Even more Comic Book Cats highlights

Since July of last year I’ve been posting Comic Book Cats entries on the Comic Book Historians group on Facebook. The object is to see how many different pencilers I can find artwork by featuring cats. Here are 10 more highlights, taken from entries 101 to 150.

John Paul Leon

Midnighter #8, drawn by John Paul Leon, written by Christos Gage, lettered by Phil Balsman and colored by Randy Major, published by Wildstorm / DC Comics in August 2007.

“Why the hell are cyborgs stealing cats in suburbia?” That’s the question the Authority’s resident super-viollent Batman expy finds himself asking when teammate Jack Hawksmoor convinces him to get back in touch with ordinary people by searching for a missing girl’s cat. The trail soon leads to the doorstep of the local mad scientist, with Midnighter ultimately liberating the abducted animals and finding an alternative source of test subjects for the loony doctor, namely human criminals. Yeah, Christos Gage’s story is a bizarrely effective blending of heartwarming feel-good moments and incredibly dark, twisted humor.

John Paul Leon’s art has always been impressively atmospheric. His early work on Robocop for Dark Horse and Static for Milestone demonstrated an artist who hit the ground running, and who has consistently improved since then. Leon later worked on The Further Adventures of Cyclops and Phoenix, Earth X and Black Widow for Marvel, The Winter Men for Wildstorm / DC, and the much-underrated revamp of Challengers of the Unknown written by Steven Grant.

Thumbs up to Richard Guion for letting me know about this one.

Marcio Takara

Captain Marvel #8, drawn by Marcio Takara, written by Kelly Sue DeConnick, lettered by Joe Caramanga and colored by Lee Loughridge, published by Marvel Comics in December 2014.

“Release the Flerken” has Carol Danvers at long last discovering that her cat Chewie is actually an alien from outer space known as a Flerken. Chewie lays a whole bunch of eggs, which soon hatch, presenting us with an army of adorable-but-dangerous tentacle-spewing space cats. Carol unfortunately has to leave Chewie’s offspring in outer space as there is no way she could possibly fit 117 more cats, as well as the necessary litter boxes, into her apartment! Fortunately she finds an outer space animal rescue center to take in the adorable kittens, um, Flerkens. Soooo, anyone here looking to adopt?

Marcio Takara has been working in comic books since 2006. His work has also appeared in numerous titles, including All-New Wolverine and Daredevil for Marvel, Green Arrow and Nightwing for DC, Dynamo 5 for Image and Incorruptible for Boom! Studios. I think he’s a great artist, especially since, as seen here, he does a great job drawing cats.

Irv Novick & Joe Giella

Batman #210, penciled by Irv Novick, inked by Joe Giella and written by Frank Robbins, published by DC Comics in March 1969.

“The Case of the Purr-loined Pearl” sees Selina Kilye recruiting eight fellow felonious females to don Catwoman costumes as part of an elaborate heist. Here we see Selina and her cat Slinky mailing out invites to the future members of her Feline Furies.

Irv Novick is probably one of the most underrated Batman artists. He turned in good, solid, professional work on numerous stories throughout the Bronze Age. Here he is paired up with inker Joe Giella, another artist who has a lengthy association with the Dark Knight, including a four year stint drawing the Batman newspaper strip during the 1960s. The combo of Novick & Giella works very well on this story.

The writer on this issue is the great Frank Robbins, another regular creative presence on Batman and Detective Comics from the late 1960s thru to the mid 1970s. Robbins wrote some very clever and imaginative Batman stories, as well as occasionally illustrating them. His artwork was spotlighted in a previous Comic Book Cats entry.

George Herriman

Krazy Kat, written & drawn by George Herriman, published on July 30, 1916.

The newspaper comic strip Krazy Kat ran from 1913 to 1944. The main characters were Krazy Kat, a playful, innocent black cat, and Ignatz Mouse, a mischievous rodent who frequently throws bricks at Krazy’s head. The naïve Krazy is hopelessly in love with Ignatz and thinks that the mouse’s brick-tossing is his way of returning that love. This Krazy-centric Sunday page is a good example of Herriman’s artwork, energy, humor and narrative style.

George Herriman was born in New Orleans on August 22, 1880 to mixed-race Creole parents. He began working professionally as an artist in 1901 when his illustrations were printed by the weekly satirical magazine Judge. Herriman’s work on Krazy Kat very quickly gained appreciation among critics and intellectual, and he has been cited as a major influence by numerous other artists throughout the decades. He passed away in April 1944 at the age of 63.

Inaki Miranda

Catwoman / Tweety and Sylvester, drawn by Inaki Miranda, written by Gail Simone, lettered by Taylor Esposito and colored by Eva de la Cruz, published by DC Comics in October 2018.

I don’t want to give away too much about this fun crossover between the DCU and Looney Tunes. Suffice to say the story eventually culminates in nearly every single cat and bird themed character from DC coming together in a monumental clash. Before that, though, we have Selina Kyle encountering the very animated, so to speak, Sylvester the Cat.

Inaki Miranda broke into comic books in 2003, working on the Judge Dredd feature in 2000 AD. He then drew Fables for Vertigo / DC, which led to work on a number of mainstream DC series.

Miranda did a great job on this special. The requirements of the project meant that he had to render Sylvester as much closer to a real-world cat. He did so quite successfully, managing to still retain much of the puddy tat, um, I mean pussy cat’s personality.

Sam Glanzman

Kona, Monarch of Monster Isle #5, drawn by Sam Glanzman, written by Don Segall and lettered by Charlotte Jetter, published by Dell Comics in January 1963.

A denizen of one of those mysterious lost islands in the South Pacific inhabited by cavemen, dinosaurs, giant animals and other fantastical menaces, the prehistoric Kona made his debut in Four Color #1256. Following that he starred in his own series which lasted for 20 issues (confusingly numbered from #2 to #21). The highlight of the short-lived Kona, Monarch of Monster Isle was definitely the stunning, detailed artwork by Sam Glanzman.

Issue #5 featured a gigantic cat. The titanic tabby is revealed to be Amsat, a previously-ordinary cat kept as a mouser on a U.S. Navy ship. Accidentally left behind on an island where the military was testing nuclear bombs, Amsat grew to giant size, eventually tussling with the sharks in the waters around his island home.

Amsat is obviously intended to be a dangerous animal, but Glanzman draws him just so cute and adorable that when “the Monster Cat” is finally defeated and killed I couldn’t help but feel sorry for him.

Sam Glanzman is best known for the numerous war comic books he drew during the Silver and Bronze Ages. Among these were a series of autobiographical war stories about his service aboard the U.S.S. Stevens during World War II.  Glanzman also worked in the horror and Western genres. Kona, Monarch of Monster Isle enabled him to try his hand at “lost world” adventure-type stories, and he did some good work on the title. The entire issue is archived on the Comic Book Plus website.

Val Semeiks & Denis Rodier

The Demon volume 3 #8, penciled by Val Semeiks, inked by Denis Rodier, written by Alan Grant, lettered by Todd Klein and colored by Robbie Busch, published by DC Comics in February 1991.

Having been introduced by Jack Kirby in the original run of The Demon, the next major appearances by Klarion the Witch Boy and his cat familiar Teekl were in Alan Grant’s revival. Grant invested The Demon with a blackly humorous tone, which was certainly a good fit for the diabolically mischievous Klarion and his shape-shifting kitty.  This scene, with Teekl dancing to Mussorgsky, certainly encapsulated the grim, bizarre comedy of the series.

The artwork of Val Semeiks & Denis Rodier certainly enhanced the nightmarish hilarity of Grant’s story. Their depictions of the Demon Etrigan, Klarion, Teekl, and numerous other unearthly fiends were both chilling and comical. Semeiks’ inventive storytelling also effectively created a tangibly askew mood.

Semeiks’ first work in the comic book field was on Conan the Barbarian and Savage Sword of Conan for Marvel between 1986 and 1989.  Moving to DC, Semeiks had a three year run on The Demon, and following that penciled Lobo, which was also written by Alan Grant. Since then Semeik has worked on a variety of projects for the Big Two and several issues of Forgotten Realms for Devil’s Due Publishing.

Jim Aparo

The Many Ghosts of Dr. Graves #4, drawn by Jim Aparo and written by Steve Skeates, published by Charlton Comics in November 1967.

Housewife Ruth Roland is an anal-retentive neat freak (seriously, she should have married Felix Unger; they would have made a perfect match) is more than a bit perturbed when her husband’s two friends from college drop off their cat uninvited en route to a two year stint in the Peace Corps. Ruth’s worst fears are soon confirmed, as the cat begins to run amok, destroying her domestic bliss. And, of course, since this IS a horror comic book, things soon take an even more bizarre turn.

Jim Aparo got his start at Charlton Comics during the second half of the 1960s. Aparo drew a variety of material for Charlton: The Phantom, romance, sci-fi, Westerns and, of course, stories for their horror anthologies.

Even here, at the start of his career, we see that Aparo was doing solid work. I definitely love the very effective “My cat is an asshole” montage in the bottom panel. I can so totally relate! Aparo’s editor at Charlton was Dick Giordano, who in the late 1960s went to work for DC Comics. Giordano was soon giving Aparo work at DC.  Aparo was a prolific artist for the publisher over the next quarter century.  He became one of the definitive Batman artists of the Bronze Age. Semi-retired by the mid 1990s, Aparo continued doing occasional work for DC up until 2001. He passed away in July 2005 at the age of 72.

Christopher Weyant

The New Yorker, drawn by Christopher Weyant, published in July 2017.

It’s a political cartoon featuring a cat and a dog. I’m not going to say anything else, other than I found this one really funny. The angry expression on the cat’s face is hysterical.

Christopher Weyant is a regular contributor to The New Yorker. He has also illustrated several children’s books that were written by his wife Anna King.

Jim Davis

Garfield by Jim Davis, published on June 19 and July 15, 1978

Here are two early Garfield comic strips, the very first one which introduced fat, lazy cat Garfield and his long-suffering human Jon Arbuckle, and the one that revealed Garfield’s love of lasagna for the first time. (Our late, much-missed cat Squaky, who was on the chubby side herself, attempted to snatch lasagna off our stove on at least a couple of occasions.)

Garfield initially started out looking very different from the form that we are all familiar with today, but his slothful, greedy behavior has basically been the same since day one.

Jim Davis has used several uncredited assistants for most of the history of the Garfield comic strip.  So I figured I’d go right back to the very beginning, which is likely pure Davis, or close to it.  Davis has been up front about the fact that one of his main reasons for creating Garfield was to “come up with a good, marketable character” so I suppose he can’t really be criticized for relying on assistants in order to focus on the licensing end of things. Whatever his specific level of involvement in the day-to-day work of drawing the Garfield comic strip, it’s undeniable that he created a genuinely iconic character.

Thanks for stopping by. Please check out First Comics News to see all of the Comic Book Cats entries, as well as for the Comic Book Coffee archives. Although I’m no longer doing these on a daily basis, I am posting new entries whenever I happen to come across something by an artist I haven’t previously spotlighted.

The Daily Comic Book Coffee, Part 12

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

56) Judit Tondora

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

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

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

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

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

57) Brad Gorby & Mark Heike

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

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

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

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

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

58) José Beá

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

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

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

59) Peter Krause & Dick Giordano

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

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

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

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

60) Amy Reeder

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

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

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

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

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

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

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

Alter Ego #138

I am excited to announce that my very first published writing will be appearing in Alter Ego #138.  Edited by comic book legend Roy Thomas, Alter Ego is published by TwoMorrows Publishing.  Issue #138 is scheduled to ship on February 17, 2016.

It was due to my work on this blog that Thomas generously invited me to contribute to Alter Ego.  He asked me to write a short article on the life and career of artist Fred Kida, who passed away on April 3rd of last year.

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The cover feature of Alter Ego #138 is an interview of Harlan Ellison by Brian Cremins wherein the acclaimed science fiction author discusses his love for the original Captain Marvel from the Golden Age of comics.  Also in this issue are excerpts from the 1944 deposition of Captain Marvel co-creator C.C. Beck from the infamous National Publications / DC Comics lawsuit against Fawcett Comics, as well as a piece Beck wrote in 1981 looking back on that sordid affair.

It is a genuine pleasure to have my first professional writing appear within Alter Ego, a quality publication which I have long enjoyed reading.  And it is an honor to be present amongst the prestigious company of Harlan Ellison and C.C. Beck.

I hope that everyone will purchase at copy of Alter Ego #138.  It is currently available for pre-order on the TwoMorrows Publishing website.  Thank you.