Comic Book Cats highlights

I did 100 entries of The Daily Comic Book Coffee on the Comic Book Historians group at Facebook. I decided to switch things up after that, and began posting Comic Book Cats. Each day I post cat-centric comic book artwork by a different artist.

Comic Book Cats is being archived on First Comics News. But here are 10 highlights from the first 50 entries.

Steve Ditko

Ghostly Tales #85, drawn by Steve Ditko and written by Joe Gill, published by Charlton Comics in April 1971, and Speedball #10, plotted & penciled by Steve Ditko, inked by Dan Day, scripted by Jo Duffy, lettered by Jack Morelli and colored by Tom Vincent, published by Marvel Comics in June 1989.

Steve Ditko drew a number of stories with cats throughout his lengthy career.  Here is artwork from couple of them.

The first page is from “The 9th Life,” one of the best stories that Joe Gill wrote for Charlton’s horror anthologies.  Ditko did really good work illustrating Gill’s story.

Michael Holt rescues a stray black cat and takes it back to his apartment in the slums.  Michael is depressed about the state of the modern-day world.  The black cat is apparently a shape-shifting witch named Felicia, and she offers to transport Michael back to the past.  Michael agrees, but soon discovers the “good old days” were not so good, with tyranny and disease.  Returning to the present day, Michael realizes that he needs to actively work to make the world he lives in a better place.  He is reunited with Felicia, who joins him on his path of fighting for a better world.

The second page is from the last issue of the short-lived Speedball series.  The laboratory accident that endowed Robbie Baldwin with his kinetic energy powers also gave those same powers to Niels, a cat who belonged to one of the scientists at the lab. 

A subplot running through the Speedball series was Robbie’s repeatedly-unsuccessful efforts to capture Niels.  Getting a hold of a normal feline who doesn’t want to be caught is difficult enough as it is; give a cat bouncing superpowers and the task becomes nigh-impossible!

Dwayne Turner & Chris Ivy

Sovereign Seven #7, penciled by Dwayne Turner, inked by Chris Ivy, written by Chris Claremont, letter by Tom Orzechowski and colored by Gloria Vasquez & Rob Schwager published by DC Comics in January 1996.

I spotlighted Chris Claremont’s Sovereign Seven in a couple of Comic Book Coffee entries.  It was a fun series, so I’m happy to take another look at it.

In this issue Finale of the Sovereigns is caught in the middle of a struggle between international mercenary Marcello Veronese and his fugitive quarry.  Pursuing the sword-wielding fugitive, Finale enters a doorway, only to find herself in the Crossroads Coffee Bar & Inn on the opposite side of town.  Crossroads once again lives up to its name, serving as a portal to different places, dimensions & times.  Greeting the stunned Finale is Lucy the cat, who is apparently dressing as Supercat for Halloween.

I purchased the original artwork for this page from Chris Ivy at New York Comic Con in 2015.  The close-up panel of Lucy on the original really demonstrates Ivy’s very detailed and delicate inking.

David Mazzucchelli & Richmond Lewis

Batman #406, drawn by David Mazzucchelli, written by Frank Miller, lettered by Todd Klein and colored by Richmond Lewis, published by DC Comics in April 1987.

I must have read the Batman: Year One trade paperback a dozen times in high school.  To this day, it remains one of my all-time favorite Batman stories.  Many of the images from this story have burned themselves into my consciousness.  So as soon as I decided to do Comic Book Cats, I just knew I was going to spotlight this page. 

A pre-Catwoman Selina Kyle, her roommate Holly, and their menagerie of cats being awoken at 5 AM by the GCPD’s corrupt, trigger-happy swat team attempting to kill Batman by dropping bombs on him.  Of course the cats now want to be fed, even though it’s much too early!  I’ve always thought David Mazzucchelli did an especially good job on this page.

This is actually scanned from the trade paperback, which was re-colored by Richmond Lewis.  As has been astutely observed by colorist Jose Villarubia, newsprint has a different texture from the paper used in TPBs, and the result is that coloring done for the former will not reproduce accurately in the later.

Batman: Year One is apparently one of the very few times when the original colorist was asked to do new coloring for a collected edition.  Lewis’ work for the Year One collection is outstanding, and I’m grateful that for once DC Comics actually went the extra mile.

Rachel Dukes

Frankie Comics #3, written & drawn by Rachel Dukes, published by Mix Tape Comics in November 2014

Rachel Dukes’ mini comic Frankie Comics is absolutely adorable, a really cute look at quirky cat behavior.  I met Dukes a couple of times at Mocca Fest, where I picked up copies of the first and third issues.  I still need the second one.

In this two page sequence Dukes demonstrates that Frankie has a very cat-like approach to “helping” out his humans.

Dukes showed me a photo of the real-life Frankie, who looks very much like one of my two cats, Nettie Netzach.  Judging by the antics Dukes portrays in her comic, they also act alike.  Michele suggested they could be long lost sisters. You never know.

Bob Brown & Don Heck

Daredevil #109, penciled by Bob Brown, inked by Don Heck, written by Steve Gerber, lettered by Artie Simek and colored by Petra Goldberg, published by Marvel Comics in May 1974.

This is not technically a cat page as it does not feature any examples of Felis catus, aka the domestic cat, but I am showcasing it anyway.  Because, honestly, the dramatic arrival of the stunning Shannah the She-Devil accompanied by her pet leopard and panther is a pretty damn impressive cat-related image.

Bob Brown is one of those good, solid artists from the Silver and Bronze Ages whose work often flew under the radar, but who you could always count on to turn in a professional job.  Over the years I’ve developed more of an appreciation for Brown’s work.  He is effectively inked here by Don Heck, another talented, underrated artist.

Rachel Smith

Doctor Who: The Tenth Doctor #13, written & drawn by Rachael Smith, published by Titan Comics in August 2015.

I’ve been a fan of Doctor Who since I was eight years old.  Over the decades a few different cat-like aliens have shown up on the British sci-fi series, as well as in the various comic book spin-offs.

Several issues of The Tenth Doctor comic book series contained a humorous back-up strip featuring the Doctor and his cat Rose by Rachael Smith.  Yes, the Doctor named his cat Rose; he really was hung up on Billie Piper, wasn’t he?  In this installment Rose convinces the Doctor to try speed dating.  Of course, this being Doctor Who, things go horribly, hysterically wrong.

British artist Rachael Smith has also written & drawn several creator-owned graphic novels.

Joe Staton & Freddy Lopez Jr.

Back Issue #40 cover drawn by Joe Staton and colored by Freddy Lopez Jr, published by TwoMorrows Publishing in April 2010.

Back Issue is a magazine edited by Michael Eury that takes an in-depth look back comic book from the 1970s, 80s and 90s.  Each issue has a theme, and BI #40 spotlighted “Cat People,” i.e. cat-themed characters of the Bronze Age.  One of the characters examined in this issue was, of course, Catwoman.

The cover illustration of Catwoman and her black cat prowling the alleys of Gotham City is by one of my favorite artists, the incredible Joe Staton, who had previously penciled two key Catwoman stories, DC Super Stars #17, the origin of the Huntress, the daughter of Batman and Catwoman on Earth 2, and The Brave and the Bold #197, which revealed how Bruce Wayne and Seline Kyle fell in love and married.

Staton has drawn a few cats in various stories throughout the years.  I’ve always liked how he rendered them, with his cartoony style always giving them genuine personality.  That’s certainly the case here with Selina’s feline companion.  Freddy Lopez Jr’s coloring is very effective, as well.

Back Issue, along with many other great magazine & books, can be purchased through the TwoMorrows Publishing website.

Dan DeCarlo

Josie and the Pussycats #54, drawn by Dan DeCarlo and written by Frank Doyle, published by Archie Comics in April 1971.

“The Cat Woman” is drawn by Josie and the Pussycats co-creator and longtime Archie Comics artist Dan DeCarlo.  This story sees the scheming Alexandra becoming convinced that her cat Sebastian is being taken by Josie as “bait” to lure in handsome Alan M.  After all, Alexandra deduces, that is exactly what she would do if the tables were turned.  Tsk tsk, jealous people are always projecting like that!

It turns out that the real reason why Sebastian keeps wandering over to Josie’s house is because she has a wall calendar with a photograph of a beautiful female cat!

DeCarlo always drew cute gals, and as seen here he also did a good job with cats (the actual four-legged furry kind, as opposed to the kind who play musical instruments) investing Sebastian with a lot of personality.

John Gallagher

Max Meow: Cat Crusader, written & drawn by John Gallagher, published by Penguin Random House in 2020.

In the great city of Kittyopolis, aspiring feline journalist Max Meow takes a bite out of a giant meatball from outer space and gains super powers.  Donning a costume, Max becomes the heroic Cat Crusader, who protects Kittyopolis from menaces such as giant killer cheeseburgers.  However, being a hero is not as easy as it might appear, something that Max must learn the hard way.  Will Max save the day, or will the Cat Crusader be defeated by that rotten rodent, the despicable Agent M?

Max Meow: Cat Crusader is a funny, adorable graphic novel for younger readers by John Gallagher, who previously worked on Buzzboy and Roboy Red.  He is also he is art director for Ranger Rick magazine, published by the National Wildlife Federation.  As explained on the Max Meow website:

“John learned to read with comics, so he is more than excited to share the magic of reading, fun, and imagination with the young readers of the world.”

Curt Swan & Stan Kaye

Action Comics #266 cover penciled by Curt Swan and inked by Stan Kaye, published by DC Comics in July 1960.

Curt Swan was the primary artist on the various Superman titles from the mid 1950s to the mid 1980s.  It’s inevitable that at some point or another during that lengthy period Swan would be called upon to draw Streaky the Supercat.  Here is Swan’s cute rendition of Streaky zipping through the sky, along with Superman, Supergirl and Krypto the Superdog.

The inks are by Stan Kaye, who had previously been the regular inker over Wayne Boring’s pencils on Superman for a decade and a half.  Swan and Kaye were often paired up in the late 1950s and early 60s, drawing numerous covers for Action Comics, Adventure Comics, Superman and World’s Finest.

The identity of the colorist for this cover is probably lost to time, which is too bad, because whoever it was did a really nice job.

I hope you found these interesting and informative. Please remember to check out First Comics News for the rest of the Comic Book Cats entries, as well as for the Daily Comic Book Coffee archives.

Joe Giella comic book mail call

Due to the Covid-19 pandemic all of the major comic book conventions are cancelled.  It’s unfortunate, but certainly understandable.  “Con crud” is a real thing at the best of times, and any huge comic con would be a major health hazard.

I enjoy going to comic cons for the opportunity to meet creators and get their autographs on books that they worked on.  Obviously that is NOT happening this year.  So this summer I contacted a few creators via social media and asked if I could mail them books to get signed.

One of these creators was longtime artist Joe Giella.  I reached out to him via his son Frank Giella, who I’ve known for a couple of decades.  I’ve gotten a couple of things signed by Joe in the past, but I had a few others I was hoping to have him autograph, so I asked Frank if I could mail them to him to pass along to his father, and he very kindly agreed.

I sent Joe Giella a few Bronze Age comic books.  I don’t have any of the really classic issues he worked on for DC Comics in the 1950s and 60s since the majority of those are out of my budget.  Whatever the case, I’m happy I had the opportunity to get these books signed.

All-Star Comics #73 (July 1978) has Giella inking the pencils of Joe Staton, another artist whose work I love.  The writing is by Paul Levitz.  I only got into the 1970s revival of the Justice Society of America in recent years when I picked up the trade paperbacks, but I immediately became a fan.  I guess I’ve always liked the JSA a bit more than the Justice League because the JSA members don’t have their own solo titles, which enables more character development to take place in their series.  Also, the Earth-2 setting allowed the original JSA members to age, and to mentor a new generation of heroes, which I enjoyed.

Joe Giella began working for DC Comics in 1949, and some of the earliest characters he ever drew for them were the members of the JSA.  Then in the early 1960s Giella was one of the artists on the stories that introduced the Earth-2 concept and which brought the JSA back into print for the first time in a decade.  Given his historic connection to these characters, I was glad to have him autograph All-Star Comics #73.

Captain America #182 (Feb 1975) was a rare Marvel Comics job by Giella.  He inked a few odd issues for Marvel during the 1970s, as well as doing full artwork on various one-off projects such as a few t-shirts and The Mighty Marvel Superheroes’ Cookbook, which was an actual thing.  Here Giella is inking Frank Robbins.  This was during the period following the classic “Secret Empire” storyline by Steve Englehart when a disillusioned Steve Rogers abandoned the Cap identity and became Nomad.

I know that my experience with Robbins’ work parallels a number of other readers, in that initially I disliked it, over time I gradually learned to appreciate it, and now I now really enjoy his art.  I feel Robbins’ work was more suited to war and mystery and horror stories than superheroes, but even on the later genre I find there’s quite a bit to appreciate.  I think Giella did a very nice job inking Robbins on this issue, and I wish they had worked together more often.

Superman Family #200 (March 1980) was a really fun “imaginary story” written by Gerry Conway.  Set 20 years in the future (late 1999 to be specific) it featured Clark Kent and Lois Lane married with a teenage daughter named Laura.

There were several art teams on Superman Family #200.  The portions of this issue that Giella inked were penciled by Bob Oksner, another great artist whose work I have grown to appreciate in recent years.  Oksner & Giella made an effective art team.  That’s another collaboration I wish we had seen occur more frequently.

Finally, here is the variant cover that Giella drew for the sixth issue of the Archie Meets Batman ‘66 miniseries published by DC and Archie Comics (March 2019).  Giella is apparently the oldest living Batman artist, so I really wanted to have him sign something featuring the Dark Knight of Gotham City.  This cover is a nice piece which demonstrates that Giella, now in his early 90s, is still going strong as an artist.

Thanks again to Joe Giella for autographing these books, and to his son Frank for arranging everything.

Sovereign Seven: The Saga of Cascade and Maitresse

Earlier this month while recovering from nasal surgery I started a re-read of Sovereign Seven, the comic book series written by Chris Claremont that was published by DC Comics between 1995 and 1998.  Sovereign Seven ran for 36 monthly issues, two annuals, a Sovereign Seven Plus Legion of Super-Heroes special, and two short stories in the Showcase anthology.

Sovereign Seven was unusual in that it was a creator-owned series, yet it was set firmly within the DC Universe, with appearances by numerous established characters such as Darkseid, Superman and Power Girl.  I cannot think of any other comparable arrangement before or since at either DC or Marvel.

I hadn’t looked at most of these issues in almost a decade.  Reading them again, I found the series is still interesting and entertaining.  Claremont did some good work with pencilers Dwayne Turner (who co-created the characters), Ron Lim, Jeff Johnson and Tom Grindberg on these stories.  Inking was provided by Jerome K. Moore and Chris Ivy on most issues.

The Sovereigns are a group of aristocratic refugees from different parallel Earths whose worlds had all been conquered by the mysterious Rapture. They were gathered together by Rhian Douglas, aka Cascade, who was fleeing from her seemingly-tyrannical mother Maitresse.

We never learn the precise nature of the Rapture, but in issue #15 Cruiser describes it as “the bliss of blind, unreasoning submission, without a soul to call your own, without the responsibility that comes of making a moral choice.”  That actually brings to mind the Anti-Life Equation from Jack Kirby’s Fourth World epic.  Whatever it is, the Rapture has conquered & corrupted innumerable worlds across the continuum.  As explained by Reflex in S7 Annual #1, “The Rapture has cost us everything and everyone we hold dear.”

The main setting of the series is the Crossroads Coffee Bar, situated at the intersection of three states, Vermont, Massachusetts and New York. Living up to its name, Crossroads also contains portals to other dimensions. Crossroads is run by enigmatic, immortal sisters Violet Smith and Pansy Jones. It is here that the fleeing Sovereigns find sanctuary and employment.

One of the most intriguing aspects of S7 was the relationship between Cascade and Maitresse.  Claremont is rightfully recognized as one of the first comic book writers to script three-dimensional, strong, independent female characters.  His work with Rhian Douglas and her mother Morgan continues in that vein, resulting in pair of fascinating characters in a deeply dysfunctional family dynamic.

Rhian and Morgan come from an Earth in a reality where the entire solar system has been imprisoned behind an impenetrable barrier, all to keep Maitresse from escaping.  Cascade first learns of other realities when telepath Taryn Haldane, aka Network, makes contact with her.  Cascade uses her teleportation power to join Network. Exploring the multiverse together the pair locates the other five Sovereigns, rescuing them from the Rapture.

Cascade’s greatest fear is that her mother will find a way to follow her and escape imprisonment.  As seen in Annual #1, the entire fabric of reality on Rhian’s Earth is subject to the moods and temper of Maitresse.  An outraged Rhian lectures her:

“The world’s not some toy, created for your amusement! You can’t just change things – alter peoples’ lives beyond recognition, even destroy them – on a whim. It’s cruel and wrong and I won’t be a part of it any longer!”

Later on in issue #3 Cascade describes her mother as “the essence of all that’s evil” with seemingly only the Rapture itself a greater menace in her mind.

Indeed, at first the evidence appears to back up Cascade’s claim.  We do see Maitresse completely rewriting the fabric of reality on a continual basis on her Earth, and in the first issue she casually immolates her trusted adviser Morgrin for disagreeing with her.  Maitresse, believing that her daughter has betrayed her and become corrupted by the Rapture, is more determined than ever to escape her imprisonment, no matter the cost.

However eventually we begin to see evidence that Cascade’s perception of her mother is not entirely accurate.  In issue #27, during the cosmic upheaval of the “Genesis” crossover, Cascade and Maitresse have their locations swapped, with Rhian imprisoned behind the barrier on her alternate Earth and Morgan joining the other Sovereigns at Crossroads in the DCU.

Having been told repeatedly by Cascade that her mother was their “greatest foe,” the rest of the Sovereigns are very surprised when Maitresse saves them from an attack by the Female Furies, and afterwards lays down in a bed of roses, serenely contemplating the beauty of the natural world.

Cascade soon returns to Earth, with Maitresse once again imprisoned behind the barrier.  At first Rhian cannot believe that the other Sovereigns are now questioning if her mother truly is the menace that she claims.  In issue #31 she angrily challenges their skepticism by asking “If she wasn’t so great a villain, why else would she have been imprisoned?!” However, soon after an event occurs which shakes Rhian’s beliefs to their very core.

In issue #35 the Eristoi, insectoid servants of the Rapture, arrive on Earth.  Cascade comes face to face with their leader, who mind-links with her.  Through this connection, Rhian discovers the true, tragic history of her world.

Rhian’s mother Morgan was her Earth’s greatest hero and protector.  Morgan learns the Rapture is coming to claim her world.  Donning the armor of Maitresse for the first time, Morgan flies up into outer space to confront the Rapture.  Unfortunately not even Morgan is able to stop the Rapture, which fires a devastating beam of energy at the Earth.  Every single living being on the planet is killed except for Morgan and her unborn daughter Rhian.  The Rapture, realizing that Morgan is the one foe who might ultimately defeat it, creates the barrier that surrounds the solar system, imprisoning Morgan for all eternity.

Finally coming out of the psychic link, Cascade is horrified at what she has learned.  Chastened, she explains to her friends:

“My mother. I was so WRONG about her. I believed her to be evil because from childhood I watched her play with our world and all its people as if it were her toy. She would reshape everything, on a whim, without hesitation or regret. And I hated her for it. It never dawned on me that everything I saw was a figment of her imagination. She was playing with ghosts.”

And so we learn that Maitresse, rather than a being of “ultimate evil,” is in truth a sad, lonely woman haunted by her monumental defeat, traumatized by her failure to save her world, and now driven by only two goals: to protect her daughter, and to escape her prison so that she can defeat the Rapture and avenge her fallen people.

Several years ago Chris Claremont was doing a signing at Midtown Comics.  One of the books I got autographed by him was an issue of S7, and I told him how much of an impact the revelation of Maitresse’s true history, and Cascade having to reevaluate her entire relationship with her mother, had affected me as a reader.  I forget his exact response, but I believe he mentioned something about wanting to address the the relationships between parents and children.

Thinking about it, I feel that the reason why it is such a moving development in the story is that it feels both authentic and earned.  Set aside the superpowers and the cosmic menaces and you have a mother and a daughter who have a great deal of difficulty understanding one another.  That sounds like a lot of families, doesn’t it?

In the final issue of Sovereign Seven it is revealed that the whole story was apparently a work of fiction written by two women, one of whom is the “real life” version of Morgan Douglas, and that she created it for her young daughter Rhian.  That is an interesting twist, the idea that Morgan would write a narrative in which her own daughter would misunderstand her and believe her to be the villain.

Perhaps Morgan was attempting to work through her own feelings about the role of a parent, her fears about the mistakes she might make, the difficulty she foresaw in trying to find a balance between being a responsible adult guardian to her daughter while still giving her enough independence and room to grow into her own person?

Looking at all of this from my own personal perspective, I realize that when I was younger I did not really appreciate my parents.  I felt they were too strict, too overprotective, and I resented them for being controlling, for trying to tell me how to live my life.

Now, as an adult, I am able to perceive that my mother and father were trying to be good parents, that they did have my best interests at heart, and that raising me and my two sisters was a very difficult task.  Perhaps their failure to understand why I made certain decisions was rooted not in them being uncaring or mean but instead in them having grown up in very different social and economic circumstances.

I can also look back at my own actions and now realize that there were occasions when I probably should have paid more attention to the advice my parents were giving me, to tried to understand the benefits of their own experiences that they were attempting to pass along so that perhaps I would not make the same mistakes.

Yes, there are definitely still things about my parents that I disagree with, but I do feel like I have a better understanding of and appreciation for them.

That is one of the qualities of Chris Claremont’s writing which I appreciate, that his characters who are real, believable people. His stories offer the opportunity to examine my own thoughts and actions, as well as the world I live in, through a different lens, an alternate perspective.  That is a valuable gift.

The Daily Comic Book Coffee, Part 14

Welcome to the 14th edition of Comic Book Coffee. I previously posted these daily in the Comic Book Historians group on Facebook. The challenge posed by group moderator Jim Thompson was to pick a subject and find a different artist every day for that subject.  The subject I chose was Coffee.

66) Ramón Torrents

“Good to the Last Drop” was drawn by Ramón Torrents and written by Martin Pasko.  It appeared in Vampirella #36, released by Warren Publishing in September 1974.

Christina Kavanaugh, heiress to the Miller Foods fortune, has been having an affair with Bill Wright, VP of Product Improvement.  Unfortunately her husband Jim, current President of Miller Foods, has just found out.  As we see, Jim reacts badly to the news, brutally slapping Christina while she is having her morning coffee.  Jim slaps his wife so hard that she hits her head against the grandfather clock, causing her death.  This leads the grieving, still-jealous Jim to embark on a very twisted plot to gain revenge on Bill Wright, a scheme that centers on Miller Foods’ production of freeze dried coffee.  Fortunately by the end of this grim little tale karma has boomeranged back on Jim, leading him to a fitting end.

“Good to the Last Drop” appears to have afforded Martin Pasko an opportunity to let his very skewed, offbeat sense of humor go extremely wild.  The story is effectively illustrated by Ramón Torrents, a Spanish artist who had previously worked for British publishers Fleetway and D.C. Thompson on several romance titles in the 1960s, followed by short horror stories for American publisher Skywald in the early 1970s.  Torrents drew a number of stories for Warren that saw print in Vampirella, Creepy and Eerie and between 1973 and 1979.  Reportedly he left the comic book field at the end of that decade.

67) Dan DeCarlo & Rudy Lapick

“Power Shortage” from Sabrina the Teenage Witch #60, penciled by Dan DeCarlo, inked by Rudy Lapick, written by Frank Doyle, lettered by Bill Yashida, and colored by Barry Grossman, published by Archie Comics in June 1980.

Sabrina and her boyfriend Harvey are walking home from school when they see a flying carpet whiz by carrying groceries.  Sabrina rushes home and demands to know why her Aunt Hilda is using a flying carpet during the middle of the day.  Hilda explains that she forgot her weekly magical recharge again.  She doesn’t have the power to just “zap” some groceries home like she usually does, and needs to rely on the carpet.  To demonstrate her weakened power, Hilda attempts to levitate her coffee cup over, and it crashes to the floor.  Sabrina tells her Aunt she had better get a recharge soon.  Hilda then realizes that she forgot to pick up lemons at the market, and she sends the flying carpet out again.  Naturally enough, hilarity ensues.

Dan DeCarlo was definitely adept at drawing comedy.  His style was very well suited to Archie Comics, where he did great work for nearly half a century, from the early 1950s to the late 1990s.  For many years DeCarlo’s art served as the basis for the company’s house style.  Sabrina the Teenage Witch was one of the characters he had a hand in creating.

68) Mike Zeck & Denis Rodier

Damned #3, penciled by Mike Zeck, inked by Denis Rodier, written by Steven Grant, and colored by Kurt Goldzung, published by Image Comics in August 1997.

Damned features the recently-paroled Mick Thorne, who is attempting to deliver a message to the sister of his deceased cellmate Doug Orton.  Unfortunately, New Covenant crime boss Silver believes that Mick knows the location of the fortune that Doug stole from the mob before going to prison.  Mick has to avoid Silver’s thugs while trying to locate Doug’s elusive sister.

In this scene Charlotte Dahl of the State Parole Office is working late, attempting to track down Mick, as well as figure out who murdered Mick’s parole officer.  Drinking coffee to keep awake, Charlotte and her assistant begin looking through the files of other ex-cons who are now in New Covenant, searching for any kind of link to Mick.

Damned was a four issue crime noir miniseries that reunited Steven Grant and Mike Zeck, the creative team that had successfully launched the Punisher into super-stardom a decade earlier.  Damned was collected together by Cybrosia Publishing in 2003 with a new epilogue by Grant & Zeck and behind-the-scenes material.  The collected edition was reissued in 2013 by BOOM! Studios.

I’m a huge fan of Zeck, and I really enjoyed his work on this miniseries.  Rodier’s inking was a good fit for the tone of the story.  I definitely recommend picking up the trade paperback.

69) Art Saaf & Vince Colletta

“Never a Bride to Be” from Falling In Love #117, penciled by Art Saaf and inked by Vince Colletta, published by DC Comics in August 1970.

Another coffee page from a romance story?  What is it with people drinking coffee in romance comics?  Maybe that’s why everyone is so emotional and melodramatic; too much caffeine!

Lisa, the boss’ daughter, has invited young, handsome British engineer Derek over to dinner with her family.  It’s all part of a plan to try to get Derek interested in Lisa’s shy sister Dottie.  Derek and Dottie are soon dating, but Dottie is worried that Lisa is going to try to steal him away.  Indeed, Lisa soon realizes that she is attracted to Derek after all.  What’s a girl to do?

Art Saaf’s career stretched back to the Golden Age.  He did a great deal of work for Fiction House throughout the 1940s, and then for Standard Comics in the late 1940s and early 50s.  In the mid 1950s Saaf began working in television; among his jobs was creating storyboards for The Jackie Gleason Show.  He did feelance advertising work throughout the 1960s, and returned to comic books at the end of the decade.  Between 1969 and 1974 he drew a number of romance stories for DC Comics, several issues of Supergirl, and a handful of war and horror tales.

Saaf is paired here with Vince Colletta, one of his regular inkers at DC.  Colletta’s inking is fairly heavy, but you can still perceive Saaf’s expert storytelling and use of facial expressions & body language to establish the personalities of the characters.  He certainly does an excellent job differentiating between the outgoing Lisa and introverted Dottie here.  I like the awkward humor of those bottom two panels and Lisa and her parents none-too-subtly leave Dottie and Derek to have coffee alone together.

Saaf and Colletta both excelled at drawing beautiful women, so pairing them up was perhaps an inspired choice, after all.  Romance comics historian Jacque Nodell expressed a fondness for their collaborations on her blog Sequential Crush.

70) Sergio Cariello & James Pascoe

Here are two coffee-drinking pages from Azrael: Agent of the Bat penciled by Denny O’Neil, penciled by Sergio Cariello, and colored by Rob Ro & Alex Bleyaert, from DC Comics.  Issue #83 was inked by James Pascoe and lettered by Ken Bruzenak, published December 2001.  Issue #99 was inked by Cariello and lettered by Jack Morelli, published April 2003.

On the first page Lilhy, a member of the sinister Order of St. Dumas, seeks to understand the nature of evil.  She visits the Joker, currently incarcerated at the maximum security prison the Slab, to see if the insane super-villain can offer any insights.  Unfortunately she arrives just as the Joker releases a modified form of his “Joker venom” that transforms everyone in the Slab into doppelgangers of the Clown Prince of Crime.

The now-Jokerized Lilhy returns to Gotham City, where she meets with the psychiatrist Bryan.  Over coffee Bryan attempts to explain to Lilhy that humanity has struggled to understand the nature of evil throughout its entire existence.

On the second page Azrael, aka Jean-Paul Valley, is meeting with Dr. Leslie Thompkins, who has recently been treating him.  Due to the genetic manipulation and brainwashing inflicted upon Jean-Paul in his childhood by the Order, he has been experiencing serious health issues, as well as another bout of mental instability.  It appears that at long last Jean-Paul has finally stabilized, both physically and psychologically.  Over coffee with Leslie, the directionless Jean-Paul wonders what to do next.  She urges him to try to live his own life, and find happiness.

“The Evil Men Do” and “Last Respects” are written by the legendary Denny O’Neil, who passed away in June at the age of 81.  O’Neil co-created Azrael and wrote the entirety of the character’s solo series, which ran for 100 issues.  He appeared to have a fondness for the character.  Interviewed about Azrael in 2009, O’Neil had this to say…

“I wish I’d done one or two things differently, and I think the series kind of lost its way for a while in the middle of the run.  But all that aside…I don’t think there’s ever been a character exactly like Az before or since and I generally enjoyed working on him.  I wish the 100th issue could have been stronger, but it was wonderful of Mike [Carlin] to let me write it; I was only weeks past major surgery at the time and maybe a ways from my best.”

O’Neil was an intelligent and contemplative individual, qualities that were frequently present in his writing.  Although the “Joker: Last Laugh” crossover was a ridiculous event, O’Neil appears to have used this tie-in issue to briefly touch upon the subjective nature of human morality, and our struggles to understand if our actions are ethical.

Likewise, as I recently discussed on this blog, O’Neil utilized Leslie Thompins, another character he created, as a counterpoint to Batman and Azrael.  Leslie is passionately dedicated to fighting for social justice, but she is an avowed pacifist.  In the last storyline of this series O’Neil had Leslie calling out Batman for dragging the emotionally damaged Azrael further into a life of endless violence, and she works closely with Jean-Paul hoping that she will get him to see that he can walk his own path.

Brazilian-born Sergio Cariello penciled Azrael from issue #69 to the finale in issue #100.  He was initially paired with James Pasco, who inked the series for seven years.  On the last nine issues Cariello inked his own work.

Cariello was a student at the Joe Kubert School, and he later taught there.  Thinking about it, I suppose you could describe Cariello’s work as a cartoony version of Kubert’s style.  The Kubert influence certainly became more apparent in the issues where Cariello did full artwork.  It’s another good demonstration of how different inkers affect the look of the finished art.

I actually did another 30 of these Daily Comic Book Coffee entries on the Comic Book Historians group for a grand total of 100. At some point I may re-post the rest of them here on my blog. However, all of the entries have already been archived by Rik Offenberger at First Comics News. Rik is also responsible for the nifty Daily Comic Book Coffee banner seen at the top of this blog post. Thanks again, Rik.

First Comics News is currently presenting my Comic Book Cats posts, as well. I hope you will check them out.

The Daily Comic Book Coffee, Part 13

Welcome to the 13th edition of Comic Book Coffee. I previously posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

(I has nasal surgery a couple of days ago, so if any typos creep into this I apologize. My head is pretty stuffed up right now!)

61) Gene Colan & Tom Palmer

Daredevil #90, penciled by Gene Colan, inked by Tom Palmer, written by Gerry Conway and lettered by Sam Rosen, published by Marvel Comics with an August 1972 cover date.

It’s not all that surprising that during his career Daredevil has encountered four different criminals who assumed the costumed identity of Mister Fear.  What would be more natural that for the self-proclaimed “Man Without Fear” to cross swords with a villain whose modus operandi was the creation of fear?

Here we see Daredevil, hit by Mister Fear’s powers, has crashed through the window of an office building, and is now cowering in terror at the little old lady who cleans the building.  The next panel finds DD a guest of the local precinct, with the cops offering the still-unsteady crimefighter a cup of coffee.

Gene Colan had a style that was generally not an especially good fit for superheroes, yet he is regarded as one of the all-time great Daredevil artists.  Perhaps that is because DD is a non-powered acrobatic character, as well as the fact that, no matter how weird and jokey the series sometimes got, it usually still had one foot planted in gritty noir.  Both these elements made Daredevil an ideal fit for Colan’s unconventional layouts and shadowy penciling.

Colan was reportedly a somewhat-challenging artist to ink.  Tom Palmer is usually classed as one of the best inkers of Colan’s pencils.  They definitely worked extremely well together on Daredevil, Doctor Strange and Tomb of Dracula.

62) John Rosenberger

“What’s Ambition, Anyway?” drawn by John Rosenberger, written by Richard Hughes, and lettered by Ed Hamilton, from Confessions of the Lovelorn #81, published by ACG in May 1957.

Beautiful, talented Jill Sanders dreams of becoming an actress.  She auditions with famed producer-director Carl Rogers, who agrees to see how she works out in rehearsals for his upcoming musical.  While having coffee with Rogers and the rest of the cast, Jill thinks to herself “He’s a real professional — and a swell guy!”  Unfortunately for Jill, her high school rival Marion Major has also joined the cast, and pretty soon the ambitious, arrogant blonde is sinking her claws into Rogers himself.  Due to budget cuts Jill is squeezed out of the chorus and finds herself back waiting tables, and the despairing young woman believes she has lost out on both show business and Carl Rogers.  However, when Carl’s investors back out on him, Jill convinces her restaurateur boss to help finance the show.  It’s a success, and Carl has fallen in love with Jill.

Artist John Rosenberger’s career stretched over 30 years, from 1946 to 1975.  He worked for several different companies, drawing stories in various genres.  His style was definitely well-suited for romance, as he had an aptitude for rendering beautiful, fashionable women.  Towards the end of his career he penciled Superman’s Girlfriend Lois Lane for DC Comics, where once again his knack for drawing lovely ladies was a definite asset.  Rosenberger became the regular artist on Wonder Woman in 1975, but sadly only completed two issues before taking ill.  He passed away in January 1977 at the age of 58.

The entire story “What’s Ambition, Anyway?” can be read on the Comic Book Plus website.

63) Ron Lim & Chris Ivy

Sovereign Seven #36, penciled by Ron Lim, inked by Chris Ivy, and written by Chris Claremont, published by DC Comics with a July 1998 cover date.

As the final issue of Chris Claremont’s Sovereign Seven comes to a close, the Sovereigns, after a long, hard-fought conflict, have finally emerged triumphant against the insidious Rapture.

And then we see that, apparently, the entire story of S7 has been nothing more than a comic book series created by Casey and Morgan, two young women who are customers at the Crossroads Coffee Bar that appeared so often throughout the series.

Sovereign Seven was a creator-owned series that nevertheless took place in the DC universe, with appearances by Darkseid, Superman, Power Girl and other mainstays.  Presumably this ending was conceived by Claremont to allow the series to end with a clean break, so that in the future he could have his characters return in an entirely different venue.  It’s certainly a metatextual scene, with Casey and Morgan standing in for Claremont himself to reflect on the series’ cancellation.

Of course, as Alan Moore once famously observed, “This is an Imaginary Story… Aren’t they all?”  And so I like to think that in some corner or another of the multiverse the events of Sovereign Seven “really” did happen.  Ah, well, real or not, it was a fun series.

Ron Lim was the second regular penciler on S7.  I have been a fan of Lim since he drew Captain America way back in the early 1990s.  I definitely regard him as underrated.  On most of his S7 issues Lim was inked by Chris Ivy.  They made a great art team, wonderfully illustrating Claremont’s stories.

So, anyone know where I can snag one of those big S7 coffee cups?

64) Frank Bolle

Golden and Silver Age artist Frank Bolle passed away on May 12th at the age of 95.  “Outlaw Gold” was penciled & inked by Bolle. It appeared in Tim Holt #29, published by Magazine Enterprises with an April-May 1952 cover date.

Tim Holt was a Western movie star during the 1940s and early 50s.  The comic book Tim Holt featured a fictionalized version of the actor who assumes the guise of the costumed vigilante Red Mask in the post-Civil War “Old West.”  Tim Holt ran for 54 issues, being re-titled Red Mask with issue #42.  Frank Bolle’s artwork appeared in every single issue of Tim Holt / Red Mask.  Bolle really excelled at drawing Westerns, and his work on this series was definitely impressive.

“Outlaw Gold” sees beautiful dancehall girl Della Martin enlisting the help of Red Mask to locate a treasure which she says her father hid out in the desert, west of Bald Rock.  Pursuing Della are members of Butch Cassidy’s “Wild Bunch” gang, who are all too ready to murder the lovely singer so that they may claim the buried fortune.

On this page, en route to Bald Rock, Red Mask and Della are pursued by a trio of Wild Bunch thugs.  Red Mask makes short work of them, knocking all three out.  He and Della then bunk down for the night, brewing up some hot coffee to keep warm.

Bolle does nice work on this page.  The action flows well.  I like how Bolle has Red Mask’s fist swinging out of that third panel, really highlighting the punch.   Della is beautifully drawn.  And since this is a Western, of course we have horses.  I guess this is another crossover with Jim Thompson’s 1000 Horses series!

The entire issue can be read on the Comic Book Plus website.

65) Jerry Ordway & George Perez

Here is a double dose of Da Ordster!  First up is Adventures of Superman #428, penciled & inked by Jerry Ordway, written by Marv Wolfman, lettered by John Costanza, and colored by Tom Ziuko, published by DC Comics in May 1987.

Here we see Clark Kent and Cat Grant at the offices of the Daily Planet, discussing Perry White’s ongoing investigation of organized crime in Metropolis.  Clark is having his morning coffee, and as we can see from his choice of mug he’s a fan of The Far Side.

This page is a good example of both Ordway’s storytelling and inking.  He does a good job laying out the conversation between Clark and Cat, presenting it from different angles, making it interesting.  I like how Ordway inks Cat on this page.  Panel four is especially beautiful.

I know that it’s undoubtedly a function of my having gotten into DC Comics in the late 1980s, but I definitely regard Ordway as one of the definitive Superman artists.

Jumping forward a dozen years we have Avengers volume 3 #18, written & penciled by Jerry Ordway, inked by George Perez, lettered by Richard Starkings, and colored by Tom Smith, published by Marvel Comics in July 1999.

Ordway wrote & drew a really fun three issue story arc on Avengers to give Kurt Busiek & George Perez a chance to catch their breaths.  This is the final page of Ordway’s last issue.

Hank Pym is in his lab late at night, studying the technology of the cyborg Doomsday Man, one of the threats the Avengers faced during Ordway’s storyline.  Hank has obviously been working for a while, because he disgustedly thinks to himself “*GAH* Coffee’s bitter! ‘Course that pot’s only been on all night…”

Before Hank has a chance to brew some fresh java he is interrupted by the violent arrival of several leering metal monstrosities, servants of his mechanical “son” Ultron.  And so Ordway segues back into Busiek & Perez’s own ongoing storylines, with Perez himself inking this last page as part of the transition.  Ordway must have been working closely with Busiek, Perez and editor Tom Brevoort to get everything to line up so smoothly.

Jerry Ordway is one of my favorite comic book creators, and I enjoyed his short stint on Avengers.  As much as I liked Busiek & Perez, I really wish Ordway could have done more work on this title.  He latter penciled the Domination Factor: Avengers and Maximum Security miniseries, on both of these once again doing excellent jobs depicting Earth’s Mightiest Heroes.

I don’t think Ordway’s had any ongoing assignments in the last two decades, instead bouncing around between various short guest runs, fill-ins, miniseries and specials.  That’s a shame, because he’s a very talented artist.

Happy birthday to Joyce Chin

It’s definitely time for a change of pace.  I’ve penned too many obituaries in the last several months.  I need to make more of an effort to write about the people whose work I enjoy while they are still among the living.  In the past I’ve done the occasional birthday tribute to a few of my favorite comic book creators; I’m going to try to make that more of a regular feature on this blog.

I wanted to wish a very happy birthday to comic book artist Joyce Chin, who was born on July 31st.  Some of Chin’s earliest work was for DC Comics in 1995, penciling Guy Gardner: Warrior, a fun, underrated series written by Beau Smith.  A couple of years later Smith and Chin were reunited, with Chin becoming the first artist to pencil the adventures of Smith’s creator-owned character Wynonna Earp, the beautiful federal marshal who battles supernatural criminals.

I think the first time Chin’s work really stood out to me was on a short story she penciled for the Dark Horse Presents Annual 1999.  It featured an adventure of Xena: Warrior Princess during her teenage years.

Chen and inker Walden Wong did a good job rendering a younger incarnation of Lucy Lawless’ iconic heroine.  I think the black & white format of DHP, as well as the fantasy setting, enabled me to really notice and appreciate all of the intricate detail that Chin put into her artwork.

The point at which I really became a fan of Chin was in early 2015 when I saw the three covers she had drawn for Dynamite Entertainment’s female-driven crossover Swords of Sorrow.  I was especially impressed by Chin’s cover for the prologue issue Swords of Sorrow: Chaos! Prequel which featured Purgatori, Chastity, Bad Kitty and Mistress Hel in an homage to mid 20th Century pulp magazine cover artwork.

I think I’ve observed in the past that women often make the best pin-up artists.  It’s probably to do with the fact that they understand how women’s bodies actually work in the real world, which enables them to give their drawings of female characters a certain weight or verisimilitude, so to speak, that is sometimes absent when male artists try to draw sexy females.  Whatever the case, I’ve always enjoyed how Chin renders female characters.

Chin is married to Arthur Adams, another artist who specializes in artwork containing an insane amount of detail with a genuine gift for rendering lovely ladies.  Chin and Adams have collaborated on a handful of occasions, always to good effect.  Here is one of those times, the cover to Action Comics #820 (December 2004) which is penciled by Chin and inked by Adams.  It features the supernatural villainous Silver Banshee, who Chin has drawn a few times over the years.

Another of Chin’s passions is dogs, specifically Silken Windhounds.  Chin has several of these majestic, beautiful dogs.  I always enjoy seeing the photos of them she posts on Facebook.  Naturally enough the Silken Windhounds have found their way into some of Chin’s artwork.  Here’s an example of her depiction of these stunning animals, which was published in her 2018 convention art book. Chin’s work has been likened to Art Nouveau pioneer Alphonse Mucha, and that quality is certainly apparent in this piece.

I was fortune enough to meet Chin a few times at New York Comic Con.  I had been hoping to get a convention sketch from her for several years.  I finally asked her to draw a piece in my Mantis theme sketchbook when she was at NYCC 2019.  Chin did a beautiful color drawing, as seen in the photo below.  She really invested the character with personality, a feature of her work.  Hopefully once this pandemic is finally over and comic conventions start being held again I will have an opportunity to obtain another sketch from her.

I hope we will be seeing more artwork from Joyce Chin in the near future.  She’s a very talented artist.  Also, having conversed with her on Facebook and met her at NYCC, she really comes across as a good person.

The Daily Comic Book Coffee, Part 12

Welcome to the 12th edition of Comic Book Coffee. I posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

56) Judit Tondora

Wonder Woman ’77 Meets The Bionic Woman #2, drawn by Judit Tondora, written by Andy Mangels, lettered by Tom Orzechowski & Lois Buhalis, and colored by Roland Pilcz, published by Dynamite Entertainment and DC Comics in January 2017.

This was a fun miniseries co-starring television’s top two heroines from the late 1970s.  Andy Mangels is probably the foremost expert on Wonder Woman, and he must have had a real blast writing a team-up of Princess Diana and Jamie Sommers.

Hungarian artist Judit Tondora did a great job rendering both the television version of Wonder Woman and the Bionic Woman, along with both their supporting casts and their small screen rogues galleries.  Likenesses can be very tricky, but I feel that Tondora really captured most of them pretty accurately.  Her depictions of Diana and Jaime were certainly beautiful.  Tondora’s art for this miniseries was very lively.  I hope we see more of her work appearing in comic books in the near future.

In this scene Diana Price and Steve Trevor of the IADC are meeting with Jaime Sommers and Oscar Goldman of the OSI.  Over coffee the four agents are discussing the ongoing investigation into the terrorist cabal Castra, an alliance of the IADC and OSI’s deadliest adversaries that has hijacked a shipment of experimental nuclear missiles.

Wonder Woman ’77 Meets The Bionic Woman was a really enjoyable read.  I definitely recommend it.

57) Brad Gorby & Mark Heike

Femforce #93, written & penciled by Brad Gorby, inked by Mark Heike, and lettered by Christie Churms, published by AC Comics in May 1996.

While Femforce is basically a serious title, it also has a sense of humor about itself.  The main storyline running though these issues involves Jennifer Burke, the daughter of the original Ms. Victory.  Due to the manipulations of the military and a series of personal tragedies Jen’s life has completely fallen apart.  Going rogue, Jen adopts the identity of Rad which her mother previously assumed.  The government, realizing that Rad possesses a wealth of top secret information from her time leading Femforce, dispatches a group of genetically engineered assassins to eliminate her.

While this very intense plotline is taking place, writer / penciler Brad Gorby takes a brief detour to a more lighthearted setting.  It is morning and the ladies of Femforce are having breakfast.  Ms. Victory is once again drinking coffee, obviously a favorite of hers.  The incredibly-powerful yet often-absentminded Synn is trying to find out who ate all her sprinkle donuts and pop tarts, prompting the sorceress Nightveil to conjure up some for her.

I enjoy these types of “downtime” scenes in Femforce that explore the personal lives of the characters, and which allow for somewhat more goofball sequences. 

Gorby did a good job penciling this scene, giving each of the characters their own personalities, making them stand out from one another.  The inking is by Mark Heike.  Gorby and Heike are both longtime AC Comics contributors, as well as very talented artists.  Grey tones are by Christie Churms, who also lettered this issue.

58) José Beá

“Recurrence” was drawn by José Beá and written by Steve Skeates.  It appeared in Vampirella #34, released by Warren Publishing in June 1974.

The beautiful young protagonist of “Recurrence” thought she had it made.  She had pushed her husband into an elevator shaft, collecting $10,000 from the insurance company for his “accidental” death.  But then came the dreams, night after night, of being pushed off a cliff and falling endlessly.  Was it a guilty conscience… or a premonition?  Now she drinks coffee in the middle of the night desperate not to fall asleep again.

Spanish artist José Beá illustrated a number of stories for Warren between 1971 and 1976.  These were published in Warren’s three main comic book magazine series, Creepy, Eerie and Vampirella.  Following his time at Warren, Beá did a great deal of work in the European comic book field.  Among these were a number of erotic stories, some of which at the time unfortunately garnered a great deal of controversy.  Beá also wrote several science fiction novels for young adults.

59) Peter Krause & Dick Giordano

The Power of Shazam #36, penciled by Peter Krause, inked by Dick Giordano, written by Jerry Ordway, lettered by John Costanza and colored by Glenn Whitmore, published by DC Comics in March 1998.

During a crossover with the Starman series, Billy and Mary Batson have to work with Jack Knight to help clear the name of World War II hero Jim Barr, aka Bulletman, who has been framed for treason by neo-Nazis.  In his Captain Marvel identity Billy initially clashes with Jack, until the more level-headed Mary Marvel convinces him to calm down.  The trio heads to the home of Nick & Nora Bromfield, who have adopted the orphaned Mary and Billy.  There they find the Bromfields having coffee with Jack’s father Ted, the original Starman, as well as Jim Barr himself, with everyone attempting to figure out what their next step should be.

The Power of Shazam was such an amazing, fun, underrated series.  I came into it a bit late, in the second year, but I immediately became hooked, and I soon got caught up on the Jerry Ordway graphic novel and back issues.  Ordway wrote some great stories.  He successfully achieving the very tricky feat of simultaneously updating Billy, Mary and the rest of the Marvel Family cast for the 1990s while retaining a great deal of the charm from the original Golden Age stories.

Peter Krause did really good work penciling the series.  Due to the prevailing styles in super-hero comic books at the time, I think his work here was unfortunately overlooked by many.  Krause deftly balanced the serious and cartoony elements of the characters.  On the later issues of the series Krause was inked by the legendary Dick Giordano.

60) Amy Reeder

Rocket Girl #2, drawn & colored by Amy Reeder and written by Brandon Montclare, published by Image Comics in November 2013.

DaYoung Johansson, a fifteen year old police officer from the high tech future year of 2013, has traveled back in time to 1986.  DaYoung is convinced that her miraculous world should not exist, that it was created when the monolithic corporate juggernaut Quintum Mechanics sent its own technology back in time 27 years to its founders to give them a vast advantage.  DaYoung, armed with her jetpack and her teenage zeal, is determined to thwart this crime against time, even if it means erasing the very future from which she came.

Montclare & Reeder’s ten issue Rocket Girl series is a wibbly wobbly, timey wimey tale of temporal paradoxes, corporate intrigue and youthful idealism.  I previously reviewed the first five issues. The ending to Montclare’s story ultimately left me feeling ambivalent, for a few different reasons.

What I was not ambivalent about was Reeder’s stunning artwork.  She did a superb job drawing both the sci-fi New York City of 2013 and the historically accurate Big Apple of 1986.  Her layouts for Rocket Girl were incredibly dynamic, and the amount of detail she put into her pages was astonishing.

As Reeder recounts in the text feature from issue #7…

“In Rocket Girl I am responsible for making two worlds; an 80s vision of the future, and actual 1980s New York.  At first I expected the futuristic world would give me the worst trouble — I thought coming up with a city out of thin air would be a bit overwhelming.  But I should have known better: I get carried away with accuracy, and the 1980s New York is heavily documented, often talked about, and well remembered by many.  So bar none — 80’s NYC is the harder of the two worlds to draw.  I just HAVE to get it right.  And, honestly, it’s pretty fun to get it right.  (Or close!)”

On this page from issue #2, the recently arrived DaYoung is bunking with Annie Mendez and Ryder Storm, two graduate students who work for Quintum Mechanics in 1986.  Annie and Ryder awaken to find the hyperactive DaYoung has whipped up a huge stack of pancakes and brewed a pot of coffee, all the while pondering how to change the course of history.

The Daily Comic Book Coffee, Part 11

Welcome to the 11th edition of Comic Book Coffee. I’ve been posting these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

51) Wilson Tortosa

Exposure: Second Coming #2, penciled by Wilson Tortosa, written by David Campiti, lettered by Matt Thompson, and colored by Mickey Clausen, published by Avatar Press in October 2000.

I know some of you are probably saying “Coffee? What coffee?!?”  Look, it’s right there.  Those two lingerie-clad ladies are having their morning coffee.  See, I told you so.

Exposure, created by David Campiti and Al Rio, featured the adventures of Lisa Shannon and Shawna Diaz, who investigate cases involving demons, vampires, aliens and other weird phenomena.  Of course Lisa and Shawna deal with all of these unusual menaces while wearing skimpy outfits and stiletto heels.  And in their free time they occasionally work as pin-up models.  I guess you can consider it “The XXX-Files” or something like that.

Exposure was originally published by Image Comics in 1999 as a four issue series.  It returned a year later with the two issue Exposure: Second Coming released through Bad Girl comic book publisher Avatar Press.

This back-up story in Exposure: Second Coming #2 was the first published work of Filipino artist Wilson Tortosa.  He went on to draw Battle of the Planets, City of Heroes and Tomb Raider for Top Cow / Image Comics.

52) Casey Jones & Tom Simmons

Excalibur #99, penciled by Casey Jones, inked by Tom Simmons, written by Warren Ellis, lettered by Richard Starkings, and colored by Ariane Lenshoek, published by Marvel Comics with a July 1996 cover date.

Okay, since the last entry was heavy on the T&A, here’s one for the ladies.  We have the very buff Brian Braddock clad in his boxers drinking his morning coffee.  He’s deep in contemplation, preparing himself for an upcoming encounter with the London Branch of the Hellfire Club.  Brian has redesigned his Captain Britain armor in anticipation of the conflict, and has mixed feelings about assuming his costumed alter ego again.

I definitely felt the best issues of Excalibur were the ones by Chris Claremont & Alan Davis, and the ones where Davis both wrote & penciled the series.  Following Davis’ departure the book took a definite dip in quality.  Warren Ellis’ run was a post-Davis highpoint, and he wrote some stories that I enjoyed.

Casey Jones was brought in to alternate with Carlos Pacheco on penciling duties.  Pachecho was ostensibly the series’ main artist, but in practice Jones ended up penciling twice as many issues.  I really liked Jones’ work.  He’s a talented artist.  This page definitely demonstrates his storytelling abilities.  Jones has also worked on Outsiders, Birds of Prey, Fantastic Four and New Warriors.

53) Jack Kamen & Johnny Craig

“Hear No Evil” is penciled by Jack Kamen, inked by Johnny Craig, written by Al Feldstein, and colored by Marie Severin, from Crime SuspenStories #13, published by EC Comics with an Oct-Nov 1952 cover date.

Beautiful, ambitious Rita has married Frank Reardon for one reason: he’s incredibly wealthy.  Frank is also completely deaf, having lost his hearing in the military.  While Rita acts the role of dutiful, loving wife she mockingly tells him things like “From here on in, your my meal ticket” and “If it wasn’t for your dough I’d walk out on you tonight” knowing he can’t hear a single word she says.

Rita begins an affair with Vance Tobin, a business associate of Frank.  The lovers try to figure out a way be together without Rita losing Frank’s money.  Then one day Frank stumbles into the house, dazed & disheveled, having nearly died in a car accident outside.  Inspiration strikes Rita, and in front of the deaf Frank she suggests to Vance a plan to poison her husband and forge a suicide note.

Rita retrieves some potassium cyanide from the garden shed.  Serving coffee to the two men, Rita tells Vance not to drink the cup on the right s it contains the poison.  A few minutes later, though, it is not Frank but Vance who abruptly drops dead on the spot, much to Rita’s horror.  Wrong coffee cup, Vance!  You can probably guess the twist ending, but I won’t spoil it.

“Hear No Evil” is a EC rarity, one of the few stories not drawn solely by a single artist.  Instead, we have two EC mainstays collaborating, Jack Kamen on pencils and Johnny Craig on inks.  They work well together, effectively illustrating Feldstein’s tale of infidelity and homicide.

Following the demise of EC Comics in 1955, Kamen went into the advertising field, where he had a successful career.  He briefly returned to comic books in the early 1980s to draw the cover of the graphic novel adaptation of Stephen King’s EC Comics-inspired Creepshow, as well as the artwork featured in the actual movie.  Kamen passed away in 2008.

Johnny Craig remained in comic books, but he found only limited success at both Marvel and DC, due to his style not aligning with the dynamics needed for superhero stories, as well as to his meticulous approach to drawing leading to difficulty in meeting deadlines.  By the 1980s he had moved into a creative field where he was much more comfortable, drawing private commissions for fans of his now-classic EC Comics work.  Craig passed away in 2001.

54) Sal Buscema & Jim Mooney

Defenders #62, penciled by Sal Buscema, inked by Jim Mooney, written by David Anthony Kraft, lettered by John Costanza, and colored by Bob Sharen, published by Marvel Comics with an August 1978 cover date.

Today’s entry is from the famous (infamous?) “Defenders for a Day” storyline.  Would-be documentarian Aaron “Dollar Bill” English has put together a television special about the Defenders.  In it, touting the Defenders’ “non-team” status, Dollar Bill enthusiastically states “Anyone with super-powers who wants to declare himself a Defender is automatically a member!  It’s a snap… Don’t delay, join today!”

To the Defenders consternation, several dozen superheroes arrive on their doorstep ready to join the team.  Valkyrie, attempting to be courteous, suggests they make coffee for all the guests, and attempts to enlist Hellcat’s aid, but Patsy Walker refuses, stating “No way, Val — this tabby’s through messing around with that cockamamie coffee pot!”  Valkyrie is left with no one to assist her in making coffee but the Hulk… oh, gee, what could possibly go wrong?!?

Soon enough Val and the Hulk are serving up cups of what is apparently the strongest, most pungent black coffee ever brewed in the entire history of existence, leading Captain Marv-Vell to disgustedly exclaim “Not even Thanos could down this bitter beverage!”

Sal Buscema is one of my all-time favorite comic book artists.  He is an accomplished storyteller, and as we see here he does an absolutely superb job illustrating David Kraft’s comedic story.  Buscema’s pencils combined with Kraft’s script results in a laugh-out-loud issue.

Jim Mooney, another very talented artist, effective embellishes Buscema here.  I love their scowling Hulk who orders the Paladin to “Drink it black!” The disgusted expression on Hercules’ face is also priceless.

55) John Byrne

John Byrne’s Next Men #30, written & drawn by John Byrne and colored by Matt Webb, published by Dark Horse with a December 1994 cover date.

Next Men was John Byrne’s first creator-owned series.  A bleak sci-fi political suspense thriller, Next Men dealt with the survivors of a top secret genetic engineering project masterminded by Senator Aldus Hilltop.

By this point in the series the corrupt, ruthless Hilltop has ascended to the Presidency itself.  Bethany, Nathan and Danny, three of the surviving Next Men, have learned that Hilltop is Danny’s biological father, and have traveled to Washington DC hoping to confront him.  They are intercepted by Thomas Kirkland, a time traveler from the 22nd Century.

Over coffee at an all-night diner, Kirkland reveals to the Next Men that Hilltop is destined to become the vampiric cyborg despot Sathanas, who nearly conquered the world in the year 2112.  Defeated, Sathanas traveled back in time to 1955 and met up with the young, ambitious Hilltop, advising him, giving him knowledge of the future, directing him to establish the Next Men project, all of this to ultimately insure his own creation.  Kirkland has traveled back to the end of the 20th Century in an attempt to break this predestination paradox by assassinating Hilltop before he transforms into Sathanas.

Next Men was an intriguing and ambitious series.  I consider it to be one of John Byrne’s best works from his lengthy career.  The series went on hiatus with issue #30, ending on an explosive cliffhanger.  Byrne initially planned to return to Next Men just a few months later, but the implosion of the comic book biz in 1995 delayed this indefinitely.

Byrne at long last concluded the Next Men saga in 2011 with a 14 issue series published by IDW. Hopefully I will have a chance to take a look at those issues in an upcoming blog post.

The Art of Joe Sinnott

Last week I wrote a short tribute to Joe Sinnott, who passed away at 93 years old on June 25th.  Sinnott’s career stretched across seven decades.  He worked on so many different comic books during his lifetime that I wanted to spotlight some more examples of his work, both doing full art, and as an inker / embellisher.  Here are twelve highlights from his career.

1) “Drink Deep, Vampire” is one of Joe Sinnott’s earliest stories.  It appeared in Strange Tales #9, published by Atlas Comics with an August 1952 cover date.  Decades later Sinnott would cite it as a favorite.

2) Sinnott drew many Western stories for Atlas during the 1950s.  Here is a good example of his work in the genre.  “The End of the Dakota Kid” appeared in Gunsmoke Western #46 (May 1958).

3) One of the earliest jobs on which Sinnott inked Jack Kirby was the monster story “I Was Trapped By Titano the Monster That Time Forgot!” in Tales to Astonish #10 (July 1960).  Right from the start they were doing great work together.  They certainly did a superb job depicting Titano, an immense crab.

4) Sinnott did a great deal of work for Treasure Chest of Fun & Fact published by George A. Pflaum.  One of his most noteworthy assignments for that educational comic book was “The Story of Pope John XXIII, Who Won Our Hearts,” a 65 page biography serialized over nine issues.  Here is the beautifully detailed opening page of the first chapter, published in Treasure Chest vol 18 #1 (September 13, 1962).

5) Journey Into Mystery #91 (April 1963) featuring Thor was one of the very few Marvel Comics superhero stories for which Sinnott did the full art.  He did nice work on this one.  I especially like the first panel on this page, with the beautiful Valkyries in flowing gowns descending from Asgard to give an imprisoned Thor his belt of strength.

6) Ask who was Jack Kirby’s best inker, and many fans will respond that it was Joe Sinnott.  Sinnott did superb work over Kirby at Marvel, especially on Fantastic Four.  Issue #72 (March 1968) has one of the most iconic covers from their run, and it doesn’t even feature the FF.  Instead we have the Silver Surfer soaring through outer space, with the Watcher in the background, surrounded by a bundle of “Kirby crackle.”

7) Tender Love Stories was a short-lived romance series from Skywald Publications, who were in operation for the first half of the 1970s.  The cover of the first issue (February 1971) has the interesting pairing of Don Heck and Joe Sinnott.  I’m one of those people who believe Heck was underrated.  His style was well-suited to the romance genre.  Sinnott’s inking complements Heck’s pencils on this piece.

8) Sinnott remained on Fantastic Four for a decade after Kirby departed.  In the early 1970s he was paired with John Buscema.  This splash page from FF #137 (August 1973) beautifully showcases Sinnott’s detailed, polished inking.  The textures on the castle walls, the forest surrounding it, and the Moon in the sky above are incredibly rendered.

9) Although from the early 1960s on nearly all of Sinnott’s work for Marvel was as an inker / finisher, from time to time he did full art for covers and licensing art.  Here is one of his occasional covers, for The Invaders #30 (July 1978) featuring Captain America, Namor the Sub-Mariner and the original Human Torch in battle with a Nazi flying saucer.

10) Sinnott stated a number of times that his favorite character to draw was Ben Grimm, the Thing.  In addition to inking the Thing in innumerable issues of the Fantastic Four, Sinnott also did inks / finishes for the character in his solo series published in the 1980s.  Sinnott was paired with penciler Ron Wilson, and they made an effective team.  Here’s a page from The Thing #24 (June 1985) that has Ben tussling with the Rhino.  Just look at the detailed, textured manner in which Sinnott inks the Rhino’s costume.

11) Sinnott did very little work for DC Comics.  One of the few jobs he did appeared in the pin-up book Superman: The Man of Steel Gallery (December 1995).  Sinnott inked longtime Superman artist Curt Swan, and it was a beautiful collaboration.  Looking at this, I really wish Swan & Sinnott could have worked on a few Superman stories together.  I got this autographed by Joe at a comic book convention several years ago.

12) Deadbeats is a vampire soap opera written & penciled by Richard Howell and inked by Ricardo Villagran published by Claypool Comics.  It ran for 82 issues, and has continued as a web comic.  Howell asked a number of different artists to ink the covers throughout the run.  The cover to the penultimate installment, Deadbeats #81 (December 2006), was inked by Sinnott, who had previously inked Howell a few times at Marvel.  The coloring is by John Heebink.

Originally I was going to show 10 examples of Joe Sinnott’s artwork, but I just could not narrow it down, which is why we have 12…. or 13, if you count Joe’s self-portrait at the top.  Even with that I still had to leave out a few examples I really liked!  As I said before, Sinnott did so much great artwork over the decades.  Please feel free to mention your own favorites in the comments below.

Joe Sinnott: 1926 to 2020

Legendary comic book artist Joe Sinnott passed away on June 25th at the age of 93.  Sinnott had such a long and distinguished career as an artist that I really could not do him justice in a short blog post.  I will touch upon a few highlights, but for a much more detailed examination of his career I strongly urge everyone to get a copy of Brush Strokes With Greatness: The Life & Art of Joe Sinnott written by Tim Lasiuta from TwoMorrows Publishing.

Fantastic Four #57 (Dec 1966) cover artwork by Jack Kirby & Joe Sinnott

Joe Sinnott was born in Saugerties, NY on October 16, 1926, and he lived in that area for almost his entire life.  Following service in the U.S Navy during World War II, Sinnott attended the Cartoonists and Illustrators School (now known as the School of Visual Arts). 

One of his instructors was artist Tom Gill, who asked Sinnott to work as his assistant. Sinnott assisted Gil for nine months in 1949.

In 1950 Sinnott decided to find work on his own, and he was soon receiving regular assignments from Atlas Comics, the precursor to Marvel.  Atlas editor Stan Lee assigned numerous stories for Sinnott to illustrate which saw print in the company’s war, horror, science fiction and Western anthologies.

“Invasion From Outer Space!” from Journey Into Mystery #52 (May 1959) penciled & inked by Joe Sinnott

In 1957 Atlas experienced a severe contraction due to its distributor American News Company being shut down by the federal government in an anti-trust case.  Sinnott was one of the many freelancers let go by Atlas, and so he had to find work elsewhere.  He worked for a number of clients, including Treasure Chest of Fun & Fact, an educational, Catholic-oriented comic book published by George A. Pflaum that was distributed to parochial schools in North America.

Stan Lee asked Sinnott to return to Atlas in 1959.  Within two years the company had transformed into Marvel and begun its successful superhero revival.  During this period Lee first had Sinnott work as an inker over Jack Kirby, initially on stories for Atlas war and monster anthologies, and then on some of the early Marvel superhero books, such as Fantastic Four #5 (July 1962) the first appearance of Doctor Doom, and Journey Into Mystery #83 (Aug 1962) the first appearance of Thor.  Sinnott also contributed the full artwork for some of the early Thor stories that appeared in Journey Into Mystery in 1963.

Artwork from The Beatles published by Dell Comics (Sept 1964) penciled & inked by Joe Sinnott

Lee had actually wanted Sinnott to become the regular inker over Kirby on Fantastic Four following issue #5.  However at this time Treasure Chest assigned Sinnott to draw the 65 page biography “The Story Of Pope John XXIII, Who Won Our Hearts,” which was serialized in nine issues between September 1962 and January 1963. 

Treasure Chest vol 25 #16 (May 14, 1970) cover artwork by Joe Sinnott

Soon another ambitious project was assigned to Sinnott, a biography of the British rock band the Beatles published by Dell Comics in 1964.  Sinnott was given a mere month within which to illustrate the entire 64 page book.  It speaks highly of both his talent and professionalism that he turned in the job on time while doing quality work. And, as I’ve observed before, drawing likenesses can be very tricky. All things considered, I think Sinnott did a fair job capturing the appearances of the Fab Four.

Following the completion of these two biographies, Sinnott began to work for Marvel almost exclusively.  He also continued to illustrate stories and covers for Treasure Chest up until the title came to an end in 1972.

Sinnott did finally became the regular inker over Jack Kirby on Fantastic Four beginning with issue #44 (Nov 1965).  The art team of Kirby & Sinnott on FF in the second half of the 1960s is highly acclaimed.  As historian Mark Alexander stated in his book Lee & Kirby: The Wonder Years (TwoMorrows, 2011)…

“In an uncanny stroke of luck and perfect timing, just when Kirby gained the time to improve his artwork, Joe Sinnott became the FF’s regular inker. Sinnott was a master craftsman, fiercely proud of the effort and meticulous detail he put into his work. … That slick, stylized layer of India ink that Sinnott painted over Kirby’s pencils finished Jack’s work in a way that no other inker ever would. Comic fans had never witnessed art this strange and powerful in its scope and strength.”

A scan of the original artwork for Fantastic Four #81 page 1 (Dec 1968) penciled by Jack Kirby and inked by Joe Sinnott. I think this is a really good example of Sinnott’s polished inking over Kirby. Image courtesy of Heritage Auctions.

Following a falling-out with Marvel, Kirby departed Fantastic Four with issue #102 (Sept 1970).  Sinnott, however, remained on as the FF inker / finisher for 15 years, until issue #231 (June 1981).  In the post-Kirby decade Sinnott inked pencilers John Buscema, Rich Buckler, George Perez, Keith Pollard, Bill Sienkiewicz and John Byrne on Fantastic Four.  It’s generally regarded that Sinnott helped maintain artistic consistency on the title during the Bronze Age.

Sinnott became a much in-demand inker / finisher at Marvel from the mid 1960s thru the early 1990s.  He was paired with numerous pencilers during this 27 year period.  As longtime Marvel editor Tom Brevoort explained on his blog:

“Joe Sinnott defined the look of the Marvel art style as much as anybody this side of John Romita, and more than any other inker in the business. His smooth linework and clean finish gave a pristine, sleek, modernistic flavor to any assignment he worked his brush over, regardless of the penciler. He’s absolutely my favorite inker of all time, a guy who improved the quality of any series he was working on. Additionally, Joe is an absolute professional, and a hell of a nice guy.”

Thor #407 (Sept 1989) penciled by Ron Frenz & inked by Joe Sinnott

Sinnott’s last regular assignment for Marvel was Thor, paired with penciler Ron Frenz from 1989 to 1991, another wonderful collaboration.  In 1991 Sinnott made the decision to retire from monthly comic books, although over the next 28 years he continued to contribute to various miniseries, special editions, pin-ups and other projects, and to ink the Sunday installment of the Spider-Man newspaper strip.  In March 2019, at the age of 92, he FINALLY made the decision to completely retire as a professional artist, although he continued to draw for pleasure until nearly the end of his life.

The news of Sinnott’s passing this week was met with sadness.  This was not only because he was an incredibly talented artist who worked on hundreds of great comic book stories, but because he was also a genuinely good person, beloved by friends, colleagues and fans alike.  As comic book writer & historian Mark Evanier opined on his blog this week:

“If you were in a crowd of folks who worked in the comic book industry and announced, “Joe Sinnott was the best inker who ever worked in comics,” you wouldn’t get a lot of argument. If you said, “Joe Sinnott was the nicest guy who ever worked in comics,” you’d get even less.”

Fantastic Four #181 (April 1977) autographed by Joe Sinnott

I was one of the many fans who was fortunate enough to meet Joe Sinnott when he was a guest at comic book conventions.  He always came across to me as friendly, warm and down to Earth.

Sinnott was one of those people whose work I enjoyed before I met him, but afterwards I became even more of a fan by virtue of the fact that he was such a good guy.

Joe Sinnott leaves behind a rich, creative legacy, and he will definitely be missed.  I wish to offer my condolences to his family and friends for their loss.