Happy birthday to Joyce Chin

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

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

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

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

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

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

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

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

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

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

Remembering comic book artist George Klein

Recently I was reminded, thanks to the excellent blog Attack of the 50 Year Old Comic Books by Alan Stewart, of the very underrated work of comic book artist George Klein.

National Sportsman Dec 1939 cover smallOne of the main reasons why Klein is not much better known among comic book fandom is that he tragically passed away at a young age.  He died 50 years ago this month, on May 10, 1969.

Klein was born in 1915, although there is a bit of uncertainty over the exact date, as well as the location of his birth.  Klein’s earliest published work appears to be a painted cover for the December 1939 edition of National Sportsman.

Between 1941 and 1943 Klein was employed by Timely Comics, the precursor to Marvel.  Creator credits in the Golden Age were often missing or inaccurate, but it is generally believed he worked on such titles as All-Winners Comics, Captain America Comics, USA Comics and Young Allies Comics at Timely.

In 1943 Klein was drafted to serve in World War II, and served as a private in the Army Infantry.  Honorably discharged in 1946, Klein returned to his career as an artist, working in both comic books and as a magazine illustrator.Detective illustration George Klein

Several of the periodicals that Klein worked for, both before and after the war, were pulp magazines published by Timely’s owner Martin Goodman, specifically Best Love, Complete Sports, Complete War and Detective Short Stories.  Klein was also a regular contributor to Wyoming Wildlife, the award-winning magazine published by the Wyoming Game and Fish Department.  His work in Wyoming Wildlife and other publications apparently gained Klein some renown as a landscape and wildlife artist.

Klein once again did work for Timely, or Atlas Comics as it came to be known in the 1950s.  Among the various titles Klein worked on at Timely / Atlas in the late 40s and early 50s were the romance series Girl Comics and the well-regarded fantasy / romance series Venus, although (again due to the lack of credits) the exact details of his involvement are a matter of deduction and guesswork.

 

Venus 2 pg 1

During this time Klein also branched out to work for other publishers such as ACG, Ace Comics and Prize Publications.  By the early 1950s much of Klein’s work was for National Periodical Publications, aka DC Comics.

Beginning in 1955 Klein, working as an inker, was regularly paired up with penciler Curt Swan on DC’s various Superman titles.  Looking at the Grand Comic Database, the first story drawn by the Swan & Klein team seems to be the Superboy story “The Wizard City” written by the legendary Bill Finger in Adventure Comics #216, cover-dated September 1955.Adventure Comics 332 cover small

Swan and Klein continued to work together for the next 12 years, with their art appearing in various issues of Action Comics, Adventure Comics, Superman, Superman’s Girl Friend Lois Lane, and Superman’s Pal Jimmy Olsen.

Truthfully, Swan is a penciler who at times leaves me a bit cold.  He’s one of those artists who I recognize as technically proficient, someone who is a good, solid storyteller.  However often his work just does not connect with me personally.  That said, there is something about the teaming of Swan and Klein that really appeals to me.

Having been born in 1976, obviously I did not read the stories they drew when they first came out. About 20 years ago I really got into the Legion of Super-Heroes and began picking up the various Legion Archives.  I was immediately taken with the work that Swan & Klein on those Superboy and the Legion stories from Adventure Comics in the 1960s.  I regard Klein as one of the best inkers Swan ever got during his lengthy career.

As per writer & editor Mark Waid’s bio of George Klein written for the Legion Archives:

“Klein set new standards for his craft with his razor-crisp brushline, which brought new dimensions to the art of Curt Swan, the penciler with whom Klein was most frequently paired. Together, Swan and Klein defined for years to come the look of Superman and his cast of characters; to this day , most Legion of Super-Heroes aficionados consider Swan and Klein to be the all-time finest Legion art team.”

Adventure Comics 352 pg 5

Klein’s work over Swan’s pencils is an excellent demonstration of just how significant a role the inker can have on the look of the finished artwork in comic books.

Adventure Comics 352 cover smallProbably the stand-out stories of this era were written by the then-teenage Jim Shooter, who introduced Karate Kid, Princess Projecta and Ferro Lad to the Legion, as well as the villainous Fatal Five.  Swan & Klein did a superb job illustrating these now-classic stories.

One cannot discuss Klein’s work in the Silver Age without mentioning Fantastic Four.  Created by Stan Lee and Jack Kirby in 1961, that title was the birth of what came to be known as the Marvel Universe.  For many decades the specific details concerning the creation of the early FF stories have been shrouded in mystery.

One of the most frequently-pondered questions was who exactly inked Kirby’s pencils on the first two issues.  After much debate & analysis, the conclusion reached by Dr. Michael  J. Vassallo, one of the foremost authorities on Timely / Atlas / early Marvel artwork, is that it was George Klein.  It is known that Klein worked on several stories for Atlas in the late 1950s and early 60s, which would put him in exactly the right place when the first two issues of FF were being created in 1961.

As to why Klein in particular was chosen to ink these two issues, longtime Marvel editor Tom Brevoort offers up this theory:

“I would also conjecture that perhaps the choice of George Klein to ink these early issues–if indeed he was the inker as is generally believed today–was to try to give them more of a super hero feel than Kirby’s monster or romance or western work. Klein at the time was inking Curt Swan on Superman, and you really can’t get a more classic super hero finish than that.”

Fantastic Four 1 pg 14

Absent the original artwork for those first two FF issues resurfacing, or some previous-unknown documentation being discovered, we will probably never be 100% certain; nevertheless, the general consensus is that Klein very likely inked those two issues, placing him right at the birth of the Marvel Age of Comics.

Klein’s work for DC on the Superman family of titles took place during the regime of editor Mort Weisinger.  The late 1960s saw an editorial shake-up at DC. Although Weisinger remained in control of the Superman books until 1970, this behind-the-scenes instability is reportedly what led to Klein departing the company.  He quickly found work at Marvel Comics which, eight years after the introduction of the Fantastic Four, was achieving both commercial success and critical acclaim.Avengers 57 cover small

Klein’s first assignment at Marvel was inking John Buscema’s pencils on Avengers.  After inking a couple of covers, Klein became the regular inker with issue #55, cover-dated August 1968.  Klein remained on Avengers for nearly a year.

The late 1960s is now considered one of the series’ most important and influential periods. Writer Roy Thomas, working with John Buscema, introduced the Avengers’ arch-nemesis Ultron, new member the Vision, and Hank Pym’s new costumed identity Yellowjacket, among other key developments.  Klein did a superb job inking Buscema on many of these key stories.  In 2001 Thomas spoke with Buscema about their work on Avengers, a conversation that saw print in Alter Ego #13.  In it they briefly touched upon Klein:

Roy Thomas: So how did you feel about George Klein’s inking compared to some of the others?

John Buscema: From what I’ve seen, a very credible job, not bad.

Considering that Buscema was notoriously critical of most of the artists who inked his work, I suppose by his exacting standards this was high praise indeed!

Avengers 55 pg 16

Klein also inked Gene Colan on Avengers #63-64, Sub-Mariner #11, and on several issues of Daredevil.  Klein was probably one of the best embellishers to ever work over Colan, who could often be a bit challenging to ink.

Daredevil 53 cover smallAdditionally, in early 1969 Klein inked two very early jobs by a very young Barry Windsor-Smith, in Daredevil #51 and Avengers #67.  Klein’s finishes gave some much-needed support to BWS who, although he was already showing quite a bit of promise, was still honing his craft.

Last, but certainly not least, Klein inked Jack Kirby on Thor #168-169, which were cover-dated Sept and Oct 1969.  It has been opined that Vince Colletta’s inking of Kirby was a good match on Thor, as the feathery line work provided a specific tone that was well-suited to the mythological characters & settings.  It was much less appropriate to Kirby’s sci-fi concepts, which is why Colletta was a poor fit on Fantastic Four.

Similarly, when Kirby took Thor in a more cosmic direction in the late 1960s, Colletta’s inking felt out of place.  So it was definitely nice to have Klein’s more polished inking on these two issues, which saw the god of thunder learning the origin of one of Kirby’s most cosmic creations, Galactus.  These Thor issues were very likely the last work that Klein did before his untimely death.
Thor 169 pg 2

According to the Field Guide To Wild American Pulp Artists, Klein was hospitalized for cirrhosis of the liver in May 1969, less than a month before he died.

I’m going to add a few words from Alan Stewart here summing up this unfortunate situation:

“It’s tragic that Klein passed away as young as he did — and the fact that he’d gotten married just a few months before makes it even more so. Unfortunately, his work over Curt Swan on the Superman books all those years was uncredited, and his subsequent stint at Marvel was too short for him to have made the impact of a Joe Sinnott or Tom Palmer. I agree he’s underrated.”

Action Comics 300 cover small

I really believe that Klein would probably be much better remembered as an artist if he had not died so young.  He did very well-regarded work on comic books in a career that lasted nearly three decades.

The reissuing of so much of DC and Marvel’s material from the Silver Age does mean that younger fans such as myself have now been able to rediscover Klein’s work.  Additionally, all these decades later Klein, as well as everyone else who worked on those early DC stories, are at long last receiving proper credit for their work in those reprint volumes.

There are so many creators from the Golden Age and early Silver Age who helped to make the comic book industry what it is today, creators who in the past were unfortunately uncredited and overlooked.  I hope this short profile on one of those creators, George Klein, will inspire readers to seek out some of these classic stories, and to develop more of an appreciation for the people who crafted those imaginative tales.

Thank you to all of the websites from which I gleamed information about and artwork by George Klein.  I believe I’ve included links to all of them, but if I did miss anyone please let me know!

Spotlight on Streaky the Supercat

It’s a bird!  No, it’s a plane!  No, it’s… Supercat?!?

Sometimes the Silver Age of superhero comic books, specifically the various series published by DC Comics, is considered by contemporary readers to be too silly.  Of course, in the last quarter century the pendulum has swung much too far in the opposite direction, with both DC and Marvel taking everything way too seriously.  They’re often afraid to have any sense of fun about their stories.  I really think you need to have a balance between those two extremes.  Anyone who follows my blog has no doubt noticed that I have very diverse interests, and my tastes run, as the saying goes, from the ridiculous to the sublime.

And so, even though there was a great deal of nonsense to DC’s books in the 1950s and 60s, I think there is quite a bit that’s fun & charming about those comics.  That includes Streaky the Supercat.

Making his debut in Action Comics #261 (Feb 1960), Streaky was designed by artist Jim Mooney, who in later years would say the character was one of his favorites.  Streaky was one of the only non-Kryptonian members of the “Superman Family” (there was also Comet the Super-Horse, but he’s much too weird to get into right now).  An ordinary Earth cat, Streaky was the pet of Supergirl in her civilian guise as Linda Lee.  In a failed attempt to find a cure for Kyrptonite, Supergirl accidentally created “X-Kryptonite.”  She carelessly tossed it away, but when Streaky later came across it, the substance imbued him with Superman-like powers.

Action Comics 373 pg 7

Here’s a page from “The Battle of the Super-Pets,” which originally appeared in Action Comics #277 (June 1961).  Streaky, jealous of the attention that Supergirl is giving to Krypto the Superdog, begins a rivalry with the Kryptonian canine.  To avoid the inevitable property damage, Supergirl takes them off-world to resume their contest on a small planetoid.  You can see from the artwork that Mooney really invested Streaky with a great deal of personality.  As someone who loved cats, he must have known all about feline “cattitude.”

(I scanned this from a reprint of the story that ran in the somewhat more affordable and easy to locate Action Comics #373, a giant-sized special which collected together several earlier Supergirl tales).

Although Streaky was never a major fixture of the “mainstream” DC titles, he eventually went on to make appearances in stories that were, appropriately enough, geared towards a younger audience.  Streaky was one of the main characters in the Krypto the Superdog animated series which ran from March 2005 to December 2006.  Streaky has also popped up in the Tiny Titans and Superman Family Adventures comics by Art Baltazar & Franco Aureliani.

It was probably inevitable after Michele and I adopted our two cats Nettie and Squeaky that I would become a fan of fictional felines.  And that includes Streaky the Supercat.  Although not a major theme for me like Beautiful Dreamer, I have obtained a few sketches of the heroic housecat.

streakycohn

Scott Cohn is a versatile artist who has worked on such comic books as Army of Darkness, Ben 10, Justice League Unlimited and Tales of the Teenage Mutant Ninja Turtles.  He has also done licensing artwork for various properties, including the Krypto the Superdog series.  So I asked him to do a sketch of the animated version of Streaky.  Hopefully I’ll have an opportunity to get some other sketches by Cohn. He does nice work.

streakyharris

Independent creator Alisa Harris has self-published several comic books.  One of these, Counter Attack, is a whimsical look at the antics of her cats Fidget and Moe.  Harris recently ran a successful Kickstarter campaign to fund the hardcover publication of The Collected Counter Attack!  I’m looking forward to receiving a copy in the mail later this year.  Harris has drawn a couple of cat sketches for me, including this cute Streaky.

darkseid vs streaky franco

When I met Franco Aureliani at the 2013 New York Comic Con, of course I had to ask for a drawing of Streaky.  I requested that he draw “Streaky vs. Darkseid,” because the lord of Apokolips is a frequent fixture of Tiny Titans as the evil lunch lady.  Franco knows his cats very well, because faced by Darkseid’s menace Streaky simply can’t be bothered and decides to take a nap.

Last but certainly not least is my girlfriend, the beautiful and talented Michele Witchipoo.  I was friends with Michele for several years before we started dating.  During that time, she began self-publishing two comic book series: Psycho Bunny features the misadventures of an antisocial alcoholic rabbit living in Astoria, Queens, and Babalon Babes is a collection of sexy pin-up girl illustrations.  Over the past decade Michele has really developed as an artist.  She is constantly creating better and better work.

Streaky Silver Age Witchipoo

Michele has loved cats since she was a little girl, and grew up with them.  When I first told her about Streaky the Supercat in 2009, she did this charming drawing of the Silver Age version of the character for herself.

streaky animated witchipoo

A couple of days ago, I mentioned to Michele that I was going to do a blog post about Streaky.  She insisted that she wanted to do a brand new illustration of him in my convention sketchbook.  Michele decided to draw the animated version of Streaky this time.  And here he is, attempting very much to look like the Cat of Steel.  Michele definitely captured Streaky’s personality in this piece.  The “super tuna” was certainly a cute touch.

Perhaps I’ll get other Supercat sketches in the future.  I have to see which artists I run into at conventions.  I just hope that Nettie and Squeaky don’t mind.  They tend to get jealous, but that’s cats for you!