Julie Strain.

When development began on the next Heavy Metal Movie project, nearly fifteen years after the first
en su carrera: Batman/Juez Dredd.
one was released, Eastman put “The Melting Pot, and Julie Strain inspired character F.A.K.K.2” into
Después del éxito mundial de Sláine, Dredd y Batman/Dredd, se volcó en otros pro-
the fantastic Simon Bisley blender, with expected spectacular results. Nearly four years later the
yectos disparatados como la novela gráfica The Melting Pot con Kevin eastman y
movie was completed and released during the summer of 2000, for all the world to judge how well
eric Talbot, la miniserie Bodycount: Una aventura de las Tortugas Ninja publicada
the animators adapted his concepts.
por image Comics y un nuevo trabajo para Heavy Metal titulado Simon Coldwater.
As for Simon Bisley “today” we understand that despite the Queen’s wishes, he still lives in the
Cuando comenzó a desarrollarse la siguiente película de Heavy Metal, casi quince
United Kingdom with his beautiful wife Karen, his lovely daughter Drue, silly son Jake, and a cat
años después de lanzarse la primera, eastman puso The Melting Pot, y al perso-
named... Lobo.
naje de F.A.K.K.2 inspirado en Julie Strain en manos del fantástico mezclador

Simon Bisley, con los consiguientes y apabullantes resultados. Casi cuatro años

más tarde, por fin se terminó la película y fue lanzada en el verano del año 2000,

para que el mundo entero pudiera juzgar la maestría con la que los animadores

supieron adaptar sus ideas y conceptos.

135
135
 i just want to say thanks to all of my family,
friends, and fans for all the support over the years.
Wishing you all my best, Cheers,

– S i M O n B i S l e y –