Remembering Victor Pemberton

British writer and television producer Victor Pemberton passed away on August 13th. He was 85 years old. I was a fan of Pemberton’s work, and over the past several years I had corresponded with him via e-mail.  Based on his e-mails, and on interviews he gave, he appeared to be a warm, intelligent man.

Victor Pemberton Fraggle Rock

Victor Pemberton and Sprocket

Pemberton was born on October 10, 1931 in Islington, London. His experiences a decade later, living through the terrible events of the Blitz during World War II, were a formative influence.  Decades later Pemberton wrote a series of 15 historical novels set in mid-20th Century London.  He described these books as, at least in part, “an attempt by me to exorcise those terrible times from my mind.”

One of Pemberton’s earliest successes as a writer was in 1966, when he penned The Slide, a seven part science fiction radio drama broadcast weekly by the BBC from February 1 to March 27, 1966. This eerie, atmospheric drama starred Roger Delgado and Maurice Denham.

In the newly developed English town of Redlow, several earthquakes have occurred. This in itself is odd, as the area is considered geographically stable.  Things become considerably more unusual when a mysterious greenish-brown mud begins to ooze out of the fissures in the ground.  Not only is this mud highly acidic, it seems to have a life of its own, spreading out across flat ground, and even creeping uphill.

Called in to investigate these mysterious phenomena is Professor Josef Gomez, a South American seismologist portrayed by Delgado. Gomez previously encountered similar earth tremors in the nearby English Channel.  Assisted by local scientific authorities, the Professor makes a startling discovery.  The mud, it turns out, is not only a living entity, but it is also sentient.  And it  has the ability to telepathically influence certain individuals, driving many of the residents of Redlow to madness and suicide.  Gomez and his colleagues find themselves in a race against time, struggling to halt the lethal mudslide before it destroys the entire town.

Like so much other television and radio material from the 1960s, the master copy of the radio play was purged from the BBC archives. Fortunately, Pemberton himself recorded all the episodes of The Slide during their original broadcast.  Decades later, he discovered the tapes in his garage.  This stroke of luck allowed the BBC to restore the recordings and release them on CD in 2010.

The Slide

In 1967 Pemberton became involved with the Doctor Who television series. He acted in a small part in “The Moonbase” and served as Assistant Script Editor on “The Evil of the Daleks.”  Pemberton was then promoted to Script Editor on the next serial, “Tomb of the Cybermen,” which was written by Kit Pedler & Gerry Davis.

Among his contributions to “Tomb of the Cybermen,” Pemberton scripted a scene in the third episode which showed the character of Victoria Waterfield, who had joined the TARDIS crew at the end of the previous story, adjusting to her new life.

THE DOCTOR: Are you happy with us, Victoria?

VICTORIA: Yes, I am. At least, I would be if my father were here.

THE DOCTOR: Yes, I know, I know.

VICTORIA: I wonder what he would have thought if he could see me now.

THE DOCTOR: You miss him very much, don’t you?

VICTORIA: It’s only when I close my eyes. I can still see him standing there, before those horrible Dalek creatures came to the house. He was a very kind man, I shall never forget him. Never.

THE DOCTOR: No, of course you won’t. But, you know, the memory of him won’t always be a sad one.

VICTORIA: I think it will. You can’t understand, being so ancient.

THE DOCTOR: Eh?

VICTORIA: I mean old.

THE DOCTOR: Oh.

VICTORIA: You probably can’t remember your family.

THE DOCTOR: Oh yes, I can when I want to. And that’s the point, really. I have to really want to, to bring them back in front of my eyes. The rest of the time they sleep in my mind, and I forget. And so will you. Oh yes, you will. You’ll find there’s so much else to think about. So remember, our lives are different to anybody else’s. That’s the exciting thing. There’s nobody in the universe can do what we’re doing.

It is a beautifully written scene which is wonderfully performed by Patrick Troughton and Deborah Watling.

Pemberton decided to leave the Script Editor position after only one story in order to concentrate on his writing. He quickly produced the scripts for the six part Doctor Who serial “Fury from the Deep,” which was broadcast in 1968.  Regrettably only a few short clips from the story are known to still survive, along with the complete audio soundtrack and some behind-the-scenes footage taken during the filming of the final episode.  Nevertheless older fans of the series who saw “Fury from the Deep” when it was first broadcast have very fond memories of it.  Eighteen years later Pemberton had the opportunity to novelize the serial for the range of Doctor Who books published by Target.  When I read that book at the tender age of eleven, I found it to be incredibly scary.

“Fury from the Deep” is also noteworthy in that it contained the debut of the Doctor’s now-iconic sonic screwdriver, which was devised by Pemberton. The serial also saw the tearful farewell of Victoria from the show.

Pemberton would write for Doctor Who on one other occasion. In 1976 he scripted “The Pescatons,” the very first Doctor Who audio adventure.  It starred Tom Baker and Elisabeth Sladen.  Pemberton had the opportunity to novelize “The Pescatons” for Target in 1991.

Doctor Who The Pescatons

After he left Doctor Who, Pemberton went onto a long & prolific career working in British television and radio.

In 1983 Pemberton became involved in the British version of the Jim Henson show Fraggle Rock. The series was about a group of funny and bizarre creatures, the Fraggles, who lived in a vast, wondrous subterranean civilization.  The Fraggles and their neighbors, the diminutive builders known as the Doozers and the giant bad-tempered Gorgs, were all brought to life by Henson’s amazing Muppet creations.

Fraggle Rock was broadcast in a number of foreign countries, and different framing segments involving a human character and his dog Sprocket (a Muppet) were recorded for each market. In the original American version, the human was the eccentric inventor Doc.  As a writer on the first season of the British version, Pemberton devised the human character of “The Captain,” a lighthouse keeper in Cornwall.  Pemberton became the producer of the British version from the second season onward.

When I e-mailed Pemberton in 2010 asking him about his time on Fraggle Rock, he had fond memories of his time working with the Muppets:

“It was a great fun series to do, with a lot of talent involved, something one always got from the late, lamented Jim Henson and his team. Needless to say, Sprocket, as in every version, was my hero of the show, mischievous and lovable to the last!”

One of Pemberton’s most acclaimed works was a trilogy of radio plays for the BBC based on the lives of his parents. The Trains Don’t Stop Here Anymore was broadcast in 1978, with the next two installments, Don’t Talk To Me About Kids and Down by the Sea, airing in 1987.  These three radio plays would form the basis for the first of his historical novels, Our Family, published in 1990.

Our Family by Victor Pemberton

Our Family was a wonderful book, and I made sure to let Pemberton know how much I enjoyed it. He appreciated my kind words.  In his response he noted:

“A few years ago, an historian referred to my novels as ‘archives of true family life during the London blitz of the Second World War’. I hope that’s true, and that, through the simplicity of the stories, current and future generations will have the opportunity to understand what it meant to live through those times.  After all, without knowing about the past, there can be no genuine future.”

In the later years of his life Pemberton retired to Murla, Spain. He was kind enough to autograph copies of his two Doctor Who novels which I mailed to him in 2010.  I consider myself very fortunate that I was able to correspond with Pemberton over the last several years.  He was a wonderful writer, and will definitely be missed.

Advertisements

Rich Buckler sketchbook drawings

Comic book artist Rich Buckler passed away on May 19th at the age of 68. I knew that Buckler had not been well for a while now, but I was still very sad to hear the news. Buckler was an incredibly prolific artist. He is probably best known for creating the groundbreaking cyborg anti-hero Deathlok, but at one time or another he drew pretty much nearly every major Marvel and DC character, as well as doing work for a number of other publishers. Buckler lived in the NYC area and was a frequent guest at conventions. I had the opportunity to meet him on several occasions. He always seemed like a nice guy.

I’ve already blogged about Rich Buckler’s great work on several occasions in the past (please check out my write-up on his Deathlok stories) so I wasn’t certain exactly how I could pay tribute to him now without repeating myself. It then occurred to me that I could feature the various convention sketches that I obtained from Buckler at comic cons. Each of these was done in one of my theme sketchbooks.

1) DOCTOR DOOM

Doctor Doom by Rich Buckler

This great drawing of Doctor Doom from June 2009 is the first piece in my “villains and bad guys” theme sketchbook. When it came to deciding who to have kick off the book, Buckler quickly came to mind. Buckler penciled Fantastic Four for Marvel Comics in the mid-1970s, paired with inker Joe Sinnott and writers Gerry Conway and Roy Thomas. Doctor Doom is one of Marvel’s all-time classic super-villains, and Buckler did a great rendition of the character during his run on FF.

I’m extremely happy with this piece. Buckler did an amazing job sketching the iron-fisted monarch of Latveria, starting off this sketchbook with genuine class & style.  This sketch was subsequently published in Back Issue #74, edited by Michael Eury, from TwoMorrows Publishing. The theme of that issue was the Fantastic Four in the Bronze Age.

2) The Vision

Vision by Rich Buckler

Bucker only worked on a handful of issues of Avengers over the years, but he did very nice work on the series. One of the stories that Buckler penciled, in issue #106, contained an incredibly dramatic depiction of the Vision on the splash page, inked by the amazing Dave Cockrum… what a wonderful collaboration! Buckler & Cockrum really brought to life the synthezoid’s somber brooding and contemplation of life.

After I started my Avengers Assemble theme  sketchbook, the question of who to have draw the Vision inevitably came up. Well, that splash page from #106 almost immediately leaped to mind, and I knew I had to ask Buckler to sketch the character. It definitely came out very well. I wish Buckler could have worked on more Avengers stories; he had a real affinity for the characters.

3) HAN SOLO

Han Solo by Rich Buckler

You might have previously seen this great sketch of Han Solo from the Star Wars movies on my entry for Super Blog Team-Up 7. I still think it’s an astonishing oversight that, outside of a single trading card for Topps, Buckler was never given the opportunity to contribute artwork to any Star Wars related projects. His work would have been such a wonderful fit for the series. He certainly did an amazing job on this sketch, capturing both the likeness and the personality of the character.

Years later, when Buckler was on Facebook, he shared numerous images of a great deal of his work, both published and unpublished. One of the pieces he posted was this sketch. Unfortunately he only had a small, blurry pic of it. When Buckler found out I was on FB, he asked me to send him a larger scan, a request I was more than happy to fulfill.

4) MANTIS

Mantis by Rich Buckler

Yes, I do have a Mantis sketchbook. She is, quite obviously, one of my favorite characters. I thought it would be nice to have the first piece in the book drawn by an artist who had worked on some of the character’s published appearances. Rich Buckler previous drew Mantis in Giant-Size Avengers #1 and Fantastic Four #325. He used that FF issue for reference, creating a beautiful portrait of the character.

This sketch, which was drawn in December 2015 at Winter Con in Queens NY, nearly didn’t happen. I approached Buckler early on Saturday morning about doing a sketch. Less then half an hour later, though, Buckler was feeling ill, and he had to be rushed to the hospital. Amazingly, though, in the afternoon he was back at the show. I thought he was crazy, and that he ought to be resting at home. However, since he was there, I asked him if he felt well enough to draw a sketch. Buckler said he was, and he did this great piece. That was the last time I got to see him before he passed away, so I’m grateful I had that opportunity.

I highly recommend reading the eight part essay series “From the Desk of Rich Buckler” that Daniel Best presented in 2010 on his blog 20th Century Danny Boy. These essays by Buckler offer an in-depth look at his career, his creative process, and his thoughts on the comic book industry.

Bernie Wrightson: 1948 to 2017

Comic book, horror and fantasy artist Bernie Wrightson passed away on March 18th at the age of 68. Wrightson received well-deserved acclaim for his atmospheric artwork in a career that spanned four and a half decades.

Swamp Thing 9 cover

Wrightson is probably best-known as the co-creator of the Swamp Thing character with writer Len Wein. The initial incarnation of the character debuted in a stand-alone story in the DC Comics horror anthology House of Secrets #92 (June/July 1971).  The “Swamp Thing” story was an unexpected hit, and it led to Wein & Wrightson introducing a revamped incarnation of the character a year later.  This ongoing Swamp Thing series was set in the DC universe.  Wrightson drew the first ten issues.  Issue #7 featured a guest appearance by Batman, and Wrightson rendered a stunning, moody depiction of the Caped Crusader.  He would have several more opportunities to draw Batman over the course of his career.

Wrightson was friends with fellow artist Michael Kaluta. In 1974 the two of them had an opportunity to work together on the third and fourth issues of The Shadow, which adapted the pulp vigilante created by Walter Gibson.  A year later Wrightson and Kaluta, along with Jeffrey Jones and Barry Windsor-Smith, began sharing studio space in Lower Manhattan loft, an arrangement that lasted until 1979.  Known as “The Studio,” the four artists influenced one another, each of them creating some of the best works of their careers.

Bernie Wrightson Frankenstein

One of Wrightson most stunning efforts was his illustrated edition of Mary Shelley’s novel Frankenstein. Wrightson worked on this project for seven years years, and it was finally published in 1983.  The breathtaking, intricately detailed artwork Wrightson created for Frankenstein is considered to be one of the greatest achievements of his career.

(Honestly, I don’t think you can overdo the superlatives when it comes to describing Wrightson’s Frankenstein illustrations.)

Wrightson collaborated with horror novelist Stephen King on several occasions. In 1983 Wrightson drew the graphic novel adaptation of the movie Creepshow and provided illustrations for King’s novella Cycle of the Werewolf. The extended edition of King’s mammoth novel The Stand released in 1990 featured illustrations by Wrightson.  He also provided illustrations for Wolves of the Calla, the fifth book in King’s Dark Tower series, published in 2003.

Wrightson remained involved in the comic book biz over the years, drawing numerous covers, pin-ups, miniseries, graphic novels and short stories in anthologies. In the second half of the 1970s he illustrated a number of stories for Warren Publishing’s line of black & white horror magazines.  Wrightson also worked on a handful of projects for Marvel Comics, among them the graphic novels Spider-Man: Hooky (1986) and The Hulk and The Thing: The Big Change (1987), and the four issue miniseries Punisher P.O.V. (1991).  The Big Change and P.O.V. were both written by Jim Starlin.  The two of them also collaborated on the DC Comics miniseries Batman: The Cult (1988).

Batman Aliens 1 pg 41

Among the later comic book work that Wrightson did, I especially enjoyed the two issue Batman/Aliens miniseries published in 1997. Written by Ron Marz, this was one of the more effective of the crossovers released by DC and Dark Horse in the 1990s.  Batman is a superhero who is grounded enough in reality that the Xenomorphs posed a legitimate threat to him without having to ridiculously amp up their powers.  Wrightson’s artwork provided the story with a genuinely moody, intense tone.  As always he drew a striking Batman, and his Xenomorphs were effectively menacing.

I also enjoyed the beautifully grotesque painted covers that Wrightson created for the four issue horror anthology Nightmare Theater published by Chaos! Comics in 1997. They were an excellent showcase for his talents and sensibilities.  Wrightson also penciled a werewolf story for the first issue, which was inked by Jimmy Palmiotti.

Wrightson’s last major project was Frankenstein Alive, Alive! published by IDW between 2012 and 2014.  Written by Steve Niles, the three issue series served as a sequel to Wrightson’s illustrated edition of the Mary Shelley novel.

Nightmare Theater 1 cover signed

I was fortunate enough to meet Wrightson on a few occasions, at a couple of comic book conventions and at a store signing in White Plains NY. He struck me as a very friendly individual.  Others had similar experiences meeting him.  When the news broke that he has died, it was clear that not only had we lost an immensely talented artist but also a genuinely nice person.  Wrightson will definitely be missed by friends, colleagues, and fans.

Miguel Ferrer: 1955 to 2017

I was sorry to hear that actor Miguel Ferrer and passed away on January 19th at the much too young age of 61.

Born on February 7, 1955, Miguel Ferrer was the son of actor / director Jose Ferrer and singer Rosemary Clooney.  Ferrer’s original aspiration was to work as a musician, but in 1975 his friend Bill Mumy offered him a part in an episode of the TV series Sunshine.  Ferrer caught the acting bug, and remained in the profession for the rest of his life.

One of Ferrer’s early roles was a 1981 episode of Magnum P.I.  Ferrer played, in a flashback, a young Navy ensign stationed in Hawaii shortly before the Japanese attack on Pearl Harbor, with his father Jose Ferrer then playing the same character in the present day. I always thought that was such a wonderful casting decision.

The role that really put Ferrer on the map was playing sleazy corporate executive Bob Morton in the dystopian sci-fi movie Robocop (1987).  In interviews, Ferrer always acknowledged that he was grateful to that movie for really getting him noticed, enabling him to subsequently have a successful career as an actor.

miguel-ferrer

Ferrer was often cast as villainous or quirky characters.  He was seldom seen in starring roles, but he worked regularly, a ubiquitous presence in both movies and television for three decades.  Notably, in the early 1990s Ferrer portrayed cynical FBI agent Albert Rosenfeld in David Lynch’s cult classic TV series Twin Peaks, and he also appeared in the 1994 TV miniseries adapting the Stephen King novel The Stand.

From 2001 to 2007 Ferrer appeared on Crossing Jordan, playing Dr. Garret Macy, the mentor and boss to loose cannon Medical Examiner Jordan Cavanaugh, portrayed by Jill Hennessey.  Crossing Jordan was a series that I watched regularly, and I loved the chemistry between Ferrer and Hennessy.  Macy was something of a brooding, low-key figure who had the unenviable task of reigning in and covering for the headstrong, anti-authoritarian Jordan.   Macy, a divorcee and recovering alcoholic with a teenage daughter, had a lot of baggage, and Ferrer brought the character to life in a very affecting performance.

Interviewed in 2009 by the A.V. Club, Ferrer had positive memories of working on Crossing Jordan:

“It was great. I loved that. Six years on the same show, working on the same lot. Got to go home and see my kids every night. They weren’t always awake, but I saw them. I loved that there were no out-of-control egos on the set. I loved working with the same people for six years. You develop a sure hand, and you learn how one works and likes to work. I wouldn’t trade it for anything. We had a ball.”

comet-man-1-cover

Ferrer, along with longtime friend Bill Mumy, was a science fiction and superhero fan.  The two of them collaborated on a few comic book projects in the late 1980s.  They co-wrote the six issue miniseries Comet Man, published by Marvel Comics in 1987.  A dark, bizarre blending of superheroes, sci-fi, and horror, Comet Man was eerily illustrated by future superstar Batman artist Kelley Jones, inked by Gerry Talaoc, and featured striking covers by Bill Sienkiewicz.  Ferrer, Mumy and Jones re-teamed in 1990 to wrap up the Comet Man storyline in a four part serial that ran in Marvel Comics Presents.  A decade later writer Peter David, who was friends with Ferrer and Mumy, used Comet Man during his acclaimed run on Captain Marvel.

Paired with talented artist Steve Leialoha, Ferrer and Mumy created the very odd superhero parody Trypto the Acid Dog, which debuted in a 1988 comic published by Renegade Press.  Additional Trypto stories by Ferrer, Mumy & Leialoha came out in the 1990s via Atomeka Press and Dark Horse.  Recently commenting on their collaboration, Leialoha revealed that the visual for Trypto was based on Ferrer’s own dog Davey.

Given how wonderfully bizarre Ferrer’s comic book work was, I’ve always thought it was a bit of a shame that he didn’t write more.  Of course, this was around the time when his acting career was really taking off, so I certainly understand why he chose to focus on that.

trypto-the-acid-dog

Some of Ferrer’s roles were actually comic book related.  He played Vice President Rodriguez in Iron Man 3 (2013).  Miguel also did a great deal of voiceover work, much of it for animated series based on comic books.  Among the shows he voice-acted on were Superman: The Animated Series, The Batman, The Spectacular Spider-Man, and Young Justice, the latter of which had him in the recurring role of immortal conqueror Vandal Savage.  One of Ferrer’s last roles was voicing Deathstroke in the direct-to-DVD animated adaptation of Teen Titans: The Judas Contract.

In addition to being a talented actor and writer, Ferrer had a reputation for being a genuinely nice guy.  In interviews he always came across as down-to-earth and laid back.  In recent days Bill Mumy, Kelly Jones, Steve Leialoha and Peter David have all reflected on his passing; each of them described him as a good friend possessed of a wonderful sense of humor.  It sounds like Ferrer will be very much missed by those who were fortunate enough to know him.

Darwyn Cooke: 1962 to 2016

Comic book creator Darwyn Cooke passed away this morning from cancer. He was only 53 years old.  Cooke was an amazing artist, and his death at such a young age is a tragedy.

The first time I ever noticed Cooke’s name was in 1999 for the credits of the animated series Batman Beyond. He designed the stunning title sequence for the show.

Cooke’s work with writer Ed Brubaker on the first four issues of the revamped Catwoman series for DC Comics in 2001 was amazing. Cooke both wrote and illustrated the epic, beautiful DC: The New Frontier miniseries published in 2004.

Wonder Woman and friends Darwyn Cooke

There was a quality to Cooke’s work that stood out for me. He successfully took the colorful, upbeat qualities of DC Comics in the Silver Age and blended them with a hardboiled, noir sensibility, resulting in a whole that was greater than the sum of its parts.  Cooke’s art was both atmospheric and fun.

Cooke also rendered incredibly beautiful women. I love how he depicted both Catwoman and Wonder Woman.  His drawings of Selina and Diana were sexy, confident, strong and graceful.

For all of their titles cover-dated February 2015, DC Comics published variant covers illustrated by Cooke. He created some incredible images for these.

To me, the timing of these covers was so weird. DC’s New 52 reboot was entering its third year.  Most of their titles were grim and downbeat, bereft of joy, featuring busy, hyper-detailed artwork.  The variant covers by Cooke for these issues were a complete 180 degrees apart.  They were colorful and exciting and fun… yes, I used the “fun” word again.  I remember looking at these covers by Cooke, then looking at the interiors, which paled by comparison.  I found myself wishing that DC would ask Cooke to work on an ongoing series for them.

Supergirl 37 Darwyn Cooke cover signed

One of my favorite of these Cooke variants was Supergirl #37. It was such a cute depiction of the Maid of Steel and the Super-Pets.  I especially loved Cooke’s adorable Streaky the Supercat.

Another one of these variants that stood out for me was Batman / Superman #17. For the past three decades, ever since Frank Miller’s The Dark Knight Returns, the relationship between Batman and Superman has been characterized as adversarial and tense.  Numerous stories have seen the two of them butting heads over ideologies and methodologies.  It would be fair to say that they fought each other more often than they actually worked together to save the world.

In contrast, on his cover for this issue Cooke shows the Dark Knight and the Man of Steel as close friends, allies in the war on crime who, in spite of their differences, like and respect one another. In that one image Cooke perfectly encapsulates how the relationship between Batman and Superman should be.  I’m not saying they should agree with each other all the time, but neither should they be at each other’s throats the instant they both enter the same room.

Batman Superman 17 Darwyn Cooke cover signed

Last year Cooke illustrated The Twilight Children, a four issue miniseries from DC / Vertigo. It was written by Gilbert Hernandez, with coloring by Dave Stewart.  As he had done in the past on Love and Rockets, Hernandez blended elements of sci-fi and magical realism for this story.  Cooke’s artwork was excellent, very much suiting Hernandez’s sensibilities.

Recently talking to Comic Book Resources about their collaboration, Hernandez had this to say…

Working on “The Twilight Children” with Darwyn Cooke was perfect timing because they asked me to do it and I took a look at Darwyn’s work — I know his work, but I looked at it closer and I go, “This guy knows how to make a comic.” He doesn’t need me, but let’s do this. Let me write this story, but I was gonna write it as simple as possible, As directly as possible, mostly dialogue, not a lot of description of what’s going on, just letting him know it’s a little fishing village, it’ll move along at a certain pace and this and that. And he just ran with it, beautifully, he just knew what to do. So the synergy was there, and he hooked up with his friend and colorist, Dave Stewart, who just made the beautiful colors. It was just an ideal situation because we let it happen. A lot of times when people collaborate who have their own careers separately collaborate there’s a lot of head butting. We were head-less. [Laughs] We basically just let it happen. Let it happen the script, let the art happen, he just let himself do it. That worked really well. We’d like to do another project together later on where he writes and I draw, so we’ll see about that.

The Twlight Children 1 pg 13

Cooke’s artwork on The Twilight Children featured very powerful layouts and storytelling.  He invested the characters with real, palpable emotions.

I was fortunate enough to meet Cooke last October. He was in town for New York Comic Con to promote the upcoming release of The Twilight Children.  Cooke and Hernandez did a signing at St. Mark’s Comics.  Cooke was definitely very friendly, laid-back, and possessed a really good sense of humor.  He made us fans feel welcome.

I had brought along my convention sketchbook with me, just in case Cooke was willing to do sketches. I asked him and he said okay.  I handed my sketchbook to him and asked him to draw whoever he wanted.  He did a nice head sketch of Catwoman in my book.  I really appreciated his generosity.

Catwoman by Darwyn Cooke

From what I have heard, this was typical of Cooke. Everyone regarded him as a genuinely nice guy.  Reading the online reactions to his untimely death, it is apparent that his passing at such a young age is all the more tragic because not only was he an immensely talented artist but also a good friend to many people.  He will definitely be missed.

Remembering comic book artist Paul Ryan

Comic book artist Paul Ryan passed away on March 6, 2016 at the much too young age of 66. Ryan was a prolific artist whose career spanned from 1984 until the time of his death.

Fantastic Four 358 cover

A lifelong comic book fan, Ryan did not made his professional debut until the age of 35. He submitted a story to Charlton Comics which was originally scheduled to see print in the anthology title Charlton Bullseye, but the company folded before it could be published.  Much of Charlton’s unused inventory was acquired by AC Comics head honcho Bill Black, and Ryan’s debut finally saw print in the AC title Starmasters #1.

Shortly after Ryan met professional artist Bob Layton at a comic book convention. Layton had recently moved to the Boston area and was looking for an assistant.  Layton recounted on his Facebook page

“I trained him as my apprentice, inking backgrounds for my various Marvel projects. All that time working together, Paul worked on his penciling samples for Marvel.”

Eventually accompanying Layton on a trip to the Marvel Comics offices in Manhattan, Ryan was introduced to the editorial staff. This led to Ryan receiving assignments from the company.  His first job was inking Ron Wilson’s pencils on The Thing #27 (Sept 1985).

Shortly afterwards Ryan was tapped to take over as penciler on the 12 issue Squadron Supreme miniseries written by Mark Gruenwald.  Ryan penciled issue #6 (Feb 1986) and then issues #9-12.  Ryan was paired with inker Sam De La Rosa, and also had the opportunity to work with his mentor Layton, who inked four of his five covers.

After completing Squadron Supreme, Ryan again worked with Gruenwald, co-creating D.P. 7 which debuted in November 1986. D.P.7 was considered one of the high points in Marvel’s very uneven New Universe imprint.  Ryan was the penciler for the entire 32 issue run of D.P.7.  It was on D.P.7 that Ryan was first paired with Filipino artist Danny Bulanadi as his inker. I really appreciated the rich, illustrative quality that Bulanadi’s inking gave Ryan’s pencils.  They made a great team.

During this time, in 1987, Ryan penciled Amazing Spider-Man Annual #21, the historic marriage of Peter Parker and Mary Jane Watson.

Avengers 330 cover signed

After D.P.7 came to an end, Ryan became the penciler of Avengers with issue #305 (July 1989). He was teamed with writer John Byrne and longtime Avengers inker / embellisher Tom Palmer.  After Byrne departed, Ryan worked with succeeding writers Fabian Nicieza and Larry Hama.  Ryan and Hama introduced the African American teenage hero Rage who, after a short stint as an Avenger, joined the New Warriors.

In late 1989 Ryan also penciled the first six issues of the ongoing Quasar series written by Gruenwald. Ryan was inked by Bulanadi on these.

Ryan was an incredibly fast artist, and in 1990 at the same time he was penciling Avengers he was also working on the Avengers West Coast spin-off series. Ryan inked Byrne’s pencils on issues #54 -57.  He then penciled issues #60 – 69, working with writers Roy & Dann Thomas, with Bulanadi once again inking him.

After departing AWC in early 1991, Ryan was once more paired with Byrne, this time on Iron Man. Bob Wiacek inked Ryan on these issues.

Later that year Ryan & Bulanadi joined writer Tom DeFalco to become the new creative team on Fantastic Four. Their first issue was #356 (Sept 1991).  Two months later, in the giant-sized FF #358, the series celebrated its 30th anniversary.  Among the numerous features contained in that issue, Ryan & Bulanadi illustrated an amazing double-page pin-up featuring many of the heroes and villains of the Marvel universe.

In an 1997 interview Ryan stated that FF was his favorite Marvel title.  He had bought the very first issue when it came out back in 1961 when he was 11 years old, and was “very excited ”to be working on the series 30 years later.

Fantastic Four 358 Marvel characters

Ryan began co-plotting Fantastic Four with DeFalco beginning with issue #260. He remained on the series until issue #414 (July 1996). He penciled 59 consecutive issues, one month short of a full five years.  Ryan would undoubtedly have stayed on FF even longer if he and DeFalco had not been given the boot to make way for “Heroes Reborn.”

Reader reaction to DeFalco & Ryan’s time on Fantastic Four was decidedly mixed. I personally enjoyed it, but I understand why others were less enthusiastic.  Looking back, it is obvious that DeFalco & Ryan wanted to emulate the classic Lee & Kirby era, but they were also attempting to make the book competitive at a time when X-Men was Marvel’s hottest property, and everything else was falling by the wayside.  They wanted to give FF a retro Silver Age feel and make it appealing to teenage readers, i.e. sexing up the Invisible Woman and making her more ruthless, giving the rest of the team a more gritty look, generating numerous long-running subplots & mysteries, introducing a younger “next generation” of FF-related heroes, and tossing in lots of stuff involving time travel & alternate realities.  At times perhaps those styles did not mesh well, but DeFalco & Ryan were clearly giving it their all.

Understandably annoyed at being tossed off Fantastic Four, Ryan left Marvel and went to DC Comics. He worked there from 1996 to 2000.  His main assignments at DC were the quarterly Superman: Man of Tomorrow and the monthly Flash series.  He also penciled issues of Superboy, Aquaman and Batman: Gotham Knights, as well as a four issue Legion: Science Police miniseries.

Superman Man of Tomorrow 9 pg 6

One of my favorite DC issues that Ryan penciled was Superman: Man of Tomorrow #9 (Fall 1997), written by Roger Stern and inked by Brett Breeding. As Superman is busy adjusting to his new energy powers, Jonathan & Martha Kent recollect on their son’s life.  This provided Ryan & Breeding with the opportunity to illustrate many of the key moments in Superman’s post-Crisis history up to that point in time.

Notably, Ryan was one of a number of artists to work on the Superman: The Wedding Album in 1997, penciling 11 pages of this giant-sized special. By his involvement in this, he had worked on both the wedding of Clark Kent & Lois Lane and the wedding of Peter & Mary Jane.

I was glad to see Ryan receive work at DC.  I was a regular letterhack back then, and I wrote in to the Superman editors with the following…

“Paul Ryan is a superb penciler, and I’m glad you guys got him to work on this book. It’s nice to see that you guys can appreciate true talent.”

Yes, that was something of a swipe by me at Marvel for their treatment of Ryan the year before.

After his time at DC concluded, Ryan penciled a handful of fill-ins for CrossGen.  He worked on several issues of Crux and Ruse.

Phantom newspaper strip 04 13 2007

In 2001 Ryan began working on The Phantom comic books published by the Swedish company Egmont. This was the start of an association with Lee Falk’s legendary comic strip hero that would last for the next decade and a half.  Ryan was tapped to take over The Phantom weekly comic strip in 2005, working with writer Tony De Paul.  Two years later Ryan also assumed the art duties on the Sunday comic strip.

Ryan was a longtime fan of The Phantom.  He produced quality artwork on both the comic books and the newspaper strip.  He was still working as the artist on the daily strip at the time of his passing.

(For fans of The Phantom, the comic strip is archived online going back to 1996 on The Phantom Comics website.)

I really feel that Ryan was an underrated talent who was too often eclipsed by the “hot” artists of the 1990s.  Unlike many of those guys, Ryan was a very good penciler with strong sequential illustration skills, an artist who turned in quality work while consistently meeting deadlines; in other words, a true professional.

Paul Ryan 2000 photo

I was a fan of Ryan’s work ever since I first saw it in the late 1980s. Over the years I corresponded with him by e-mail on Facebook.  I was fortunate enough to meet Ryan once, back in 2000.  He was a guest at a major comic convention held at Madison Square Garden that was organized by Spencer Beck.  Ryan drew an amazing color sketch of Beautiful Dreamer for me at that show.  I had always hoped to one day meet Ryan again so that I could obtain another sketch from him.  Sadly that is no longer possible.  But I am grateful that I had that one opportunity to meet him all those years ago.

Remembering David Bowie

I was both shocked and saddened by the news that musician David Bowie had died on January 10th at the age of 69 from cancer. While I would not say that I was a huge fan of his, I definitely enjoyed listening to his music.

David Bowie

“Visionary” is a word that gets thrown around with great frequency; “unique” is another. But in the case of David Bowie those two descriptions very much applied.  He wrote and performed numerous amazing songs over a career that spanned nearly half a century.  Bowie also devised so many incredible, bizarre, innovative looks for himself throughout the years.  He was undoubtedly one of a kind.

My girlfriend Michele is a longtime fan of Bowie. She created a very nice tribute to him on her own blog.

For me, on Monday my thoughts kept returning to Bowie’s awesome 1995 song “Hallo Spaceboy,” the lyrics and tune playing in my head. Co-written by fellow music pioneer Brian Eno, the song features a collaboration between Bowie and the duo of Neil Tenant & Chris Lowe, aka the Pet Shop Boys.  I cannot recall if I’ve mentioned it here before, but the Pet Shop Boys are one of my all time favorite music groups.  So it was a genuine thrill to hear them performing with Bowie, a bona fide rock god.

Of course, I would be remiss if I neglected to mention another collaboration of Bowie’s, namely “Under Pressure” which he recorded with Queen in 1981.  Bowie and Freddie Mercury singing together was magnificent.

A good example of the massive cultural impact that David Bowie had can be seen in the Doctor Who universe, of all places. Last year in the comic book series The Eleventh Doctor, writers Al Ewing & Rob Williams and artist Simon Fraser introduced a character who was very much an homage to Bowie.

The Doctor takes his companion Alice back in time to London 1962 to see the debut performance of John Jones, a legendary rock star. Much to Alice’s dismay, Jones turns out to have zero stage presence and even less charisma.  However the drab wannabe-musician ends up accidentally joining the Doctor and Alice in the TARDIS.  As the year-long story arc progresses, Jones in majorly influenced by all of the strange, otherworldly places he visits with the Doctor and Alice.  By the time he returns back to 1962, Jones is ready to embark on a revolutionary music career.

Doctor Who Eleventh Doctor 3

Of course, in real life David Bowie was even cooler than that. He didn’t need to travel through all of time & space in order to come up with his amazing music and cutting-edge looks.

Despite his illness, Bowie was active right up until the very end. Blackstar, his twenty-fifth and final studio album, was released on January 8th, his birthday, a mere two days before his death.

Bowie’s passing has gotten me thinking. At 69 years he wasn’t exactly young, but neither was he very old.  It’s a sobering reminder that you never know how much time you will actually have.

For a few months I’ve already been considering devoting my energies towards writing fiction.  I dabbled in it when I was in my early 20s.  Over the last three years I’ve been working out an idea for a novel in my head.  Maybe now is the time to finally commit.  After all, I’m going to be 40 years old in June.  It just doesn’t seem like a good idea to keep procrastinating at this point.  I’ll still keep this blog going, perhaps switching between it and my fiction on alternate weekends.  I just don’t want to put off my dream until it’s too late.

In any case, my thanks go out to David Bowie for all of the wonderful music he created. He will definitely be missed.