“I’ve been called over the top. How silly. If you don’t go over the top, you can’t see what’s on the other side.” – Jim Steinman
Acclaimed composer, lyricist, record producer, and playwright Jim Steinman passed away on April 19th. He was 73 years old.
Steinman was known for his epic musical compositions. Some might call them operatic, while others would probably prefer to describe them as melodramatic. Myself, being someone with a fondness for the epic, grand soundscapes, really enjoyed his work.
Steinman’s career began in the late 1960s, but he first gained widespread recognition when he composed Bat Out of Hell, the 1977 debut album of Meat Loaf. Bat Out of Hell became one of the best-selling albums of all time. I have to confess, Bat Out of Hell initially escaped my attention for one very good reason: I was all of one year old when it came out, so I was obviously a bit too young to be able to appreciate Steinman’s lyrics & compositions and Meat Loaf’s vocals.
However, by the time their long-awaited follow-up, Bat Out of Hell II: Back Into Hell was released in September 1993, I was absolutely the perfect age to listen. This was right at the beginning of my senior year in high school, and “I’d Do Anything For Love (But I Won’t Do That)” was being blasted across the airwaves. Meat Loaf belted out these incredible, soulful vocals. The duet at the end between Meat Loaf and Lorraine Crosby aka “Mrs. Loud” topped off the dramatic, atmospheric ballad.
The epic music video for “I’d Do Anything For Love (But I Won’t Do That)” directed by Michael Bay, with its eerie, Gothic romance imagery, was in heavy rotation on MTV in late 1993. Yes, kids, this was back in the bygone days when MTV actually played music videos!
I bought Bat Out of Hell II soon after it came out, and I totally played that album to death! Seriously, it was one of those albums I would listen to from start to finish, not skipping any tracks. Steinman and Meat Loaf really seemed to catch lightning in a bottle with this one, with nary a dud on the track list. Even track 7, “Wasted Youth,” a bizarre monologue spoken by Steinman himself, was weirdly entertaining.
Steinman also worked with Air Supply, Barry Manilow, Bonnie Tyler, Celine Dion, and The Sisters of Mercy, writing some incredibly stirring songs for those artists. Many of those songs became huge hits.
Growing up in the 1980s, the Bonnie Tyler song “Total Eclipse of the Heart” (1983) was a regular presence on “light FM” radio stations. I always liked it, although it wasn’t until a decade later that I learned Steinman had written & produced it. Of course, as soon as I found out, I could immediately see his lyrical and acoustical signatures all over it. “Total Eclipse of the Heart” was later covered as an electronic dance track by Nicki French in 1995, again becoming a hit.
The video for “It’s All Coming Back to Me Now” was directed by acclaimed filmmaker Ken Russell. Steinman wrote the script for the video, and he drew inspiration from Russell’s own recent work on the “Nessun Dorma” segment from the 1987 compilation opera movie Aria. Russell’s video for “It’s All Coming Back to Me Now” could be described as an apocalyptic S&M orgy, with leather-clad demons and angels fighting over the soul of a woman (portrayed by Caswell) who hovers between life and death after a fiery motorcycle crash in a graveyard.
The video for Dion’s cover of “It’s All Coming Back to Me Now” was directed by Nigel Dick. It was much more in the line of traditional Gothic romance than the Pandora’s Box version had been, but it was certainly no less grandiose. Set in a sprawling mansion, the music video was shot on location in the 200 year old Ploskovice summer palace of the Austrian Emperors, and at Barandov Studios in Prague, Czech Republic.
“It’s All Coming Back to Me Now” was later covered again in 2006. This time it was performed as a duet by Meat Loaf and Marion Raven. The producer on this version was Desmond Child rather than Steinman.
Steinman later wrote Bat Out of Hell: The Musical, which featured a number of his iconic compositions. The show opened in February 2017 at the Manchester Opera House. It subsequently was staged in London, Toronto and New York City. Tours in the United States, Australia and the UK were planned, but postponed due to the Covid-19 pandemic.
Jim Steinman career has been described as “wholly unique” by Rolling Stone. He leaves behind a rich musical legacy of incredibly dramatic, iconic songs.
Longtime comic book & fantasy artist Frank Thorne passed away on the morning of March 7th at 90 years old. Marilyn Thorne, his wife of many years, later passed away that afternoon.
Thorne’s career in comic books actually began back in 1948. He was a regular contributor to Dell Comics throughout the 1950s and 60s. From 1968 to 1972 Thorne was the artist on the Western adventure series Tomahawk published by DC Comics. He drew several comics for the short-lived publisher Atlas / Seaboard in the mid 1970s.
Thorne’s career entered what could be regarded as a “second act” in late 1975. Red Sonja, the sexy female barbarian created by Roy Thomas & Barry-Windsor Smith (inspired by the Robert E. Howard character Red Sonya of Rogatino), was given her own solo series beginning with Marvel Feature volume 2 #1, cover-dated November 1975. The first issue was written by Thomas and drawn by Dick Giordano. Paired with writer Bruce Jones, Thorne took over drawing Red Sonja in Marvel Feature with issue #2 (January 1976).
Thorne remained on Marvel Feature thru #7, the final issue. It was immediately followed by an ongoing bimonthly Red Sonja series written by Roy Thomas & Clara Noto. Thorne penciled, inked, lettered and colored the first 11 issues (January 1977 to September 1978), producing stunning and exquisitely detailed work.
Due to his striking rendition of Red Sonja, Thorne became very well-regarded and much in-demand for his depictions of beautiful women. He subsequently created a number of erotic fantasy series. Thorne’s sexy stories & artwork were also published in Heavy Metal, National Lampoon and Playboy.
Thorne’s book Drawing Sexy Woman, published by Fantagraphics in 2000, was an informal autobiography of sorts, with his recollections complemented by several dozen illustrations of lovely ladies drawn specifically for the book. It’s an interesting an offbeat look back by Thorne at his life and career.
I was very sorry to hear that comic book artist Steve Lightle had passed away on January 8th. I have been a fan of his work for many years.
Steve Lightle was born on November 19, 1959 in the state of Kansas. Growing up he was a huge fan of DC Comics, especially Legion of Super-Heroes. As he recounted in a 2003 interview published in the excellent book The Legion Companion by Glen Cadigan from TwoMorrows Publishing:
“One of the oldest drawings that I’ve got was done in second grade, and it was a massive Legion fight scene that I probably did sitting at my desk when I should’ve been doing my work.”
In the early 1980s Lightle was in DC’s new talent program. His first published work was actually for Bill Black’s Americomics / AC Comics line in 1984, where he drew a handful of covers. Right from the start on these early pieces Lightle was already doing impressive work.
Lightle’s work soon after appeared in DC’s New Talent Showcase anthology, and in fill-in issues of Batman and the Outsiders and World’s Finest.
Less than a year into his professional career Lightle was asked by editor Karen Berger to take over as penciler on Legion of Super-Heroes from the outgoing co-plotter & penciler Keith Giffen, who after a stellar run felt burned out drawing the title, with its cast of thousands and myriad futuristic alien worlds. A surprised Lightle was happy to accept the assignment. His first issue was Legion of Super-Heroes volume 3 #3, cover-dated October 1984, which was co-plotted by Paul Levitz & Keith Giffen and scripted by Levitz. Lightle was inked by Larry Mahlstedt, who he would be paired with on most of his mid-1980s run.
In only his second issue Lightle has to draw the death of Karate Kid, one of his favorite members of the team. He did a superb job rendering this tragic event, as well as in the next issue where Princess Projecta executed Nemesis Kid for the murder of her husband. The storytelling on these sequences was stunning, really bringing to life the tragedy of Levitz & Giffen’s plots.
Lightle only penciled Legion for about a year, from #3 to #16, with a couple of other artists providing fill-ins during that time. Lightle, with his highly-detailed art style, was not an especially fast penciler, and that played a role in his departure.
As he explained in The Legion Companion:
“[T]he fact is, I took myself off the Legion… I had convinced myself that my inability to do everything I wanted in every issue was somehow meaning that I was delivering less than a hundred percent, and therefore I shouldn’t be on the book…. So the funny thing is, looking back, I can’t even understand my thinking on this.”
Although his run on Legion was relatively short, Lightle nevertheless had a huge influence on the series. He created the Legion’s first two totally non-humanoid members, Tellus and Quislet, and designed new costumes for several established characters.
Lightle also remained on as the cover-artist for Legion, drawing nearly every cover for volume 3 until it ended in 1989 with issue #63, as well as several covers of the reprint series Tales of the Legion and for the four issue Legion spin-off Cosmic Boy. Lightle also co-plotted and penciled “Back Home in Hell” in issue #23, a story which saw a traumatized Mon-El forced to return to the Phantom Zone when the serum that protects his Daxamite physiology from lead poisoning wears off.
Lightle is regarded by many Legion fans, myself included as one of the series’ definitive artists.
Following his departure from Legion of Super-Heroes, Lightle penciled the first five issues of the Doom Patrol reboot in 1987 and covers for various DC titles, plus several entries in their Who’s Who series.
In 1988 Lightle also began working for Marvel Comics, drawing a fill-in issue of X-Factor and becoming the cover artist for the reprint series Classic X-Men, an assignment that lasted from #30 (Feb 1989) to #56 (Feb 1991).
Yesterday I was attempting to recall when I first saw Steve’s work. I *think* it was when I bought Classic X-Men #39 in the Fall of 1989. Classic X-Men was in the middle of reprinting the epic “The Dark Phoenix Saga” by Claremont, Byrne & Austin from a decade earlier. I was 13 years old, and the dynamic Wolverine cover by Lightle immediately grabbed me. I missed the next issue, but a couple months later my parents got me #41, which had another amazing Lightle cover. I immediately became a fan of his work.
Soon after I saw Lightle’s cover artwork on Avengers Spotlight and Excalibur. He also drew a number of Marvel Universe trading cards.
In the early 1990s I was beginning to get into DC Comics, and one of the invaluable sources of information on the oft-confusing post-Crisis universe was the 16 issue loose leaf edition of Who’s Who in the DC Universe edited by Michael Eury.
Lightle illustrated several profile pics for Who’s Who, including a dramatic rendition of Ayla Ranzz, the former Lightning Lass, in the “Five Years Later” era of the Legion. I don’t know if Lightle ever drew any other Legion-related artwork set during this period, but now I wish he had. It’s a very striking image. He rendered Ayla as a beautiful, athletic figure in dynamic motion.
In 1992 Lightle’s work began appearing regularly in the bi-weekly anthology series Marvel Comics Presents. He drew an eight part Wolverine and Typhoid Mary serial written by Ann Nocenti, which was followed by a Ghost Rider and Typhoid Mary serial by the same team. The storyline culminated in the intriguing and thought-provoking “Bloody Mary: A Battle of the Sexes” by Nocenti, Lightle and co-artist Fred Harper in MCP #150-151 (March 1994).
Lightle’s artwork, with his innovative and unconventional layouts, and its sense of atmosphere, was incredibly well suited to depicting the ongoing story of Typhoid Mary and her fractured psyche. On several chapters coloring was provided by Steve’s wife Marianne Lightle.
Lightle was also the regular cover artist on Flash for DC between 1997 and 2000. He produced a series of very dramatic images during that three year run.
In the late 1990s I *finally* discovered, via back issues, Lightle’s work on Legion of Super-Heroes from the mid 1980s. I immediately recognized he was one of the all-time great artists on that series. Around this time I was fortunate enough to get to know both Steve and Marianne on social media.
I enjoyed the behind-the-scenes looks the Lightles gave of their incredible work for the all too short-lived Cross Plains Comics, which adapted and was inspired by the works of writer Robert E. Howard.
Among the projects Steve and Marianne worked on for Cross Plains was Red Sonja: A Death in Scarlet. Steve co-wrote the story with veteran Conan the Barbarian and Red Sonja writer Roy Thomas, and penciled & inked the issue. Marianne Lightle colored it under the pen name Tayreza.
Red Sonja: A Death In Scarlet was intended to be a three issue miniseries, but unfortunately only the first issue ever came out. Nevertheless, it worked well as a stand-alone story. The artwork by Lightle was magnificent. I definitely wish he had been given more opportunities to draw Red Sonja.
It’s been observed by Legion of Super-Heroes fans that a number of the creators associated with the series have found themselves repeatedly drawn back to working on it throughout the years. At one point someone might have even jokingly referred to it as “Legionnaire’s Disease.”
Whatever the case, Lightle was one of those creators who found himself often returning to the teen heroes from 1000 years in the future. He drew the covers for the four issue miniseries Legends of the Legion in 1998, an Umbra solo story in The Legion #24 (Nov 2003), a cover for the Star Trek / Legion crossover (Nov 2011) and several covers for the New 52 reboot of Legion of Super-Heroes, along with an Invisible Kid solo story in issue #8 (June 2012), plus a few other Legion-related items.
Over the last two decades Lightle was working on several creator-owned web comic book series, issued under the umbrella of Lunatik Press. Among the series Lightle created was the space opera Justin Zane, the martial arts adventure Peking Tom, and the sexy funny animal series Catrina Fellina.
Steve and Marianne Lightle lived in the Kansas City region most of their lives, where they raised their children, and where their grandchildren now live. Throughout my interactions with Steve and Marianna on various social media platforms over the past two decades they always impressed me as genuinely good people. Steve’s death at the age of 61 from cardiac arrest brought on by Covid-19 is a tragedy. My thoughts go out to Marianne and her family in this difficult time.
There is currently a fundraiser on Go Fund Me to help the Lightle family with Steve’s medical bills and other expenses. If you are able, please contribute. Thank you.
Longtime illustrator and comic book artist Richard Corben passed away on December 2, 2020. He was 80 years old. While I cannot say that I was a huge fan of Corben, I was certainly aware of his work, and I enjoyed it whenever I saw it.
I believe the very first time I saw Corben’s art was on Teenage Mutant Ninja Turtles #33, published in June 1990 by Mirage Studios. In the early 1990s the TMNT series had a number of independent / non-mainstream creators doing story arcs or one-off tales. With hindsight, these probably offered me my first major exposure to creators outside of the Marvel and DC superhero ghetto. “Turtles Take Time” was a wild, entertaining time travel story written by Jan Strnad which Corben did a brilliantly hilarious job illustrating.
By the late 1990s I must have become much more aware of Corben and his work, and I picked up the Heavy Metal Fall Special 1998. Topped by a beautiful yet macabre cover painted by Corben, this special reprinted a number of the stories which he drew for the Creepy and Eerie horror anthologies from Warren Publishing between 1974 and 1977.
The selection of stories collected in the Heavy Metal Fall Special 1998 definitely presented the various aspects of Corben’s work. For example, “You’re A Big Girl Now” from Eerie #81 (February 1977) written by Bruce Jones demonstrated Corben’s aptitude for drawing beautiful women. In this case, to be specific, a very beautiful giant woman.
“Within You… Without You” from Eerie #77 (September 1976), also written by Bruce Jones, showcased Corben’s skill at rendering dinosaurs, fantastical prehistoric landscapes, and high tech sci-fi elements.
Another series that Corben worked on was the five issue Cage miniseries published by Marvel Comics in 2002 under their Marvel Max imprint. It was written by Brian Azzarello, lettered by Wes Abbott and colored by José Villarrubia. I wasn’t all that into the story, but I nevertheless enjoyed Corben’s artwork. Again he demonstrated his versatility by drawing an urban crime / “blaxploitation” type of adventure.
Although Cage was a”mature readers” miniseries apparently set outside regular Marvel continuity, Corben’s redesign of Luke Cage very soon became the default version of the character, and was seen when he appeared soon afterwards in Alias and New Avengers.
All of this is, of course, just the tip of the iceberg. Corben was a prolific artist whose career stretched across half a century.
Richard Corben was a longtime contributor to Heavy Metal, and the magazine featured an obituary on its website. There is also an insightful 1981 interview with Corben archived there.
Longtime, prolific actor John Saxon passed away on July 25th at the age of 83.
Born as Carmine Orrico in Brooklyn NY on August 5, 1936, Saxon was one of those actors who, if you watched enough movies or television, sooner or later you would almost inevitably see him in something, if not multiple somethings. Saxon worked on nearly 200 projects in a career that spanned 60 years, from 1954 to 2015.
Due to his Italian American heritage and his rugged good looks, Saxon was often called upon to play characters of various different ethnicities early in his career. From the 1970s onwards he slipped into the niche of character actor, portraying a variety of cops and criminals.
One of Saxon’s most high-profile roles was in Enter the Dragon (1973). Saxon played Roper, a seemingly-untrustworthy gambler who surprisingly ends up fighting alongside Bruce Lee’s heroic martial artist against the forces of brutal Hong Kong crime lord Han.
Two years later Saxon played corrupt trade union lawyer Walter Deaney in the action movie Mitchell starring Joe Don Baker. The critically panned movie was rescued from obscurity two decades later when it was brutally eviscerated by Joel, Tom Servo and Crow on a 1993 episode of Mystery Science Theater 3000.
Another noteworthy role in Saxon’s career was playing the evil mutant warlord Sador in Battle Beyond the Stars (1980). Written by John Sayles, produced by Roger Corman and directed by Jimmy T. Murakami, Battle Beyond the Stars was a space opera re-imagining of The Seven Samurai and The Magnificent Seven. Although a low-budget movie with an initially modest box office, Battle Beyond the Stars has gone on to become a well-regarded cult classic.
Saxon portrayed police lieutenant Donald Thompson in Wes Craven’s original A Nightmare on Elm Street (1984) and reprised the role in the sequel A Nightmare on Elm Street 3: Dream Warriors (1987). Saxon’s character was killed off in that later entry, although he was able to return to the horror franchise with Wes Craven’s New Nightmare (1994) playing himself in a story that saw the fictional Freddy Kreuger invading the “real” world.
One of Saxon’s later roles was Walter Gideon on the two-part CSI: Crime Scene Investigation episode “Grave Danger.” Directed by Quentin Tanantino, “Grave Danger” was one of the most disturbing, horrific installments of CSI ever made. Saxon’s brief but memorably sinister appearance in the story was the icing on the nightmare fuel cake.
I was fortunate enough to meet Saxon when he was a guest at a horror convention in New Jersey about a dozen years ago. It’s definitely not an ideal situation to meet anyone when they’re answering questions about movies they made decades ago and signing photos for a succession of enthusiastic fans, but nevertheless you can often get a general impression of what sort of a person someone is at these types of events. Saxon certainly came across as a polite and professional individual at that show.
I imagine that was one of the reasons why Saxon had such a lengthy career: he was a reliable and easy to work with professional who could always be counted on to turn in a good, solid performance. That seems borne out by director Joe Dante, who yesterday tweeted:
“RIP John Saxon. I had the privilege of working with him once in 2006. Very good actor, very nice guy.”
That feels like an appropriate epitaph for John Saxon: concise and effective.
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.
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.
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.
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.
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.”
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.”
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.”
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.
Longtime, influential comic book writer and editor Denny O’Neil passed away on June 11th at the age of 81.
A journalism major, O’Neil got started in the comic book filed in the mid 1960s. After brief stints at Marvel and Charlton, O’Neil came to DC Comics, where he made a significant impact.
O’Neil was a very socially conscious individual, and he brought his concerns about inequality and injustice to his work. He was assigned the Green Lantern series, which at the time was struggling in sales. Working with artist Neal Adams, another young talented newcomer interested in shaking thing up, O’Neil had GL Hal Jordan team up with the archer Green Arrow, aka Oliver Queen, in a series of stories that addressed head-on issues of racism, pollution, overpopulation, drug abuse, and political corruption.
The above page from Green Lantern / Green Arrow #76 (April 1970), the first issue by O’Neil & Adams, is probably one of the most famous scenes in comic book history.
I read these stories in the 1990s, a quarter century after they were published. At the time I found them underwhelming. I felt O’Neil’s writing was unsubtle, that he threw Hal Jordan under the bus to make a point, and that Oliver Queen was just the sort of smug, condescending left-winger who gives the rest of us liberals a really bad name. As with a number of other people, I always though Hal Jordan’s response to the old black man should have been “Hey, I saved the entire planet Earth, and everyone on it, on multiple occasions!”
When I voiced these criticisms, older readers typically responded “You really needed to read these stories when they were first published to understand their impact and significance.” I never really understood this until I started reading Alan Stewart’s blog Attack of the 50 Year Old Comic Books. Alan writes about the comic books that he read as a kid half a century ago. When I came to Alan’s posts about O’Neil’s early work on Justice League of America for DC Comics in the late 1960s, I finally began to understand exactly what sort of an impression O’Neil’s stories, with their commentary on critical real-world issues, made upon so many young readers of that era.
So, upon further consideration, while I still find O’Neil’s writing on Green Lantern / Green Arrow to be anvilicious, I recognize that he was attempting to address serious social & political crises for which he felt genuine concern, and in a medium that for a long time was regarded solely as the purview of children. However imperfect the execution may have been, I admire O’Neil’s passion and convictions.
In any case, O’Neil & Adams’ work on Green Lantern / Green Arrow is yet more evidence that comic books have addressed political issues in the past, and anyone attempting to argue otherwise is flat-out ignoring reality.
O’Neil & Adams were also among the creators in the late 1960s and early 1970s who helped to bring the character of Batman back to his darker Golden Age roots as a grim costumed vigilante operating in the darkness of Gotham City. O’Neil & Adams collaborated on a number of Batman stories that are now rightfully regarded as classics.
I really enjoy O’Neil’s approach to Batman. His version of the Dark Knight was serious and somber, but still very human, and often fallible. I wish that more recent writers would follow O’Neil’s example on how to write Batman, rather than depicting him as some brooding, manipulative monomaniac. O’Neil really knew how to balance out the different aspects of Batman’s personality so that he was intense but still likable.
O’Neil & Adams, following the directive of editor Julius Schwartz, created the immortal ecoterrorist Ra’s al Ghul and his beautiful daughter Talia. Ra’s al Ghul debuted in Batman #232 (June 1971) by O’Neil, Adams and inker Dick Giordano.
Ra’s al Ghul was certainly an interesting villain in that he possessed shades of grey. He admired Batman, and easily deduced that the Dark Knight was actually Bruce Wayne. Ra’s wanted Batman to become his successor and marry Talia. Ra’s was genuinely passionate about saving the environment; unfortunately his solution was to wipe out 90% of the Earth’s population and rule over the survivors. While Batman had feelings for Talia and sympathized with Ra’s end goals, he was understandably repulsed by the ruthless, brutal means Ra’s pursued, and so the two men repeatedly came into conflict.
Throughout the 1970s O’Neil, working with artists Adams & Giordano, as well as Bob Brown, Irv Novick, Michael Golden, Don Newton & Dan Adkins developed the globe-spanning conflict between Batman and Ra’s al Ghul, with Talia often caught in the middle of their immense struggle of wills. These epic stories were later reprinted in the trade paperback Batman: Tales of the Demon. It is some of O’Neil’s best writing, and I definitely recommend it.
O’Neil of course wrote a number of other great Batman stories during the 1970s outside of those involving Ra’s al Ghul and Talia. Among those stories by O’Neil that are now considered classics is “There Is No Hope In Crime Alley” illustrated by Dick Giordano, from Detective Comics #457 (March 1976).
“There Is No Hope In Crime Alley” expanded upon Batman’s origin and introduced Leslie Thompkins, the doctor and social worker who cared for young Bruce Wayne after his parents were murdered in Crime Alley. The story was later included in the 1988 collection The Greatest Batman Stories Ever Told, which is where I first read it. It was actually one of four stories from the 1970s written by O’Neil to be included in that volume, a fact that speaks to how well-regarded his work on the character was.
In the early 1980s O’Neil went to work at Marvel Comics. In addition to editing several titles, he wrote Iron Man and Daredevil. On Iron Man he decided to follow up on Tony Stark’s alcoholism, which had been established a few years earlier by Bob Layton & David Michelinie. O’Neil had struggled with alcoholism in real life, and he wanted to address that in the comic book Stark was apparently white-knuckling it, trying to stay sober without a support system or a program of recovery.
O’Neil, working with penciler Luke McDonnell & inker Steve Mitchell, wrote a three year long story arc around Stark’s alcoholism. Corporate raider Obidiah Stane, a literal chess master, ruthlessly manipulated events so that Tony fell off the wagon hard, then swooped in and bought out Stark International from under him. Stark became destitute and homeless, and was forced to make a long, difficult climb back to sobriety, rebuilding both his life and his company from the ground up.
It’s worth noting another development in O’Neil’s Iron Man run. Previously in Green Lantern / Green Arrow, O’Neil & Adams had introduced African American architect John Stewart, who they had become a new Green Lantern. Twelve years later on Iron Man O’Neil had African-American pilot & ex-soldier James Rhodes, a longtime supporting character, become the new Iron Man after Stark succumbed to alcoholism. Rhodey would remain in the Iron Man role for over two years, until Tony was finally well enough to resume it.
So, once again, the next time you hear some troll grousing about SJWs replacing long-running white superheroes with minorities, or some such nonsense, remember that O’Neil did this twice, telling some really interesting, insightful stories in the process.
This is another instance where the argument comes up that you had to be reading these comic books when they were coming out to understand that impact. In this case I can vouch for it personally. It was early 1985, I was eight years old, and the very first issue of Iron Man I ever read was in the middle of this storyline. So right from the start I just accepted that there could be different people in the Iron Man armor, and one of them just happened to be black.
In the late 1980s O’Neil returned to DC Comics, where he became the editor of the various Batman titles. He also continued to write. Among the noteworthy stories he penned was “Venom” in Batman: Legends of the Dark Knight #16-20 (March to July 1991), with layouts by Trevor Von Eeden, pencils by Russ Braun, and inks & covers by Jose Luis Garcia-Lopez.
“Venom” is set early in Batman’s career. After the Dark Knight fails to save a young girl from drowning, he begins to take an experimental drug to heighten his strength. Unfortunately he very quickly becomes addicted to the Venom, and is almost manipulated into becoming a murderer by the military conspiracy that developed the drug. Locking himself in the Batcave for a month, Batman suffers a horrific withdrawal. Finally clean, he emerges to pursue the creators of the Venom drug.
It is likely that “Venom” was another story informed by O’Neil’s own struggles with addiction. It is certainly a riveting, intense story. Venom was reintroduced a few years later in the sprawling Batman crossover “Knightfall” that O’Neil edited, which saw the criminal mastermind Bane using the drug as the source of his superhuman strength.
In 1992 O’Neil, working with up-and-coming penciler Joe Quesada and inker Kevin Nolan, introduced a new character to the Bat-verse. Azrael was the latest in a line of warriors tasked with serving the secretive religious sect The Order of St. Dumas. Programmed subliminally from birth, Jean-Paul Valley assumed the Azrael identity after his father’s murder.
Azrael soon after became a significant figure in the “Knightfall” crossover. After Batman is defeated by Bane, his back broken, Azrael becomes the new Dark Knight. Unfortunately the brainwashing by the Order led Azrael / Batman to become increasingly violent and unstable. After a long, difficult recovery Bruce Wayne resumed the identity of Batman and defeated Azrael. O’Neil appears to have had a fondness for the character, as he then went on the write the Azrael ongoing series that lasted for 100 issues.
Another of O’Neil’s projects from the 1990s that I enjoyed was the bookshelf special Batman / Green Arrow: The Poison Tomorrow, released in 1992. Written by O’Neil, penciled by Michael Netzer, and inked by Josef Rubinstein, The Poison Tomorrow had the Dark Knight and the Emerald Archer working together to prevent a ruthless corporation from using the femme fatale Poison Ivy to create a virulent plague.
O’Neil’s liberalism definitely shines through with his clear distrust of Corporate America. In one scene that evokes “the banality of evil” multi-millionaire CEO Fenn casually discusses with Poison Ivy his plan to poison jars of baby food, killing hundreds of infants, and then to sell the antidote to millions of terrified parents across the nation. Reading this story again in 2020, it is not at all far-fetched, as in recent months we have repeatedly seen various corporations publically musing on the various ways in which they can turn a profit on the COVID-19 pandemic.
I also like how O’Neil wrote the team-up of Batman and Green Arrow. Bruce Wayne and Oliver Queen can both be very stubborn, inflexible individuals. Each of them has a tendency to browbeat others into submission, so having them forced to work together is basically a case of unstoppable force meets unmovable object. O’Neil got a lot of mileage out of the tense, almost adversarial chemistry that existed between these two reluctant allies.
The Poison Tomorrow is a grim, unsettling tale. The moody artwork by Netzer & Rubinstein and the coloring by Lovern Kindzierski effectively compliment O’Neil’s story. There were such a deluge of Batman-related projects published by DC Comics in the early 1990s that I think The Poison Tomorrow sort of flew under a lot of people’s radar. I definitely recommend seeking out a copy.
O’Neil had such a long, diverse career that I have really only touched on a few highlights in this piece. I am certain other fans, as well as the colleagues who actually worked with & knew him, will be penning their own tributes in which O’Neil’s many other important contributions will be discussed.
For example, I’m sure some of you are asking “How can you not discuss O’Neil’s fantastic run on The Question with artist Denys Cowan?!?” Regretfully I have to admit that I have never read it. However, if you are a fan of The Question then I recommend that you read Brian Cronin’s excellent tribute to O’Neil’s work on that series.
I was very fortunate to meet O’Neil at a few comic book conventions over the years. Briefly talking with him while he was autographing some comic books for me, and hearing him speak on panel discussions, it was immediately obvious that he was an intelligent and passionate individual. Those qualities definitely came through in his work.
Longtime comic book & animation writer Martin Pasko passed away on May 10th. He was 65 years old.
Between 1973 and 1982 Pasko wrote a great many stories for the various Superman titles at DC Comics. On quite a few of these he was paired with longtime Superman penciler Curt Swan. In 1978 Pasko, working with artists Jose Luis Garcia-Lopez & Dan Adkins, launched the Superman team-up series DC Comics Presents with a well-regarded two-part story costarring the Flash.
In the mid 1970s Pasko also wrote Wonder Woman. The first part of Pasko’s run had him wrapping up “The Twelve Labors of Wonder Woman” storyline. Several issues later the series shifted focus to the Earth-Two’s Wonder Woman during World War II. This was an effort to align the book with the first season of the live-action television show starring Lynda Carter. Pasko’s final two issues, #231-232, were plotted by his friend Alan Brennert, his first work in comic books. Brennert & Pasko’s story, which was drawn by Bob Brown, Michael Netzer & Vince Colletta, had Wonder Woman teaming up with the Justice Society.
All of this was slightly before my time as a reader, as I was born in 1976. I have read some of those Superman and Wonder Woman stories in back issues or trade paperbacks. However, the first work by Pasko that I vividly recall from my childhood was his early 1980s revival of the Swamp Thing with artist Tom Yeates.
Pasko wrote the first 19 issues of The Saga of the Swamp Thing. He and Yeates created some genuinely weird, spooky, unnerving stories during this year and a half period. I vividly recall the two-part story from issues #6-7, which had Swamp Thing encountering a bizarre aquatic creature with eyeball-tipped tentacles that could transform people into one-eyed monsters. The shocking cliffhanger in issue #6 definitely seared itself onto my young mind and left me wondering “What happens next?”
I think Pasko’s work on Swamp Thing is often underrated, overshadowed by the groundbreaking Alan Moore run that immediately followed it. I know that I’m not alone in this estimation. A number of other fans also believe Pasko’s Swamp Thing stories are due for a reevaluation.
During this time Pasko was also working in animation. Among his numerous animation credits, he wrote several episodes of Thundaar the Barbarian, which had been created by fellow comic book writer Steve Gerber. It was Pasko who devised the name Ookla for Thundaar’s massive leonine sidekick. As he recounted years later, he and Gerber had been attempting to come up with a name for the character when…
“We passed one of the entrances to the UCLA campus and when I saw the acronym on signage, the phonetic pronunciation leapt to mind.”
I was a huge fan of Thundaar the Barbarian when I was a kid. I doubt I paid any attention to the credits back in the early 1980s, but years later, after I got into comic books, when I watched reruns of the show, the names of the various comic book creators involved in it, including Pasko, leaped right out at me.
Pasko was the writer on the first several issues of the revival of E-Man from First Comics in 1983, working with artist Joe Staton, the character’s co-creator. As I’ve previously written, I just don’t feel that Pasko was a good fit for E-Man. It really is one of those series that was never quite the same unless Nicola Cuti was writing it. Nevertheless, I’m sure Pasko gave it his best. There is at least one issue of E-Man where I think Pasko did good work, though. I enjoyed his script for “Going Void” in issue #5, which featured a brutally satirical send-up of Scientology.
Pasko got back into writing for DC Comics in late 1987, writing a “Secret Six” serial drawn by Dan Spiegel in Action Comics Weekly. He soon picked up another ACW assignment, featuring the revamped version of the Blackhawks conceived by Howard Chaykin.
This past January on his Facebook page Pasko recounted how he came to write Blackhawk in ACW. When asked to take over the feature from departing writer Mike Grell by editor Mike Gold, Pasko initially accepted it only because of the lengthy, ongoing strike by the Writers Guild…
“I took the assignment because I had no choice–I needed the money–but it turned out, in the end, to be the most fun I ever had writing comics. I haunted the UCLA Research Library, immersing myself in everything I could learn about the post-WWII era in which the series was set, making Xeroxes of visual reference for the artist and having the time of my life.
“But my greatest thanks are reserved for that artist, my fantastic collaborator, the impeccable storyteller, Rick Burchett. Which is why this stuff is tops among the work of which I’m most proud. That stuff was all YOURS, Rick.”
Pasko & Burchett returned to the characters with an ongoing Blackhawk comic book that launched in March 1989. It was a really enjoyable series, and it’s definitely unfortunate that it only lasted a mere 16 issues, plus an Annual.
In 1992 Pasko became a story editor on Batman: The Animated Series, working on 17 episodes of the acclaimed series. He wrote the episode “See No Evil” and co-wrote the teleplay for the episode “Paging the Crime Doctor.” Additionally, Pasko co-wrote the screenplay for the 1993 animated feature Batman: Mask of the Phantasm, which was released theatrically.
In the later part of his career Pasko contributed to several nonfiction books. He also wrote the occasional comic book story for DC. Among these was the special DC Retroactive: Superman – The 1970s penciled by Eduardo Barretto, which gave Pasko the opportunity to write the Man of Steel and his Bronze Age supporting cast one last time.
I never had an opportunity to meet Martin Pasko. I narrowly missed him at Terrificon a few years ago. Fortunately, Pasko was very active on Facebook, and I was one of the many fans who he enthusiastically interacted with there. He wrote some really great stories in his time, and will definitely be missed.
I am sorry to report that another comic book creator whose work I enjoyed has passed on. Frank McLaughlin was a talented artist whose career in comic books and comic strips lasted for nearly five decades, from the 1961 to 2008. He passed away on March 4th at the age of 84.
McLaughlin, like a number of other comic book creators, got his foot in the door via Charlton Comics. He was hired on to do a variety of production work for the Derby, Connecticut publisher. In a 2016 interview McLaughlin recounted how he came to work for Charlton:
“All through my career, I have been blessed with the greatest of friends, beginning with a classmate at art school; Larry Conti. Larry hooked me up with his brother, Dan Conti, who was a department head at Charlton Press. Dan, in turn, introduced me to Charlton’s Pat Masulli, editor in chief of comics. Timing was perfect, because his assistant, Sal Gentile, was about to leave for Florida, in two weeks. I was hired on the spot, and Sal gave me an immediate ‘cook’s tour’ of the plant. It took me a few days for all this to sink in, but Sal was a terrific guy, and this made it easy for me to understand the job.”
During his time at Charlton, McLaughlin worked closely with fellow artist Dick Giordano. If you look at McLaughlin’s work, especially his inking, you can see that Giordano was a definite influence. Considering Giordano was an incredibly talented artist himself, one could certainly do worse than to draw inspiration from him.
McLaughlin had studied judo since he was 18 years old, and he drew on his martial arts experience to create the character Judomaster for Charlton. Judomaster made his debut in Special War Series #4, cover-dated November 1965. The next year an ongoing Judomaster series was launched, which lasted for ten issues. (Confusingly the issue numbers for Judomaster were #89 to #98, carrying on the numbering from the cancelled series Gunmaster. This was a common practice at Charlton.) McLaughlin wrote, penciled & inked the entire ten issue run.
Unfortunately I am not especially familiar with McLaughlin’s work on Judomaster or the other Charlton “Action Heroes” titles from the 1960s, but judging by the artwork I’ve seen from it online he clearly did good work on it. The cover for #93 (“Meet the Tiger!”) is especially striking. I did recently locate copies of Judomaster #96 and #98 at Mysterious Time Machine in Manhattan, and I found them to be enjoyable, well-drawn comic books.
McLaughlin left Charlton in 1969 to freelance, and by the early 1970s he was regularly receiving work from both Marvel and DC Comics. The majority of his assignments for the Big Two were inking the pencils of other artists. It was actually via his work as an inker that I first became aware of McLaughlin, and developed a real appreciation for his art.
As a teenager in the 1990s I spent a lot of time attempting to acquire copies of every issue of Captain America published during the 1970s and 80s. One of my favorite artists on Captain America was Sal Buscema, who penciled the series from 1972 to 1975. Buscema was paired with several inkers during this four year run. Reading those back issues during my high school & college years, I very quickly noticed there was something different, something special, about the work of one particular inker, namely Frank McLaughlin.
To my eyes, McLaughlin’s inks over Buscema’s pencils were really striking. McLaughlin gave Buscema’s pencils kind of a slick polish. I guess that’s how I would describe it. As a non-artist, sometimes it’s difficult for me to articulate these things clearly. Whatever the case, it looked great.
McLaughlin only inked Buscema’s pencils on six issues of Captain America, specifically #155-156, 160, 165-166 and 169. I really wish he’d had a longer run on the title. McLaughlin’s final issue, #169, was the first chapter of the epic “Secret Empire” storyline written by Steve Englehart. The remaining chapters of that saga were inked by Vince Colletta.
I realize Colletta is a divisive inker, so I am going to put this in purely personal, subjective terms. Speaking only for myself, I just do not think Colletta’s inks were a good fit for Buscema’s pencils. As incredible as the “Secret Empire” saga was, I feel it would have been even better if McLaughlin had been the inker for the entire storyline.
Now that I think about it, when I was reading those Captain America back issues in the mid 1990s, and comparing Buscema inked by McLaughlin to Buscema inked by Colletta, and in turn comparing both to the other inkers who worked on that series the early 1970s, it was probably one of the earliest instances of me realizing just how significant a role the inker has in the finished look of comic book artwork.
McLaughin also inked Buscema on a few of the early issues of The Defenders, specifically #4-6 and 8-9. Again, I wish it had been a longer run, because they went so well together. In these issues the Asgardian warrior Valkyrie joined the team, and the combination of Buscema’s pencils and McLaughlin’s inks resulted in a stunningly beautiful depiction of the character.
I definitely regard Frank McLaughlin as one of the best inkers Sal Buscema had during the Bronze Age.
McLaughlin actually did much more work as an inker at DC Comics. One of his regular assignments at DC was Justice League of America. He inked issues #117-189, a six and a half year run between 1975 and 1981.
During most of McLaughlin’s time on Justice League of America he was paired with the series’ longtime penciler Dick Dillin. Although I would not say that I am a huge fan of Dillin, I nevertheless consider him to be sort of DC’s equivalent of Sal Buscema. In other words, much like Our Pal Sal, Dillin was a good, solid, often-underrated artist with strong storytelling skills who could be counted on to turn in a professional job on time. I like quality that McLaughlin’s inking brought to Dillin’s pencils. They made an effective art team.
Tragically, after completing Justice League of America #183, in March 1980 Dillin died unexpectedly at the much too young age of 51 (reportedly he passed away at the drawing board working on the next issue). McLaughlin remained on for the next several issues, effectively providing finishes for a young George Perez’s pencil breakdowns, as well as inking over Don Heck and Rich Buckler. Nevertheless, as he recounted in a 2008 interview, he made the decision to leave the series:
“I did one or two issues, and then I said to Julie [Schwartz] “you know, I think I’d like to move on.” I was so used to what Dillin and I were doing together. I moved on and did a lot more other stuff.
“It was a good change of speed at the time, inking groups was fast becoming not a favorite–there’s too many people in there!”
Among his other work for DC Comics, McLaughlin inked Irv Novick on both Batman and The Flash, Ernie Chan on Detective Comics, Joe Staton on Green Lantern, and Carmine Infantino on the Red Tornado miniseries and the last two years of The Flash during the “Trial of the Flash” storyline. He also assisted Giordano on several DC jobs during the mid-to-late 1980s.
McLaughlin’s last regular assignment in comic books was for Broadway Comics in 1996. There he inked a young J.G. Jones on Fatale.
Between 2001 and 2008 he drew the Gil Thorpe comic strip. In 2008 McLaughlin collaborated with his daughter Erin Holroyd and his long-time colleague Dick Giordano on The White Viper, a web comic serialized on ComicMix that was subsequently collected in a graphic novel in 2011 by IDW.
McLaughlin taught at both Paier College of Art in Hamden CT and Guy Gilchrist’s Cartoonist’s Academy in Simsbury CT, and he worked with Mike Gold on the instructional books How to Draw Those Bodacious Bad Babes of Comics and How to Draw Monsters for Comics.
In his later years McLaughlin did commissions for fans. One of the characters he was often asked to draw was Judomaster, which all those decades later still had devoted fans.
Writer & editor Robert Greenberger, who worked at DC Comics from 1984 to 2000, wrote a brief tribute to McLaughlin on Facebook:
“I grew up on Frank’s work, first at Charlton then DC and Marvel. When I joined DC, he quickly welcomed me and was a font of stories.
“Frank was a gracious man, friendly, and willing to talk shop with eager newcomers, share tips with rising new talent, and lend a hand wherever needed.
“He was a workhorse of an artist, adaptable and reliable — two of the qualities desperate editors always welcomed. Even after I left staff, we’d run into one another at cons and it was picking up where we left off.
“I will miss him.”
I fortunately had an opportunity to meet McLaughlin once at a convention in the early 2000s. At the time I was regrettably unaware of his work for Charlton, but I did have him autograph one of the Captain America issues that he had so wonderfully inked. I only spoke with him briefly, but he came across as a nice, polite person.
Longtime comic book writer, editor & artist Nicola Cuti passed away on February 21st. He was 75 years old.
Cuti, who was known to his friends as “Nick,” is best known for co-creating the superhero / sci-fi comic book series E-Man with artist Joe Staton at Charlton Comics in 1973. I’ve blogged about E-Man on several occasions. Although I did not discover the series until 2006, I immediately became a HUGE fan. The combination of Cuti’s brilliant, clever, imaginative writing and Staton’s animated, cartoony artwork resulted in a series that was exciting, humorous, poignant and genuinely enjoyable.
However, there was much more to Cuti’s lengthy career than just E-Man. He was a versatile creator.
A longtime science fiction and comic book fan, Cuti began self-publishing his own black & white comic book series Moonchild Comics in the late 1960s. The three issue series featured the outer space adventures of the voluptuous wide-eyed Moonchild the Starbabe.
Cuti was a huge fan of the legendary Wallace Wood, and on a chance telephoned the artist. Woody agreed to look over Cuti’s portfolio, and he asked the young creator to work as one of his assistants.
While he was at Woody’s studio Cuti learned there was an opening for an assistant editor at Derby, Connecticut-based publisher Charlton Comics. Tony Tallarico, an artist who was doing work for Charlton at the time, urged Cuti to apply. Cuti interviewed with editor George Wildman, who offered him the job.
In an interview conducted in 2000 by Jon B. Cooke for Comic Book Artist magazine from TwoMorrows Publishing, Cuti described his role at Charlton:
“Basically, I was the production department, myself and another guy by the name of Frank Bravo… The two of us handled the entire production department which meant that when artists would send in completed stories, we would look over the artwork, proofread it, and if there were any spelling mistakes, we corrected them. And if there were any pieces of artwork that had to be corrected for one reason or another, we would do that.”
Cuti also worked as a freelancer for Charlton, writing numerous short stories for their various horror anthologies throughout the 1970s. In addition to Staton, Cuti collaborated with a diverse line-up of artists that included Steve Ditko, Tom Sutton, Wayne Howard, Sanho Kim, Don Newton and Mike Zeck. Cuti was a regular writer on the licensed Popeye comic book that Charlton published, as well as penning several stories for their Space 1999 comic book adaptation. He also worked on Charlton’s romance titles. As he would later explain in the interview with Comic Book Artist, one of the highlights of working for Charlton had been the opportunity to write for diverse genres, to tell various different types of stories.
In addition to his work at Charlton, Cuti was also a regular contributor to the black & white horror magazines from Warren Publishing. Regrettably I am not all that familiar with Cuti’s writing for Warren, although I am sure that he did quality work there, just as he did for Charlton.
I encourage everyone to head over to fellow WordPress blog Who’s Out There? Last year Gasp65 spotlighted the crime noir story “I Wonder Who’s Squeezing Her Now?” Co-plotted by Cuti & Wallace Wood, scripted by Cuti, penciled by Ernie Colan, and inked by Woody, the story was originally written & drawn in 1971, finally seeing print in the fifth issue of the Warren anthology title 1984 in February 1979. Cuti’s scripting on this tale, especially the ending, demonstrates what a thoughtful and intelligent writer he was.
In the early 1980s, following the demise of both Charlton and Warren, Cuti worked as an assistant editor for DC Comics. In 1986 he moved to California and began working in television animation, a field he remained in for almost two decades. Beginning in 2003 he worked on a number of independent films featuring characters he created such as Captain Cosmos and Moonie.
It is regrettable that Cuti was never able to establish himself as an especially successful comic book writer outside of Charlton and Warren, because he was, as I said before, an incredible writer. Fortunately he established both a creative rapport and a friendship with Joe Staton early on, and over the succeeding decades the two men periodically reunited at several different publishers to chronicle the further adventures of E-Man, his girlfriend & crime-fighting partner Nova Kane, and scruffy hardboiled private detective Michael Mauser. Cuti and Staton really did have a wonderful creative collaboration, and I definitely enjoy their work together.
Unfortunately I never had the opportunity to meet Cuti, although I was able to correspond with him on Facebook. From everything I have heard from those who did know him, he was a genuinely good person. After his passing numerous heartfelt tributes were penned by his friends and colleagues.
I am going to quote in full longtime DC Comics editor Paul Levitz’s lovely tribute to Cuti on Facebook:
“You can learn something about a creator’s personality from their work, but it isn’t always a completely reliable guide. If you read Nick Cuti’s work you’d get the feeling that this was a man with a generally positive outlook on life. His characters were playful, joyful even. But you’d still be underestimating the cheerful glow that Nick broadcast.
“As an editor, he ignored the moribund state of Charlton Comics and recruited talent who would go on to be industry leaders—John Byrne, Joe Staton, even my buddy and prolific DC scribe Paul Kupperberg broke into pro ranks at Nick’s hand and encouragement. And he created—with Joe Staton —Charlton’s last great series, E-Man, a hero who charm reflected Nick’s own.
“At DC for a number of years he was a relentlessly cheerful presence, and a guardian of the old humor treasures from our vault, making them available to a new audience.
“As a cartoonist he could blend smiles with sexy, and give us his Moonchild.
“The announcement of his death today after a battle with cancer leaves the world with less smiles…and hopefully his spirit in the world of his starry children.”
If you are unfamiliar with Nicola Cuti’s work, I hope this will prompt you to check it out. A lot of the Charlton comics can be found relatively inexpensively in the back issue bins at comic conventions and shops that carry older back issues. Most of the E-Man comic books are also relatively affordable. The original Charlton series, which ran for 10 issues, was reprinted by First Comics in the miniseries The Original E-Man and Michael Mauser. Cuti wrote the final two issues of the E-Man run published by First in the mid 1980s. Between 1989 and 2008 various E-Man and Michael Mauser comics by Cuti & Staton were released through Comico, Apple Press, Alpha Productions, Digital Webbing, and Argo Press.
Nicola Cuti & Joe Staton’s final E-Man and Nova story was serialized in The Charlton Arrow vol 2 #1-3, which can be purchased through Mort Todd’s Charlton Neo website, along with a number of other cool titles. As I’ve said before, I am glad Nick and Joe had one last opportunity to reunite and bring the curtain down on these wonderful characters.
Thank you for all of the wonderful stories throughout the decades, Mr. Cuti. You will definitely be missed by all of your fans, friends and colleagues.