Comic Book Cats highlights

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

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

Steve Ditko

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

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

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

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

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

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

Dwayne Turner & Chris Ivy

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

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

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

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

David Mazzucchelli & Richmond Lewis

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

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

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

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

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

Rachel Dukes

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

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

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

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

Bob Brown & Don Heck

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

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

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

Rachel Smith

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

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

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

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

Joe Staton & Freddy Lopez Jr.

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

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

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

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

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

Dan DeCarlo

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

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

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

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

John Gallagher

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

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

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

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

Curt Swan & Stan Kaye

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

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

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

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

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

The Daily Comic Book Coffee, Part Eight

Welcome to another collection of the Daily Comic Book Coffee. I have been posting these daily in the Comic Book Historians group on Facebook. The challenge by group moderator Jim Thompson was to see how many different pencilers you can find artwork by featuring a specific subject. I chose coffee.

36) Murphy Anderson

Today’s artwork is from the Atomic Knights story “Danger in Detroit” drawn by Murphy Anderson and written by John Broome, from Strange Adventures #153, published by DC Comics with a June 1963 cover date.

The Atomic Knights was a wonderfully weird post-apocalyptic sci-fi feature created by Broome & Anderson.  It appeared in every third issue of Strange Adventures from #117 to #156, with a final chapter appearing in issue #160.  DC issued a hardcover collection in 2010. 

Set in the far-off future year of, um, 1986, the Atomic Knights were a team of adventurers who sought to restore civilization to North America after World War III left the planet devastated.  The six Atomic Knights all wore suits of medieval armor that, through some fluke, had become resistant to radioactivity.  From their base in the town of Durvale, the Knights fought a variety of offbeat monsters and menaces that plagued the devastated world.

In the previous installment in Strange Adventures #150, “The Plant That Hated Humans,” the Knights encountered an army of giant ambulatory plants created by the botanist Henderson.  The Trefoils turned against humanity, but the Knights defeated them by cutting them off from their water source.

As this story opens, we see two of the Knights, Douglas and Marene, having some after-dinner coffee in the Durvale Community Hall.  They are being served by “an unusual-looking waiter,” namely a Trefoil.  Henderson managed to create a new strain of Trefoils, “one without a trace of the vicious hatred of humanity that the old crop seemed to grow with.”  Nevertheless, Marene bluntly states “That creature Mr. Henderson sent us gives me the jim-jams!”

Looking at this from a 21st Century perspective, you have to wonder at Henderson’s decision to resume his experiments after they almost ended in disaster the first time around, as well as the ethical issues of creating a new life form designed to be servants.

Marene’s thought balloon in the final panel, complete with “and yet I’m just a woman,” hasn’t aged well, either.

All that aside, I still enjoyed the Atomic Knights.  Broom’s stories are imaginative, quirky and fun.  The artwork by Anderson is absolutely gorgeous.  Broom and Anderson both considered the Atomic Knights to be among their favorite work from their lengthy careers.

37) Dave Cockrum & Gonzalo Mayo

Harbinger Files #1, penciled by Dave Cockrum, inked by Gonzalo Mayo, written by Fred Pierce & Bob Layton, lettered by Rob Johnson & Santiago Vázquez, and colored by Mike McGuire, published by Valiant with an August 1994 cover date.

Toyo Harada is one of the major antagonists in the Valiant universe.  An incredibly powerful telepath & telekinetic, Harada established the Harbinger Foundation to recruit & train those with similar psionic abilities.  Harbinger Files #1 reveals his previously-untold origin, as well as explaining how he survived his encounter with Solar, Man of the Atom.

After his private jet crashes on a desolate mountain, the badly-injured Harada is rescued by hermit Dusty Berman.  Recuperating in Berman’s cabin, Harada details his history & motivations.  Seeking to convince the skeptical recluse, Harada uses his powers to levitate Dusty’s cup of coffee.

Harada is an interesting figure.  A charitable view of him would be that he is a well-intentioned extremist, someone who feels compelled to make difficult choices to save the world from itself.  He could be viewed as an embodiment of the expression “The road to Hell is paved with good intentions.”  A much more skeptical analysis of Harada would be that he is engaged in a massive self-deception, that he is in fact an incredibly selfish, avaricious, tyrannical individual who has managed to convince himself that he is working towards noble goals.

Dave Cockrum was one of the preeminent artists of the Bronze Age.  He played a major role in the successful revamps of both the Legion of Super-Heroes and the X-Men.  Unfortunately by the early 1990s Cockrum, like a number of his contemporaries, was having difficulty finding work, his style regarded by certain editors as “old-fashioned.”  I am a huge fan of Cockrum’s art, so I was glad when he got a couple of jobs penciling for Valiant in 1994.

“Redemption and Reward” is a story that mostly consists of Harada and Dusty conversing, with flashbacks to Harada’s early years.  You need a penciler who is really strong at storytelling & characterization, which is just what Cockrum was.  He does an excellent job with what is mostly a “talking heads” story.

Inking is by Gonzalo Mayo, who worked regularly at Valiant.  The Peruvian-born artist has a very lush style to his inks.  He worked really well over a number of different pencilers at Valiant, giving the art a very nice illustrative look.  I got my copy of this comic autographed by Cockrum a couple of years after it came out, and he told me he liked Mayo’s inking over his pencils.

38) Steve Ditko

I’m glad I located a coffee-drinking page drawn by the legendary Steve Ditko.  This is from the story “Partners” written by the prolific Joe Gill from Ghostly Haunts #29, published by Charlton Comics with a January 1973 cover date.

“Partners” is the tale of prospectors Max Aarens and Henry Farr.  As the story opens Max and Henry are in the Northern Canadian wilderness, sitting by the camp fire drinking coffee as they celebrate having struck gold.  Unfortunately greed & paranoia soon descend, and each man makes plans to betray the other.

Ditko utilizes some extremely effective layouts on this story, superbly illustrating both the brutal blizzard and the psychological trauma that strikes the characters.  The facial expressions & body language of his characters is incredibly evocative.  Even here, on the relatively quiet first page, Ditko deftly establishes the mood of harshly cold isolation, and foreshadows the treacherous nature of the protagonists.

By the way, the lady in green & red on the left side of the opening splash panel is Winnie the Witch, the lovely host of Ghostly Haunts.  As he often did on the Ghostly Haunts stories he drew, Ditko has Winnie lurking in-between panels and on the borders of pages of “Partners,” knowingly observing the unfolding events.

I originally read this in black & white in Steve Ditko’s 160-Page Package published by Robin Synder in 1999, which collected 20 of the Ditko-illustrated stories from the various Charlton horror anthologies.  It looks really crisp & effective in black & white.  There are scans of the full story in color from Ghostly Haunts #29 on the blog Destination Nightmare.

39) Dwayne Turner & Jerome K. Moore

Sovereign Seven, created by writer Chris Claremont and penciler Dwayne Turner, was the result of an interesting arrangement: It was published by DC Comics, and set within the DC Universe, but all of the original characters introduced in it were owned by Claremont. These two pages are from S7 #1, cover-dated July 1995, and issue #6, cover-dated December 1995. Turner inked issue #1, and Jerome K. Moore inked #6. Letters are by Tom Orzechowski & Clem Robbins, and colors are by Gloria Vasquez.

The Sovereigns were a group of aristocratic refugees from different parallel Earths whose worlds had all been conquered by the mysterious Rapture. They were gathered together by Rhian Douglas, aka Cascade, who was fleeing from her seemingly-tyrannical mother Maitresse, although eventually we discover there is much more going on there than either we the readers or Rhian herself suspect.

The main setting of S7 is the Crossroads Coffee Bar, situated at the intersection of three state borders (implied to be Vermont, New Hampshire and Massachusetts) and which contains portals to other dimensions. Crossroads is run by sisters Violet Smith and Pansy Jones, who were based on folk musicians Emma Bull and Lorraine Garland. It is here that the fleeing Sovereigns find sanctuary. As a result, there were a lot of characters drinking a lot of coffee in a lot of issues.

To earn their keep the Sovereigns end up working at the Crossroads. It’s somewhat odd to see a group of what are basically One Percenters sliding into the thankless service industry with a bare minimum of complaints, although it is implied that the societies they came from all possessed systems of noblesse oblige, and that the conquest of those worlds by the Rapture brought these seven down to Earth, both symbolically and literally.

Darkseid shows up at Crossroads in the first issue, and it is suggested that he has frequented the establishment in the past. Sipping an espresso, he satisfactorily comments…

“An excellent brew, Violet, as always. I can’t get anything quite like it at home.”

Perhaps someone ought to explain to Darkseid that if he hadn’t transformed Apokolips into an industrialized fascist hellhole it might be much easier to come by quality caffeinated beverages?

Jumping forward to issue #6, it’s Halloween at Crossroads. Italian mercenary Marcello Veronese has come to town, and he is instantly taken with the fully-armored Fatale, who he spots serving coffee.

Marcello: That waitress in black, she is one striking woman!

Pansy: Say that to her face, you’ll see just how striking.

Marcello: The reward, I’ll wager, would be well worth the risk.

Pansy: You want risk, chum, I’ll introduce you to my sister.

I found S7 an interesting & enjoyable series. That said it probably was overly ambitious. Launching a book with seven lead characters, an expanded supporting cast, and a complex backstory right when the comic book market was experiencing a glut might have been a mistake. I think S7 ended up getting lost in the crowd. It did ultimately last for 36 issues, plus two annuals and one special, which is a fairly respectable run.

We will return to S7 and the coffee-drinking crowd of Crossroads in a future entry, when we look at the work of the series’ second regular penciler.

40) Terry Moore

My girlfriend Michele is a huge fan of Strangers in Paradise, which was written & drawn by Terry Moore.  SiP is a semi-comedic soap opera that eventually ventured into mystery and crime noir.  I figured there would probably be at least a few coffee-drinking scenes in SiP.  Flipping through the first “pocket book” trade paperback from Abstract Studio, I found one from the very first issue of volume one, which was originally published by Antarctic Press in November 1993.

I asked Michele if she could briefly explain what SiP was about.  She started telling me how it was about two women, Katrina, aka Katchoo, and Francine, who are best friends.  Katchoo is bisexual and is attracted to Francine, but Francine is straight and wants to one day have children.  Making things even more complicated is David, an artist who falls in love with Katchoo.  After attempting to summarize the various plotlines that Moore had running through SiP over the years, Michele finally shrugged and said “It’s complicated.”  She then suggested I look it up on Wikipedia.

Michele also had this to say about Strangers in Paradise

“My issue with SiP is that it borrowed from Love and Rockets in regards to the (that word again) “complicated” relationship between Maggie and Hopey. SiP does manage to steer into its own plots. Just that similarity. Terry Moore is a great artist.”

In this scene from the very first issue, Katchoo and David have met for the first time at an art gallery, and David has convinced the very reluctant Katchoo to have a cup of coffee with him.  They walk over to the coffee shop in a rainstorm, and when David suggests to the sneezing Katchoo that she take off her wet clothes, she goes ballistic.

It’s a funny scene that establishes right off the bat that Katchoo is assertive, but also very melodramatic.  The page ends perfectly with a waitress who deadpans “How about that de-caff now, honey?”

The Hopefully Almost Daily Comic Book Coffee, Part Two

The challenge by Comic Book Historians group moderator Jim Thompson: Pick a subject and find a different artist every day for that subject until May 1st (if not longer).

I chose “coffee” for my subject.  From the work of how many different artists can I find examples of people drinking coffee?  I guess we will just have to see.  I posted these daily on Facebook, and I’m now collecting them together here on my blog.  Click here to read Part One.

coffee cup and beans

6) Jaime Hernandez

Day Six’s superbly-illustrated page comes from Love and Rockets volume 2 #9 by Jaime Hernandez, published by Fantagraphics, cover-dated Fall 2003.

Brothers Jaime & Gilbert Hernandez have been writing & drawing their creator-owned series Love and Rockets since 1981, taking only a short break from 1996 to 2001.  Jaime and Gilbert both introduced interesting, well-developed, genuinely compelling casts of characters in their portions of the series.

One of Jaime Hernendez’s lead characters is Margarita Luisa “Maggie” Chascarrillo, a woman of Mexican American heritage who grew up in southern California.  Love and Rockets takes place in real time, and over the past four decades readers have seen Maggie progress from a teenager to adulthood to middle age.  “The Ghost of Hoppers” ran through the first 10 issues of volume two.  Maggie, at this point now in her late 30s, is an apartment manager in San Fernando.  A visit from her old friend Izzy is followed by Maggie experiencing strange, eerie visions.  In this chapter Maggie (who is nicknamed “Perla” by her relatives) pays a visit to the old neighborhood to see her sister Esther’s family.  Over after-dinner coffee Maggie hears the latest gossip about Izzy’s spooky old house, which naturally worries her, given recent occurrences.

Love and Rockets is a soap opera, but both Jaime and Gilbert have regularly ventured into magical realism with their stories.  The events in “The Ghost of Hoppers” are framed in such a manner that the reader can to decide if all of this weirdness is genuinely occurring, or if Maggie is merely imagining it all.

Whatever the case, “The Ghost of Hoppers” was another intriguing, moving installment in Jaime Hernandez’s long-running storyline.

Love and Rockets v2 9 pg 9

7) Paul Pelletier & Romeo Tanghal

Green Lantern #66 by penciler Paul Pelletier & inker Romeo Tanghal, from DC Comics, cover-dated September 1995.

So, as someone who read these issues when they were coming out, I’ll put my cards on the table: No, I did NOT like that Hal Jordan went insane and destroyed the Green Lantern Corps, and no, I did NOT like that the new Green Lantern’s girlfriend Alex DeWitt was murdered and stuffed in a refrigerator.  Those two admittedly major things aside, I actually liked Kyle Rayner, and I felt that writer Ron Marz did a good job developing the character over several years.

After Alex’s death, Kyle moved from Los Angeles to New York City, renting an apartment in Greenwich Village, presumably pre-gentrification.  Kyle’s landlord Radu had a coffee shop on the ground floor, and Kyle was a frequent customer, since in addition to the super-hero thing he was a freelance artist, and between those two jobs he definitely needed his regular caffeine fix!

Kyle soon became involved with the former Wonder Girl herself, Donna Troy.  Nevertheless, being young and a bit immature, Kyle unfortunately still had a bit of a wandering eye, as we see here when he meets his neighbor, a model named Allison.

I’m not sure which one is stronger, Radu’s cappuccino or Allison’s approach to chatting up guys.  “You should invite me up sometime. Love to see what you do… you know, your etchings and things.”  Oh, man, that’s right up there with “It’s the plumber. I’ve come to clean your pipes.” 🤣

Pelletier is a good penciler.  I’ve always enjoyed his work, and thought he should be a bigger name in comic books.  As we see here, he certainly knows how to lay out a “talking heads” scene in an interesting manner.  Of course, it does help when one of your characters is a sexy gal.

Green Lantern 66 pg 13

8) Michael Lark

Gotham Central #6 by Michael Lark, from DC Comics, cover-dated June 2003.

Gotham Central, which was co-written by Ed Brubaker & Greg Rucka, successfully walked the line of being a serious police procedural in the vein of Ed McBain’s 87th Precinct novels and the TV series Homicide: Life on the Street while being set in a city where a vigilante who dresses as a bat regularly fights a rogues gallery of insane costumed criminals.  I admired Brubaker & Rucka for deftly straddling genres during Gotham Central’s 40 issue run as it chronicled the saga of the Major Crimes Unit’s detectives having to deal with Gotham City’s myriad super-villains, the police department’s own rampant corruption, and the interpersonal problems that resulted from having such a stressful, dangerous job.

Issue #6 is the first chapter of the five part “Half A Life” arc written by Rucka and drawn by Lark, which sees Detective Renee Montoya’s life severely upended by the duality-obsessed villain Two-Face.  On this page we see Montoya, as well as Captain Maggie Sawyer, Detective Crispus Allen and Detective Marcus Driver.  That’s Maggie Sawyer with the coffee pot in hand, with Driver also having a cup of java.  After all, if you’re putting your life on the line in a crime-infested hellhole like Gotham, of course you’re going to rely on caffeine to get you through the day.

This is a nice page by Lark, with solid storytelling & characterization. He did superb work on this series. The dialogue by Rucka is really sharp, as well.

I own the original artwork for this page, and it can be viewed on Comic Art Fans.

Gotham Central 6 pg 5

9) John Romita & Mike Esposito

Hey, hey, the gangs all here… here being Day Nine’s artwork by John Romita & Mike Esposito from Amazing Spider-Man #53, published by Marvel Comics, cover-dated October 1967.

After co-creator Steve Ditko’s departure from Amazing Spider-Man a year earlier, scripter & editor Stan Lee took the series even more in the direction of soap opera.  This was a good fit for the book’s new artist John Romita, who had recently come off of an eight year stint illustrating romance stories for DC Comics.  Lee & Romita revealed the previously-unseen Mary Jane Watson, and began setting up a love triangle between Mary Jane, Gwen Stacy and Peter Parker. In the 1960s there was undoubtedly many a teenage boy reading Amazing Spider-Man who fell head-over-heels in love with Romita’s gorgeous depictions of Gwen and Mary Jane.

Effectively inking Romita on this issue is Mike Esposito, using the pen name of “Mickey Demeo” as he was still working for DC at this time.  Lettering is courtesy of longtime Marvel staffer Artie Simek.

Following a battle with Doctor Octopus at the science exposition, Spider-Man changes back into his civvies and heads over to The Coffee Bean with Gwen for a cup of coffee.  Peter and Gwen arrive to find MJ, Flash Thompson, and Harry Osborn already present, with even Aunt May and Anna Watson popping by to say hello.

You just gotta love that sign with the skull & crossbones-ish beatnik coffee bean with beret, sunglasses & paintbrushes, accompanied by the warning “Abandon hope all ye who enter here.”  Sounds ominous… their espresso must be extra-strong.

Amazing Spider-Man 53 pg 16

10) Charles Nicholas & Vince Alascia

Break out your violins and hankies, because our next entry is from Just Married #113 from Charlton Comics, cover-dated October 1976.  “A Sacred Vow” is illustrated by “Nicholas Alascia,” the pen name for the long-time team of penciler Charles Nicholas and inker Vince Alascia, who drew numerous stories for Charlton.  Their style was well-suited to the romance genre, and they also worked on Charlton’s horror, war and Western titles.

Young, beautiful Anne is trying to make her marriage to Gordie Barton work, but doubts are beginning to creep in…

“When we were first married, Gordie planned to take night courses at community college. Why does Gordie have to be a bookkeeper? Kevin O’Shay, upstairs, is a commercial artist… he’s interesting.”

We can tell that Kevin is an “interesting artist” because he wears a foulard & black turtleneck, and has a mustache & long-ish hair.  Kevin must also be thinking about Ann, as one day when Gordie’s at work our resident artist is asking Anne if she’d like for him to pick her up something at the bakery, because there’s something he’d like to discuss with her.  Anne invites Kevin back to her apartment for coffee, where the artist, spotting her coffee pot, elatedly exclaims…

“Aahh… real coffee! I always use instant coffee and I hate the stuff.”

No, Anne, don’t do it!  Any man who’s too lazy to brew his own coffee is just not worth it!  Especially when he comes right out and admits instant coffee is awful!

Kevin asks Anne if she will model for him, offering to pay her $20 an hour.  Anne agrees, but keeps it a secret from Gordie, who she knows dislikes the artist because he feeds the stray cats outside.  A week later Anne models again for Kevin.  This time the artist begins putting the moves on her, declaring “You’re the most beautiful model I’ve ever had, Anne.”  And with that he grabs Ann in his arms and kisses her.  A shocked Ann pushes him away and flees.

Flash forward hours later and Gordie returns home to find Ann sobbing on the couch.  A distraught Ann confesses her activities, and Gordie admits “Oh? I knew you’d been in his apartment. I feel like sneezing… I am allergic to cats, remember?”  Anne realizes that, though she is attracted to Kevin, it is Gordie she wants to be with.  Realizing that she needs to voice her earlier doubts, she tells her husband “Darling, I’d like to go back to my old job… and then we’d both take courses at night.”  Gordie thinks this is a great idea.

As the story closes, Gordie casually mentions “If it’ll make any difference… I’ve seen O’Shay with at least three different girls this week! One woman will never be enough for him!”

So… Kevin O’Shay is a smooth-talking lothario who attempts to seduce married women and who is too lazy to make his own coffee.  On the other hand, he does feed the local stray cats.  Well, even Hitler loved animals, but we all know he was a huge @$$hole.

In all seriousness, it needs to be said that several decades ago romance comic books were a pretty big deal, and that a lot of young girls read them.  This is borne out by Just Married, which Charlton had been publishing since 1958.  However by 1976 the demographics of the readership had changed.  Super-heroes had come to dominate the medium, and the audience was now primarily boys in their early teens.  Just Married was a casualty of these changes, being cancelled just one issue after this one.

Just Married 113 pg 8

We can look back on these stories and mock them for their overwrought, melodramatic plots.  Nevertheless, at least back then there was an effort by publishers to appeal to more than just adolescent males.  Besides, if we’re going to be honest, if we look back on the superhero comics of our childhood years, we have to admit, a lot of those were overwrought and melodramatic, as well.

So the next time some idiot complains about female readers, just remember that for a long time girls and women did read comic books, and at long last they’ve returned to the medium.  That’s a positive, because we need a growing audience, especially with the comic book industry’s current financial crisis.

By the way, I bought Just Married #113 and a few other Charlton romance comics about a decade ago for my girlfriend Michele Witchipoo because she likes the artwork on those old books. She’s also a huge Love and Rockets fan, which resulted in my somewhat casual interest in Los Bros Hernandez turning into following the series regularly.

The Hopefully Almost Daily Comic Book Coffee, Part One

On the Facebook group Comic Book Historians, moderator Jim Thompson issued a “Call to Arms” to occupy and cheer up those of us who are working from home or unemployed due to the coronavirus pandemic.  The challenge: Pick a subject and find a different artist every day for that subject until May 1st (if not longer).

Jim had already been posting his 1000 Horses series for the past three years, each day showcasing artwork featuring a horse drawn by a different artist.  Group member Mitchell Brown has done several shorter themes, most recently “My Enemy, Myself” featuring “evil twin” stories.

Mitchell sometimes collects together some of these FB posts on his entertaining & informative blog, the appropriately named A Dispensable List of Comic Book Lists.  That inspired me to do the same with my blog.  Here is the first installment in the Hopefully Almost Daily Comic Book Coffee.  From the work of how many different artists can I find examples of people drinking coffee?  I guess we will just have to see.

cat and coffee

1) Shannon Wheeler

Let’s start off with the obvious choice: Too Much Coffee Man by Shannon WheelerToo Much Coffee Man first appeared as a self-published mini comic in 1991.  In a 2011 interview with The New Yorker, Wheeler explained the origins of the series:

“In 1991, I drew an autobiographical cartoon for The Daily Texan with themes of alienation and loneliness. When I described it, people’s eyes glazed over. As a cheap gag, I started “Too Much Coffee Man.” I still address the same themes, except now there’s coffee. People like coffee.”

That’s certainly true.  I’m drinking coffee at this very moment, right as I’m typing this sentence.

From such humble beginnings, Too Much Coffee Man has been in near-continuous publication for almost three decades.  The series has enabled Wheeler to humorously explore existential angst, the lunacy of American society, and the dangers of overindulging in caffeine.

Here is Too Much Coffee Man living up to his name on page two of the story “TMCM vs. TM©M” which sees a ruthless corporate executive shamelessly steal our protagonist’s name & imagery, and then hit him with a cease & desist order.  In the battle of indy original versus big business rip-off, who will win? (Hey, maybe Mitchell Brown can do a “My Enemy, Myself” entry about this story!)

“TMCM vs. TM©M” first appeared in Too Much Coffee Man #1 published by Adhesive Press in July 1993.  I read the story in the Too Much Coffee Man’s Parade of Tirade trade paperback released by Dark Horse in November 1999, which reprinted the first eight issues of the Adhesive Press run.  The story, and a whole bunch of other caffeinated goodness, can also be found in the Too Much Coffee Man Omnibus published by Dark Horse in 2011, with an expanded edition in 2017.

Too Much Coffee Man

2) Dan Jurgens & Al Vey

This artwork is from Common Grounds #5 from Image Comics, cover-dated June 2004. Script is by Troy Hickman, pencils by Dan Jurgens, inks by Al Vey, letters by the Dreamer’s Design team, and colors by Guy Major.  I’m going to quote from my own previous blog post about Common Grounds

Published by the Top Cow imprint of Image Comics in 2004, Common Grounds was a six issue miniseries written by Troy Hickman, with contributions from a number of extremely talented artists.  It initially began life as a mini comic titled Holey Crullers that Hickman had worked on with Jerry Smith a few years before.  Common Grounds was set around a nationwide chain of coffee shops that were frequented by costumed heroes & villains, a sort of Starbucks or Dunkin Donuts for super-humans.  The various Common Grounds stores serve as “neutral territory” where both crime-fighters and criminals can gather peaceably to enjoy a cup of joe and some doughnuts.

Hickman and his artistic collaborators introduce a cast who, on the surface, are expies for famous DC and Marvel characters.  Hickman utilizes these to both pay homage to and deconstruct various storytelling structures and devices of the superhero genre.  What I like about how Hickman goes about this is that he does so with a surprising lack of sarcasm or mockery.  All of his jibes are of the good-natured sort, and he takes equal aim at the implausible silliness of the early Silver Age and the grim & gritty trappings of more recent decades.  Common Grounds is simultaneously extremely funny and very poignant & serious.

I’m fairly confident I’ll be featuring work from some of the other Common Grounds art teams in future installments! It’s definitely due for another re-read.

Common Grounds 5 pg 8

3) Jack Kirby & Joe Sinnott

If you’re going to talk comic books, sooner or later (probably sooner) you’re going to have to discuss Stan Lee and Jack Kirby.  Whatever the specific division of labor was (and all these decades it’s almost impossible to determine that precisely) the two of them working together in the 1960s created the majority of the Marvel Universe.

It all started in August 1961 with the Fantastic Four, a group who right from the start were characterized as much by their all-too-human disagreements as their super-powers.  And no one was more dysfunctional than the gruff Ben Grimm, aka the Thing, who had been transformed by cosmic radiation into a monster.

Early on Ben Grimm very much straddled the line between hero and villain, and in those first few issues the rest of the FF found themselves wondering if the Thing, consumed by anger & self-loathing, might violently turn on them.  However, the Thing gradually evolved into a character who was both gruff & comedic.  We see one of the first hints of that here, in this scene from Fantastic Four #5, cover-dated July 1962.  Ben is attempting to enjoy a cup of coffee, only to get razzed by literal hothead the Human Torch.

This is one of those pages that really makes me appreciate Kirby.  I love the panel with the Thing holding the cup of coffee.  This was when he still looked like orange oatmeal, very much a horribly disfigured individual, before he evolved into the almost cartoony orange brick form we are all familiar with. There’s this simultaneous humor and tragedy in that panel, as Ben Grimm, now this huge, grotesque figure, is almost daintily holding that coffee cup & saucer, a very human gesture, and a reminder of what he once was, and longs to be again.

Inks are by Joe Sinnott, his first time working on FF.  Lee wanted Sinnott to become the regular inker, but soon after Sinnott received the assignment of drawing the biography of Pope John XXIII for Treasure Chest.  Sinnott had inked about half a page of Kirby’s pencils for the next issue when he got the Treasure Chest job, and so had to mail the art back to Lee, who then assigned it to Dick Ayers.  Sinnott fortunately got another opportunity work on the series in 1965, commencing with issue #44, and for the rest of the 1960s did a superb job inking Kirby.  Sinnott remained on FF for the 15 years, inking / embellishing over several pencilers.

In a case of Early Installment Weirdness, we see the Torch reading an issue of The Incredible Hulk #1, which in the real world had come out two months earlier.  It seems at this point in time Lee & Kirby had not quite decided if the Hulk occupied the same fictional universe as the FF.

Fantastic Four 5 pg 2

4) Werner Roth & John Tartaglione

X-Men #31, cover-dated April 1967, was penciled by Werner Roth and inked by John Tartaglione. “We Must Destroy… the Cobalt Man!” was written by Roy Thomas.

X-Men in the 1960s was a title of, um, variable quality.  Series creators Lee & Kirby both left fairly early on, and newcomer Roy Thomas sometimes struggled to find a successful direction for the book.  Thomas was paired with penciler Werner Roth, who did good, solid work… but regrettably did not possess a certain dynamic quality necessary for Marvel-style superheroes.  Also, I’m not sure if Tartaglione’s inks were an especially good fit for Roth’s pencils.

Roth was, however very well-suited to drawing romance, war and Westerns comic books.  He certainly was adept at rendering lovely ladies, as seen in his exquisite art on Lorna the Jungle Queen in the 1950s, which he inked himself.  So it’s not surprising that some of Roth’s best work on X-Men was when the main cast was in their civilian identities, and the soap-operatic melodrama was flying fast & furious.  Witness the following…

Here we have two different coffee-drinking scenes on one page.  At the top, Scott Summers, Warren Worthington and Jean Grey are hanging out with Ted Roberts and his older brother Ralph at a greasy spoon known as the Never-Say-Diner… really, Roy?!?  Ted was a short-lived rival to Scott for Jean’s affections, and Ralph was (spoilers!) a short-lived villain named the Cobalt Man.  Elsewhere, Hank McCoy and Bobby Drake have taken their dates Vera and Zelda to their semi-regular Greenwich Village hangout, Coffee A Go-Go, where Bernard the Poet is, ahem, “reciting his latest masterpiece.”  The scene closes with Bobby creating the world’s first iced espresso.

X-Men 31 pg 10

5) Joe Staton

This entry is drawn by one of my all-time favorite artists, the amazing Joe Staton.  “Vamfire” is a short story featuring E-Man and Nova Kane, the awesome characters created by Nicola “Nick” Cuti & Joe Staton at Charlton Comics in 1973.  This story was originally planned for Charlton Bullseye in 1976.  It did not see print until a decade later, in The Original E-Man and Michael Mauser #7 (April 1986) published by First Comics, who had the E-Man rights in the 1980s.

I’ve blogged at length about E-Man on several occasions.  Suffice it to say, it’s an amazing series, with brilliantly humorous & heartfelt writing by Cuti and wonderfully imaginative artwork by Staton.  This six page story introduces E-Man’s negative energy sister Vamfire, a sort of proto bad girl anti-hero who would reappear in later stories.  “Vamfire” also introduces Nick and Joe’s Café, and Staton draws himself and Cuti as the proprietors.  Nick and Joe’s Café would also return in later stories, with the running gag that their coffee was always terrible.  Nevertheless they somehow managed to stay in business, no doubt due to being strategically located near Xanadu Universe in Manhattan, where innumerable sleep-deprived college & graduate students were desperate for a caffeine fix to keep them awake during the school’s interminable lectures.

“Vamfire” was later reprinted in 2011 in the excellent trade paperback E-Man: The Early Years, which collected the entirety of the E-Man stories from the 1970s under one cover.  It is apparently still available through the publisher. I highly recommend it.

E-Man The Early Years pg 207

Thanks for stopping by to sample our fine four-colored espresso.  I hope you will come back again soon when we will have five more examples of Comic Book Coffee from throughout the decades.

 

This is how the world ends: Doomsday + 1

Four and a half decades ago, at the small Derby, Connecticut-based Charlton Comics, the company’s main writer teamed up with a young up-and-coming artist to create a striking post-apocalyptic sci-fi series that, though short-lived, is remembered to the present day.  The writer was Joe Gill, the artist was future superstar creator John Byrne, and the series was Doomsday + 1.

Doomsday+1 1 coverAbout six months ago I located copies of the original six issue run of Doomsday + 1.  They were fun, enjoyable comics.  The first issue was released 45 years ago this month, on April 8, 1975, so I felt now was a good time to write a short retrospective on the series.  That, and for obvious reasons of late I’ve sort of had the apocalypse on my mind.

In the opening issue of Doomsday  + 1 the end of the world is touched off on April 7, 1996 by power-mad Latin American dictator General Rykos.  On the verge of being overthrown, Rykos is determined to take everyone down with him.  He launches a pair of nuclear missiles, one at New York City, the other at Moscow.  The United States and Russia each believe they have been attacked by the other, and before anyone can figure out who is actually to blame, both nations have launched their atomic arsenals at each other, wiping out human civilization.

Hours before Rykos starts World War III, NASA launches a small spacecraft into Earth’s orbit on a scientific mission.  The three –person crew of the capsule is U.S. Air Force Captain Boyd Ellis, his fiancée, radiation specialist Jill Malden, and Japanese physicist Ikei Yahsida.  As a result this trio are saved from the apocalypse, but are nevertheless forced to watch helplessly from Earth’s orbit as the human race is destroyed.

The capsule remains in orbit for over a month, the three astronauts waiting for the radioactivity on Earth to drop.  Finally running out of food, they bring the capsule in for a landing on the uninhabited Greenland, which has been mostly spared from fallout.  However the heat of the nuclear weapons has melted the Greenland ice cap, releasing from suspended animation several prehistoric mammals.  Also freed from an icy slumber is Kuno, a Goth warrior from the Third Century.  Jill, a linguist, is able to communicate with the man out of time, and soon the hulking hairy figure has become a valuable ally.

Doomsday+1 1 pg 20

Over the course of the six issue series, the quartet explores the devastated Earth, hoping to find other survivors.  Along the way they have a series of strange adventures, encountering a mad Russian cyborg & his mechanical army, alien peacekeepers, an underwater civilization, human criminals, and visitors from a parallel universe.

There’s also a bit of what you might call a love triangle, or maybe a love quadrangle.  Boyd and Jill start out as a couple, prompting some jealousy from Ikei, who is also attracted to Boyd.  Kuno, upon meeting the group, is immediately attracted to Jill, and the two of them soon become involved, leaving Boyd and Ikei to then hook up, as well.

Joe Gill was an incredibly prolific writer who produced hundreds of stories for Charlton Comics.  He and John Byrne seemed to have a good creative rapport on this series, with Gill allowing Byrne a free hand to make changes to the scripts.

Looking at the art on Doomsday  + 1, it’s apparent that Byrne, in some of his first professional work, was already showing a great deal of potential.  Obviously he would get much, much better over the next few years, but already you can see his aptitude for dramatic layouts & storytelling, his ability to render both action & characterization.

Doomsday+1 2 pg 1

On the last three issues the artwork is credited to “Byrne Robotics.”  Many years later Byrne would re-use the name for his official website & message board.  I posted there to inquire about the “Byrne Robotics” credits on Doomsday  + 1.  Byrne explained:

“I used Byrne Robotics when a friend helped me ink backgrounds. (She’d lost her job so I gave her a temp job.)”

I also informed Byrne that I would be writing this blog post, and I asked if he had any thoughts about Doomsday + 1 that he would be willing to share.   He kindly responded:

“Thems were some old time comic books! If they’d been published in the Fifties, they’d not have stood out much from the crowd.

“And they were fun. Joe Gill, the writer, gave me permission to change anything I wanted to, if I felt it improved the story. A real learning experience—like pretty much everything I did at Charlton.”

That is a common theme you hear from comic book artists who began their careers at Charlton Comics, that it was a really good training ground where they were given an opportunity to hone their skills, helping them gain the experience that later enabled them to obtain more high-profile, better paying work at other companies such as Marvel and DC Comics.

A few random observations about these six issues:

The scene on the cover to the first issue does not appear in the actual comic book.  No doubt it was Byrne’s homage to both the ending of Planet of the Apes and Jack Kirby’s cover for the first issue of his own post-apocalyptic comic book series, Kamandi.  Of course, there is a looooong tradition of artists utilizing the ruined Statue of Liberty as a landmark on disaster movie posters and on post-apocalyptic book covers.

Doomsday+1 4 pg 15

Issue #4, the one with the underwater civilization, has some lovely artwork by Byrne & his assistants.  The look of the beautiful, graceful Amphibian woman Meri almost seems like a composite of Snowbird and Marrina, two of the characters Byrne would introduce in Alpha Flight a decade later.

There is one aspect of issue #4 which I feel has perhaps not aged well.  We are told that the Amphibians, due to their inability to live in the depths of the oceans, created a second race, the Gill-Men.  Over centuries the Gill-Men became more vicious & belligerent, eventually turning on the Amphibians.  Unlike the Amphibians, the Gill-Men are large, monstrous-looking beings.  If you read between the lines, you might come away thinking the Gill-Men were created to be servants or slaves, and that they rebelled against their masters.  If that is the case, having them as very clear-cut villains, and making them grotesque compared to the elegant, humanoid Amphibians, feels sort of, well, racist.

Then again, it could be I’m just reading too much into this!  After all, in issue #6, our heroes meet the inhabitants of an alternate reality Earth, a civilization of “Beautiful People” who have created a highly advanced utopia.  However we quickly learn that this apparent paradise only exists because these Beautiful People have raided other parallel Earths, abducting their inhabitants to serve as slaves.  So in this case the supposedly more advanced, attractive culture is very much the villain.

Doomsday+1 5 pg 12 JillLooking at issue #5, our heroes are captured by a group of military prisoners who have seized control of an abandoned Air Force base.  Boyd and Kuno are tied up by the criminals, who intend to have their way with Jill and Ikei, the first women they’ve seen since the nuclear war.  Hoping to catch their captors off-guard, Jill and Ikei pretend to be compliant, going so far as to get dolled up in a couple of sexy outfits.  I noticed that the dress Byrne has Jill in resembles a couple of the outfits he would draw Colleen Wing wearing just a few years later in the pages of Iron Fist. (Yes, I do notice things like this!)

Doomsday + 1 was apparently cancelled on very short notice by Charlton, as there was a completed seventh issue ready to go when the ax fell in 1976.  Fortunately the story “There Will Be Time” did see print soon after, in black & white, in the 4th and 5th issues of the semi-professional fanzine The Charlton Bullseye.

At this point it appears Byrne was intended to take over as the full writer of the feature.  In “There Will Be Time” he lays the groundwork for a new direction, as the survivors encounter Stinson Tempest, a time traveler for the 40th Century who becomes stranded in the post-apocalyptic present.  It feels like there was a lot of potential to where Byrne planned to take the series, so it’s a shame it was cut short so abruptly.

Plus, y’know, it had dinosaurs.  Dinosaurs are always fun.

Charlton Bullseye 4 Doomsday+1

There is actually one other Doomsday + 1 story, although for many years it was believed lost.   Charlton Comics revived Doomsday +1 in 1978 as a six issue reprint title, picking up from the original numbering.  At first sales on the revival were good, and Charlton considered running new material.  Regular Charlton contributor Tom Sutton was commissioned to write & draw a story to appear in issue #13.  Unfortunately sales soon dropped, and the decision was made to once again cancel the book, with Sutton’s story never seeing print.

Doomsday+1 13 coverYears later the original unlettered artwork resurfaced, although Sutton’s script for it had gone missing.  Sutton passed away in 2002.  Eventually another Charlton veteran, the great Nicola “Nick” Cuti, working from Sutton’s art, wrote an entirely new script.  It speaks to both the clarity of the storytelling in Sutton’s artwork and to the immense talent of Cuti’s writing that this new script meshes almost seamlessly with pages drawn over three decades earlier.  “The Secret City” was then lettered by Bill Pearson and colored by Donnie Pitchford.  At long last it saw print in 2013 in issue #8 of Michael Ambrose’s excellent magazine Charlton Spotlight, published by Argo Press.

Looking at the artwork for “The Secret City,” it appears that Sutton’s original intention was to pick up after the events of Doomsday + 1 #6.  Cuti managed to work in references to the events of “There Will Be Time” in his script, definitely placing it after the survivors began working with Stinson Tempest.

As I’ve previously observed from my past looks at Cuti’s excellent writing on E-Man, he is really good at developing realistic characters & relationships.  We have no way of knowing how Sutton would have dialogued the series’ quartet, but Cuti takes the opportunity to add some realistic tension to the relationship between Boyd and Ikei.

Reading the original stories, Boyd is definitely a belligerent, trigger-happy individual, ready to start a fight at the drop of a hat (in fact Kuno the supposed “barbarian” often comes across as more careful & strategic-minded than Boyd).  In his script for “The Secret City,” Cuti has Ikei expressing disapproval for Boyd’s aggressive attitude, perceiving it as a perpetuation of the warlike mindset that recently led to humanity all but wiping itself out.  It definitely gives a certain subtlety & nuance to Sutton’s story, a pulpy affair that sees the quartet fighting against an army of Roman Legionnaire lizard men zipping around in flying saucers!

Charlton Spotlight 8 pg 19

So, for those of you who are interested in reading Doomsday + 1, where can you find these comic books?  Since this was some of John Byrne’s earliest work, near-mint copies of the first six issues tend to be expensive.  However, if you don’t mind your comics being a bit dog-eared, you can find less pristine copies for lower prices.  Issues #7-12 are reprints, so they’re probably not as much in demand, meaning that may be another way to get these stories without forking over a lot of money.

There is also the seven issue miniseries The Doomsday Squad, published by Fantagraphics in 1986, which reprints the original six issues, as well as “There Will Be Time” in color for the first time.  Several of the issues feature brand new cover artwork by legendary artist Gil Kane, who provides his own unique interpretation of the characters.Doomsday Squad 6 cover

As for “The Secret City” by Sutton & Cuti, head over to the Argo Press website and order a copy of Charlton Spotlight #8.  The issue also features a 2012 interview with Cuti about his Charlton work.

Also, since Doomsday +1 might be the public domain (no one seems to know for certain who, if anyone, currently owns the rights to it) sometimes you can find full issues of the original series posted on blogs & websites.  The complete first issue can be read on The Bronze Age of Blogs, if you are so inclined.

One last item: Several years ago John Byrne decided to re-conceptualize Doomsday + 1 from the ground up.  The result was the four issue miniseries Doomsday.1 published by IDW in 2013.  As Byrne explained:

“I’ve been thinking for some time that I would like to revisit a post-apocalypse kind of scenario, such as was seen in my very first ‘dramatic’ work in comics, but this time without the more obvious fantasy elements of that original series (mermaids, alien robots, frozen mammoths, etc.),” said Byrne. “When bits and pieces of this new series first started to percolate around in my head, I knew almost at once the shape that ‘revisit’ would take; something in the ‘All-New, All-Different’ vein. And the first time I doodled some images of my ‘crew,’ I knew I was there!”

Doomsday.1 sees the Earth ravaged not by nuclear war but by a devastating solar flare.  The crew of the International Space Station watches helplessly as nearly the entire surface of the planet is devastated, with billions dying.  Following the disaster, the Space Station crew makes their way back to Earth, to the small area within the Western Hemisphere which was spared the worst of the solar storm.  Their search for other survivors soon brings them into conflict with the worst of human predators.

Doomsday Point 1 coverThis miniseries is extremely grim and downbeat.  I also think it’s one of the best things that Byrne has done in a number of years.  The somber subject matter very much suits the direction that Byrne’s artwork has developed in over the last couple of decades.  It also is a good fit for the darker sensibilities that he has shown in his writing since the early 1990s.  I’ve often felt that such material was not a good fit for mainstream super-hero series (I definitely was not fond of what he did to Donna Troy during his run on Wonder Woman) but it feels much more at home in his creator-owned projects such as this and Next Men.

I also appreciated the fact that Byrne writes the characters in Doomsday.1 as fairly intelligent & genre-savvy.  In other words, he doesn’t have them acting like idiots solely in order to advance the plot.

So in spite of the similar premises, Doomsday.1 is a very different book from its predecessor.  Nevertheless, I definitely recommend it.  It’s a genuinely riveting story.  It’s also an excellent way in which to see how Byrne has grown & developed as a creator, to look at how he depicted the apocalypse in 1975, and how he approached a similar scenario 38 years later in 2013.

Frank McLaughlin: 1935 to 2020

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.”

Judomaster 93 coverDuring 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.

Captain America 160 pg 1 signed

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.

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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!”

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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.White Viper cover

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.

Nicola “Nick” Cuti: 1944 to 2020

Longtime comic book writer, editor & artist Nicola Cuti passed away on February 21st.  He was 75 years old.

E-Man 1 cover smallCuti, 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.

Moonchild Comics
Moonchild Comics #2 by Nicola Cuti, published by San Francisco Comic Book Company in 1969

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.

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“The Night of the Demon” by Nicola Cuti and Tom Sutton from Haunted #36, May 1978

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.

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The origins of E-Man and Nova Kane, as retold by Nicola Cuti and Joe Staton in The Charlton Arrow vol 2 #1, 2017

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.”

Charlton Arrow vol 2 1 cover smallOn his own blog my friend Nick Caputo wrote a detailed retrospective of Cuti’s career which I hope everyone will check out.

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.

Steve Ditko’s ghost stories

Last week it was announced that legendary comic book creator Steve Ditko had passed away in late June.  He was 90 years old.

Ditko is best known for having co-created Spider-Man and Doctor Strange at Marvel Comics in the early 1960s.  However, he was actually a prolific creator who worked on innumerable titles for a variety of publishers, as well as a number of creator-owned self-published projects, during a career that lasted 65 years, from 1953 until the time of his death.

I wanted to pay tribute to Ditko, but I never worked with him or met him, and so outside of a brief correspondence with him several years ago I cannot say I knew him.  Certainly I am ill-equipped to assemble a comprehensive overview & analysis of his career such as the one that appeared in The Comics Journal.

It then occurred to me to look at one period, one facet of Ditko’s career that especially appealed to me, and explain why I held it in such high personal regard.  I am going to take a brief look at Ditko’s work on the Charlton Comics horror anthologies of the 1970s.

Ghostly Haunts 23

About a week ago I happened to be chatting with comic book creator Dean Haspiel.  During our talk, we briefly touched on the subject of horror comics.  I broached the opinion that horror is a genre that is often difficult to utilize effectively in the medium of comic books.  Haspiel appeared to concur, and suggested it can be difficult for many artists to effectively utilize the pacing and storytelling and layouts necessary to convey true horror & suspense, with many instead relying on gore & violence.

(I’m paraphrasing what Dean said, so DO NOT take any of the above for a direct quote!)

Just a few hours later the news broke of Steve Ditko’s passing.  It immediately hit me square in the face that one of the few comic book artists who DID genuinely excel at illustrating horror material was none other than Ditko himself.  Certainly that talent was frequently on display in his work for Charlton.

Located in Derby CT, Charlton was infamous for its low rates paid to creators and the cheap quality of its printing.  However the company also had very little in the way of corporate or editorial oversight.  This was something that appealed to Ditko, who very much valued his creative independence.

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“Treasure of the Tomb” page 3 from Ghostly Haunts 23 (March 1972)

In my teens and 20s I had seen reprints of Ditko’s Spider-Man and Doctor Strange stories, as well as his more recent work for Marvel from the 1980s.  Though I liked it, there wasn’t anything that especially appealed to me.  At times I even found his art to be weird and off-putting.

About a decade and a half ago I was at a local comic book convention where I happened to buy a few back issues of some of the Charlton horror anthologies.  One of these issues was Ghostly Haunts #23 (March 1972) which featured a striking cover by Ditko.  Inside this issue were two stories illustrated by Ditko, “Treasure of the Tomb” and “Return Visit,” both of which I later learned had been written by Joe Gill.

Let me tell you, Ghostly Haunts #23 was a genuine revelation.  I don’t think I truly “got” Ditko’s work until that point.  His art on those two stories struck me like a thunderbolt.

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“Return Visit” page 2 from Ghostly Haunts #23 (March 1972)

Ditko’s layouts, the pacing of his stories, his heavy inking, the contorted body language & wide-eyed, twisted facial expressions of his figures, all combined to create a palpable mood of fear and anxiety and tangible horror.  Ditko genuinely excelled at generating an atmosphere of dread and suspense, of unsettling people and places that were more than slightly askew.

I also loved Ditko’s beautiful, sexy depiction of Ghostly Haunts hostess Winnie the Witch.  Ditko’s women often exuded a dangerous sensuality, and that was certainly present in his depictions of Winnie, who was cute but also possessed of a coy edginess.  Additionally, I enjoyed the effective way in which Ditko had Winnie lurking on the borders of the pages, or in-between panels, an omnipresent spectator who was almost but not quite involved in the proceedings of the narratives.

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“Web of Evil” page 3 from Ghostly Haunts #31 (April 1973)

Subsequently I began searching out other back issues of the various Charlton horror anthologies.  The prolific Ditko illustrated dozens of stories for the company in the 1970s, appearing in numerous issues of Ghost Manor, Ghostly Haunts, Ghostly Tales, Haunted, Scary Tales, and others, making his work fairly easy to locate.

Additionally, 20 of the horror stories that Ditko did for Charlton were subsequently collected together in black & white volume Steve Ditko’s 160 Page Package.  This was released in 1999 by Robin Snyder, who printed & distributed many of Ditko’s later works.

At times the stories in the Charlton anthologies were clichéd or repetitive or predictable.  Since the pay rates were so low, Gill and his colleagues often had to literally crank these things out one after another in order to be able to make a decent living.  Nevertheless, in spite of the variable quality of the writing, as well as his own low page rates, Ditko invariably gave it his best, always producing eerie, unsettling, effective work of a high caliber.

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“The Moon Beast” page 7 from Ghostly Tales #106 (August 1973)

Being exposed to Ditko’s work on these books rapidly caused me to reappraise his other material.  Soon after I re-read Essential Doctor Strange Volume One, and enjoyed it tremendously.  It’s since become one of my favorite trade paperbacks, either to read yet again, or just to flip through to marvel (no pun intended) at the exquisite artwork.

I also began to look more favorably on Ditko’s work for DC Comics in the late 1960s, where he created such unusual characters as Hawk & Dove, the Creeper, and Shade the Changing Man.  Fortunately much of this material has now been collected, making it much easier to obtain.

I serious doubt I will ever find myself in agreement with the Objectivist philosophies that became prevalent in Ditko’s later creations and stories, but I certainly appreciate the craft and talent that was on display in his artwork.

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“The Crew that was Hanged” page 7 from Ghostly Tales #122 (August 1976)

Steve Ditko was a unique creator possessed of one of the most distinctive, individual voices to have ever worked within the medium of comic books.  His work for Charlton in the 1970s represents but a fraction of his output.  Nevertheless it remains among my favorite material by Ditko, for the quality present within it, the visceral impact it delivered, and the fact that it led me to a deeper appreciation for his entire body of work.

Michael Mauser: Portrait of a P.I.

“My name is Mauser. That’s also the name of my pistol. In my profession, my pistol’s the only reliable friend I have. I take care of it, and it takes care of me. I’m a private eye, and this is my story…”

Over on Facebook someone asked me why, in my recent post E-Man and Nova: The 1990s and Beyond, I had not devoted more space to private eye Michael Mauser.  I responded that I was actually going to do a separate piece focusing on Mauser’s publication history.  And here it is…

Michael Mauser logo

The diminutive detective Michael Mauser, who has always struck me as a cross between iconic private investigator Sam Spade and super-sloppy grouch Oscar Madison, was created by writer Nicola “Nick” Cuti and artist Joe Staton in the pages of their groundbreaking, entertaining comic book series E-Man, published by Charlton Comics.  Mauser made his debut in E-Man #3, cover-dated June 1974.

“The Energy Crisis” is set in New York City during the oil crisis of late 1973.  E-Man’s girlfriend Nova Kane, archeology student & burlesque performer extraordinaire, is walking home from her job, accompanied by fellow dancer Rosie Rhedd.  After the pair narrowly escape a mugging, Rosie is suddenly pulled through a solid brick wall by an unseen assailant.  The shocked Nova goes to E-Man, aka Alec Tronn, for help, but the energy man from the stars is busy rushing back & forth across the city helping with the numerous emergencies caused by the power shortages.

Coming across a flyer advertising Michael Mauser’s services, Nova reluctantly heads to his office.  Although startled by Mauser’s slovenly appearance, she tells him about Rosie’s strange disappearance.  Mauser agrees it’s a fantastic story, but adds “So long as you’re paying me, I’ll believe anything.”

Mauser and Nova return to the scene of the crime, and discover the wall into which Rosie was pulled belongs to an old warehouse.  Although it hasn’t been used in years, Mauser spots fresh tire tracks in the warehouse, as well as a crate labeled “Boarsville,” home of the reclusive, secretive billionaire energy magnate Samuel Boar.

The pair hop into Mauser’s VW Bug and head out to Boarsville, but on the town outskirts they are ambushed by an unseen foe.  Both are captured, but not before Nova is able to make a phone call alerting E-Man.  He quickly zips over to Boarsville via the phone lines.  Tangling with Samuel Boar’s sinister robot henchmen the Battery, Alec learns that Boar is using a new source of energy to power his empire: living people!  Rosie, Nova and Mauser are just three of the hundreds of innocents kidnapped by the Battery and plugged into Boar’s generators. E-Man fortunately breaks free, defeats the Battery, and arrests Boar.  The authorities quickly release all of the Boar’s victims.

Later, back at Mauser’s office, the P.I. offers a E-Man a job, to which Nova responds “Not a chance! He’s a big lovable guy and I want him to stay that way… not become corrupted by a cynical creep like you!”  She then storms out, and Mauser informs E-Man “That’s a tough little broad you’ve got there.”

E-Man 3 pg 5

Interviewed by Jon B. Cooke for Comic Book Creator in March 2015, Joe Staton explained the origins of Michael Mauser:

“Nick [Cuti] had the idea for a detective based on Arnold Stang. He was a little guy with a really nasal voice, little glasses… And since Nick was hanging out with Wally Wood and they had guns all over the place, the idea of Mauser… Nick HAD a Mauser. Very cool gun. The ultimate gun, visually, and it came together.

“The visual I wound up with Mauser – this was obviously before the Internet and it was hard to find a lot of things – so I didn’t really have any reference for Arnold Stang. I knew who he was just generally, but that was when the Dustin Hoffman / Steve McQueen movie was out, Papillon. And there were all these pictures of Dustin Hoffman in these really thick glasses in Papillion, so I just thought, well, he’s not Arnold Stang, but he’s close enough. So that was the original visual.”

Michael Mauser’s next appearance was in E-Man #7 (March 1975).  The mysterious “TV Man” has been using alien technology to cause E-Man to lose control of his powers, making him transform into characters from television broadcasts.  Seeking a final showdown, the TV Man ambushes Mauser in his office, instructing him at gunpoint to deliver an ultimatum to E-Man.  The unperturbed Mauser, staring down the barrel of TV Man’s gun, deadpans “You know how to make a point. Do you still need me… or is a truck about to come through that tunnel?”

Passing along TV Man’s message, Mauser brings E-Man over to Rockefeller Plaza the next day for a “high noon” showdown.  Having served as messenger, the P.I. announces “It’s getting close to noon so I’m going to take off. There’s no hero in my blood.”

Despite his protestations, though, it would soon become apparent that Mauser possessed more than his share of bravery & heroism.  He was akin to Rick Blaine from Casablanca, who always insisted “I stick my neck out for nobody,” but who when push came to shove was hard-pressed to ignore injustice or turn his back on someone in need of help.

Mauser embodies the sentiment that inside every cynic is a disappointed idealist.  In spite of his appalling lack of manners, his fondness for cutting corners, and his disdain for authority, underneath it all Mauser has his own set of ethics, a personal code of conduct he rigorously adheres to.

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In addition to further appearances in E-Man, readers soon got to see Mauser in solo action. The character appeared as the regular back-up feature in Charlton’s detective series Vengeance Squad, which ran for six issues between July 1975 and June 1976.  In some of these tales Mauser was hip-deep in the action, mixing it up with all sorts of dangerous criminals; in others he was practically an observer, delivering pointed narration on the activities & schemes of various unsavory characters.

E-Man was cancelled with issue #10 in September 1975.  Mauser would subsequently appear as a supporting character in an E-Man and Nova story by Cuti & Staton which ran in issue #4 of the semi-professional fanzine Charlton Bullseye the next year.  After that Mauser, along with the rest of the E-Man cast, disappeared into limbo.

Seven years later, when E-Man was revived by First Comics, once again Michael Mauser was a regular presence in the pages of the book, simultaneously an ally and a nuisance to Alec Tronn, Nova Kane and Teddy Q.  Additionally, Mauser received a back-up story in issue #4 (July 1983) by writer Mike W. Barr and artist Rick Burchet.  “Mauser, P.I.” was a humorous send-up of the then-popular prime time detective show Magnum, P.I.

Early in 1985 Mauser also co-headlined a three issue miniseries with Ms. Tree, the private detective created by Max Allan Collins & Terry Beatty.  The P.I.’s: Michael Mauser and Ms. Tree was written by Collins and drawn by Staton & Beatty.  It was a very effective meeting of the two headstrong, independent, trigger-happy private eyes, a deft blend of dark tragedy and sardonic humor.

Michael Mauser and Ms Tree 1 cover

Due to his being employed by DC Comics at the time, E-Man co-creator Nicola Cuti was unable to contribute to most of First’s E-Man series.  Cuti was at last reunited with Staton on issue #24 (June 1985), and the pair immediately set out to tell the definitive origin of Michael Mauser.

“Mauser’s Story” is one of the best comic books that Nicola Cuti has ever written.  The artwork by Joe Staton & Rick Burchet is wonderful.  I am hesitant to go into too much detail about it, because I encourage everyone to seek out a copy in the back issue bins.  But here is a brief synopsis…

Michael Mauser was born in the upper middle class neighborhood of Beacon Falls, CT.  The tragic death of Mauser’s father resulted in the family having to move to the slums of Brooklyn, NY.  Being beaten up on a daily basis by the local street gang the Black Lions caused Mauser to have to toughen up very quickly.  Soon he was a member of the Lions in good standing.  When they were arrested for an attempted robbery, Mauser and the rest of the gang were shipped off to fight in Vietnam.  It was there that Mauser acquired his namesake handgun, courtesy of Eddie Phuong, a wheeling-dealing Vietnamese soldier.  His experiences in Vietnam taught Mauser personal responsibility and loyalty, but also left him deeply traumatized.  Wounded in battle, Mauser was shipped back to the States, and he helped smuggle in Eddie’s younger sisters Ruthie and Angela so that they could have a better life.

Back at home, Mauser spent several years drifting from one job to another.  Eventually his old acquaintance Police Captain Bill Doyle informed him that Eddie had arrived in the States and was now a major drug smuggler.  Mauser approached Ruthie to find out if she had any information on her brother, but she was murdered by one of Eddie’s thugs to keep her from talking.  Mauser located Eddie anyway, and barely escaped with his life.  The experience prompted Mauser to go back to school and become a private investigator.

In the present day, Mauser is reunited with Angela, now a grown woman.  He learns from her that Eddie is once again back in New York.  Mauser sets out to finally take down Eddie, and to protect Angela from being killed like her sister.

E-Man v2 24 pg 24

After the First Comics series of E-Man was cancelled, Mauser and the rest of the gang went into limbo for a few years, finally appearing once again in the E-Man special in 1989 and three issue miniseries published by Comico in 1990.  The special had a back-up story starring Mauser.  While investigating a kidnapping, Mauser is reluctantly saddled with his young niece Kitty Katz, who he regards as an “insufferable brat.”  Kitty spills his coffee and almost shoots Mauser with his own gun, but in the end she does help him solve the case.

The next time we saw Mauser in solo action was in 1992.  For the first time the character starred in his own title, the black & white special The New Crime Files of Michael Mauser, published by Apple Comics.

“Snow Angels” is one of the darkest tales produced by the team of Cuti & Staton.  In the midst of a cold, brutal winter in NYC, Mauser, assisted by Angela, is tracking down a serial killer known as the Spray Paint Strangler.  The disturbing case causes Mauser to begin to question both his sanity and his memories.

Staton’s artwork for “Snow Angels” is astonishing.  I think that on occasion people forget just how versatile an artist he really is.  Staton is well-regarded for his cartoony style, but is certainly capable of much more, as he amply demonstrated in the late 1980s and early 90s.  He had always been a fan of mystery, detective and crime stories, and in this time period had several opportunities to work in those genres.  For DC Comics, Staton had penciled the 1989 series Huntress, which introduced the post-Crisis incarnation of the character and her war against organized crime.  Later, in 1995, he illustrated the three volume organized crime graphic novel Family Man.

You can witness a progression of Staton’s artwork on these stories, from Huntress through The New Crime Files of Michael Mauser special, to the Family Man trilogy, an evolution of an effective noir-tinged style.  Certainly the artwork on “Snow Angels” was somber, suffused with a moody tone.  Combined with Cuti’s atmospheric script, it made for a disquieting read.

New Crime Files of Michael Mauser pg 21

A year later Cuti and Staton crafted another solid, enjoyable Mauser story, “The Old Farmhouse.”  It appeared in the anthology special The Detectives, published by Alpha Productions.  Also featured in The Detectives were stories starring private investigators The Maze Agency, Mike Mist, Tony Bravado and Johnny Dynamite.  The striking cover was illustrated by hot artist Adam Hughes, making this this the only occasion he ever drew the Michael Mauser character.

There were two other Mauser stories to be published in the mid-1990s, in issues of the quarterly anthology title Noir from Alpha Productions.  Regrettably I don’t have copies of either of those magazines, but I’m keeping an eye out for them.  Additionally, there was also a Mike Mauser Files one-shot published by ACG in 1999, but that appears to have been a reprint of several older stories.

The next time we would see Mauser in a major way would be in 21st Century, when Digital Webbing published a trio of E-Man specials between 2006 and 2008.  Mauser had a supporting role in both E-Man: Recharged and E-Man: Dolly, and co-starred in E-Man: Curse of the Idol.  In that last tale Mauser and E-Man were searching for a mysterious, powerful extra-dimensional idol that was also being sought by a corrupt South American general.

There was a Michael Mauser back-up, “Fish Story, ” which had originally been intended to run in Vengeance Squad #7 way back in 1976, but it was never published after the series was cancelled.  In 2008 Staton finished the artwork for this unseen tale and it at last saw print in Michael Ambrose’s Charlton Spotlight #6 (Fall 2008) from Argo Press.

Most recently Mauser appeared in the first chapter of “Homecoming,” the three part E-Man and Nova serial that was published in The Charlton Arrow volume 2 #1-3 (Sept 2017 to Jan 2018).  In the opening pages of “Homecoming” we see Mike and Angela at long last get married, in a ceremony attended by all of their friends & family, including Alec, Nova and Teddy Q.  After all these years, Michael Mauser finally has his happy ending.

Charlton Arrow vol 2 1 Michael Mauser wedding

Michael Mauser is definitely an interesting, memorable figure.  It certainly demonstrates Nicola Cuti and Joe Staton’s versatility and creativity that they devised a character who is equally at home as a supporting player in the fantastical adventures of E-Man and Nova as he is starring in his own hardboiled crime and mystery tales.  If you haven’t read any of Mauser’s adventures before then I certainly recommend seeking them out.  They are enjoyable reads with great work by Cuti and Staton.

E-Man and Nova: The 1990s and Beyond

In the past I have blogged about E-Man, the wonderful and imaginative comic book series co-created by Nicola “Nick” Cuti and Joe Staton in 1973. E-Man, aka Alec Tronn, is a sentient energy being who wandered the universe for thousands of years.  Finally arriving on Earth, he befriended the beautiful and intelligent Nova Kane, an archeology / geology major at Xanadu University who moonlighted as a burlesque performer to pay her tuition.  Eventually gaining energy powers of her own, Nova joined Alec in defending Earth against an assortment of bizarre villains and menaces.

E-Man ran for 10 issues in the mid-1970s, published by Charlton Comics. It was revived by First Comics in 1983, and that second volume lasted 25 issues.  Staton was the penciler for the entire First Comics run, but unfortunately Cuti was only able to write the final two issues.

After the cancellation of E-Man volume two in 1985, Staton retained the rights to create new stories featuring the characters. On several occasions over the past three decades he and Cuti have reunited to chronicle the further adventures of Alec, Nova, cynical private eye Michael Mauser, adorable koala Teddy Q, and the rest of the colorful gang.

E-Man 20th Anniversary Special

Subsequent to the First Comics run, Cuti and Staton returned to E-Man in a special published by Comico in September 1989, edited by Michael Eury.  In volume two Alec and Nova had relocated to Chicago.  Nova had lost her powers and had been hired as the host for the basic cable TV show Moppet Monster Matinee.  As the new special opens, Alec and Nova are back in New York City.  Nova is once again enrolled at Xanadu University, however she still has not regained her powers (a caption cheekily informs us this is due to her suffering from a bout of “Pasko Syndrome”).

During the course of the story a device known as the Reality Arranger causes a number of bizarre surrealistic transformations to sweep through the Big Apple.  Eventually reality is stretched past the breaking point and snaps, although the universe very quickly recreates itself from scratch, with the side effect of Nova once again possessing her energy powers.

We are never given an explanation for how everyone ended up back Manhattan. If you want, you can just assume that Nova decided to leave Channel 99 and return to school to finish her degree.  Alternately, Staton himself suggests that readers can regard the effects of the Reality Arranger as responsible for the sudden shift back to NYC.  In any case, the Reality Arranger, and the remaking of the entire history of the world, is a convenient “get out of jail free” card to hand-wave away any continuity discrepancies between the non-Cuti material published by First and the stories written by Cuti once he returned to the series.

Co-starring with Alec and Nova in the Comico special is Vamfire, the diva-ish negative energy “sister” of E-Man who was birthed from the same star. Vamfire was created by Cuti & Staton back during the Charlton days, but her debut story remained unpublished until a decade later, when it finally appeared under the First banner.  Initially conceived as a Vampirella-type figure, here in her second appearance she is redesigned by Staton to have a more punk rock look.

E-Man Comico special cover

The special did well enough that Comico published a three issue miniseries in early 1990, edited by Shelly Roeberg. By this point E-Man had definitely become an ensemble title.  E-Man himself barely appeared in the first issue of the miniseries.  The majority of the action is given over to Michael Mauser, Nova Kane and Teddy Q working to save Vamfire after her physical form is accidentally splintered into numerous twisted fragments due to a mishap in a carnival house of mirrors.

The second issue shifts the focus back on Alec as he attempts to find his way back to the star Arcturus, the “mother” that gave birth to him millennia earlier. Having lost his way, Alec stops on the planets Targasso and Landano for directions, on both worlds discovering troubled civilizations.  For me this story really demonstrates that E-Man is not a comedy or a parody series, but rather a fairly serious book that nevertheless possesses a sense of humor and a tone of fun.  I think that was something that was regrettably lost in some of the early issues of the First Comics run.  Cuti is the writer who really does the best job at balancing the drama and humor on E-Man, and as much as I do like some of the First issues, the series wasn’t quite the same without him.

In the third issue of the Comico miniseries Alec at long last finds his way to Arcturus, only to discover that his “mother” really is just “a ball of burning gasses.” I found it to be a bit of a sad moment, that Alec travelled over 215 trillion miles only to learn that he really doesn’t have an actual parent.  However he quickly gets over his disappointment and speeds back to Earth.  It becomes apparent why Alec cares so much for our world: it is the only home he has ever really had, and Nova is more than just a girlfriend; she is his family.  Unfortunately a horde of Lovecraftian entities follow E-Man back to our world, leaving him and Nova with quite the alien infestation to combat.

E-Man Comico 3 pg 1

Three years later Cuti & Staton once again returned to E-Man, this time at Alpha Productions. Published in October 1993, the Twentieth Anniversary Special was inked by Chuck Bordell and edited by Christopher Mills.  This story introduces Eco-Man, who is actually a hippie environmentalist who was murdered decades earlier by motorcycle thugs in the employ of criminal industrialist Samuel Boar.  Resurrected by radiation and lightning, the super-powered Eco-Man sets out with a militant zeal to save the environment from polluters.  He is joined by Vamfire, who is instantly attracted to him.

There was a second E-Man special published by Alpha in March 1994 titled E-Man Returns, but I don’t have it.  I’ve been looking for a copy of it for several years without success.  It never seems to show up in the back issue bins or on Ebay.  I’m guessing it didn’t have a very large print run.  If anyone has an extra copy for sale please let me know!

May 2018 Update: After he read this post Christopher Mills put me in touch with Alpha Productions publisher Leni S. Gronros.  Thanks to Gronros, I was finally able to obtain a copy of E-Man Returns, which featured “Island of the Damned,” a great E-Man and Nova story by Cuti, Staton & Bordell.  Gronros also sent me a copy of the anthology special The Detectives, which contained a Michael Mauser story.  Thank you to both Christopher and Leni for their help.

E-Man Alpha 1 pg 7

The early 1990s was sort of the Wild West for creator-owned comics. Independent companies sprung up and went bust faster than you could say “speculator market.”  Eventually the entire comic book biz experienced a huge implosion.  Given the chaos and unpredictability of this period, it’s not too surprising that Cuti & Staton were unable to get E-Man off the ground again permanently.  Nevertheless, the few stories they did create in that decade were well done, and of course Staton still retained the rights, meaning that they could always hope for another opportunity down the road.

There is actually one other noteworthy E-Man appearance from the 1990s. Image Comics co-founder Erik Larsen is a huge fan of the original Charlton run.  In a way his creator-owned series Savage Dragon has a similar tone to E-Man, containing deadly-serious stories punctuated by bizarre humor, with the focus not so much on fight scenes as it is the relationships between the various oddball characters.

Savage Dragon #41 (September 1997) is the wedding of Barbaric and Ricochet from Larsen’s spin-off series Freak Force. A whole bunch of creator-owned and independent characters were guests, among them Femforce, DNAgents, Vampirella, Hellboy, Destroyer Duck and Flaming Carrot.  Larsen took this opportunity to have his old favorites E-Man, Nova Kane and Teddy Q appear at the wedding.

Savage Dragon 41 pg 12 E-Man

Jon B. Cooke is another fan of E-Man, as well as the various other unusual series Charlton Comics published. Cooke devoted two issues of his magazine Comic Book Artist, published by TwoMorrows, to examining the work of the talented creators who were at Charlton.  The theme of CBA #12 (March 2001) was “Charlton Comics of the 1970s.”  Cooke interviewed both Cuti and Staton for this issue.  Staton illustrated a brand new cover featuring Alec Tronn, Nova Kane, and the various bizarre horror comics hosts from the Charlton titles.  In addition, Cooke was able to have Cuti & Staton contribute a brand new two page E-Man story “Come and Grow Old With Me.”  This short tale focuses on the wonderful romance between Alec and Nova.

The next time E-Man and friends would appear would be five years later. Cuti & Staton yet again reunited for the E-Man: Recharged special, published by Digital Webbing in October 2006.  The vibrant, effective coloring was by Matt Webb.

E-Man: Recharged holds a special place in my heart. In 2006 I was already a huge fan of Staton’s artwork.  I had a passing awareness of the E-Man series, having heard it mentioned from time to time by Larsen and others, and having seen the cameos in Savage Dragon #41.  I was curious about it, but this was the first time I ever saw an issue of E-Man for sale.  In a remarkable coincidence, the very same day E-Man: Recharged came out I also found a copy of issue #7 from the original Charlton series in the comic shop’s back issue bins.  Between those two books I instantly became a fan.

E-Man Recharged pg 17

Recharged was a great introduction to E-Man and friends, with Cuti & Staton having Alec, Nova, Mauser and Teddy Q encounter the nefarious Brain From Sirius for one last epic confrontation. I couldn’t wait to see these characters again.  Fortunately I didn’t have to wait long.  There were two further E-Man specials from Digital Webbing, Dolly in September 2007 and Curse of the Idol in November 2008.

Additionally, another E-Man story surfaced in late 2008. “Future Tense” by Cuti, Staton & Bordell had been written & drawn in the early 1990s for Alpha, but never saw print.  In the years since the script had gone missing.  By studying the artwork Cuti was able to reconstruct the story and write a brand new script a decade and half later.  It was finally lettered by Bill Pearson, another Charlton alumni, and saw print in issue #6 of the magazine Charlton Spotlight edited by Michael Ambrose and published by Argo Press.

“Future Tense’ has E-Man and Nova encountering the Time Traveller from the H.G. Wells novel The Time Machine. The couple travel forward with him to the far-future year of 802,701 AD and attempt to finally resolve the terrible conflict between the Eloi and the Morlocks, with events taking several surprising turns.

Charlton Spotlight 6 pg 9

As you can no doubt discern from these various E-Man revivals, there are a lot of fans of the old Charlton comic books out there, including a number who have helped Cuti & Staton in their efforts to continue chronicling the adventures of E-Man and Nova. Among those number is Mort Todd, a dyed in the wool Charlton fanatic.  Todd is the editor in chief of Charlton Neo, which over the past few years has been involved in reviving a number of titles and characters that were previously published by Charlton, often working with the original creators.  Of course Todd made sure to approach Cuti and Staton.

Originally announced in 2015, the new E-Man and Nova story at long last saw print as a three part serial in the anthology series The Charlton Arrow volume 2 #1-3 ( Sep 2017 to Jan 2018).  Matt Webb once again provides the coloring.

Cuti and Staton are both now in their 70s, and Staton is very busy drawing the daily Dick Tracy newspaper strip.  Given those facts, Staton explained “I’m approaching this three-parter as the final E-Man story.”  Indeed, Cuti & Staton utilize the occasion to spotlight a large number of E-Man and Nova’s supporting cast, and to bring closure to certain elements.

“Homecoming” sees Nova, accompanied by E-Man and Teddy Q, returning to her hometown of Hawleyville, PA to visit her parents & younger sister Anya. Nova is surprised that a large casino, Peccary’s Pen, has opened in the quiet town.  Suspecting that something odd is going on, she convinces Alec that they should investigate.  Anya, who works as the casino’s bookkeeper, soon learns that her boss is actually Nova and E-Man’s old foe Samuel Boar, allied with another of the Brains from Sirius.

Boar, in an attempt to manipulate Anya, arranges for her to gain “bad luck” super powers. Anya, who was jealous of Nova’s fame & abilities, sides with Boar.  Nova attempts to save her sister’s soul, while Alec brings in old friends the Entropy Twins, Eco-Man and Vamfire to help out against the new Brain.

Charlton Arrow vol 2 1 pg 6

This three-parter is a lot of fun. Cuti’s story serves as a nice coda to over four decades of E-Man and Nova adventures.  Staton works in a more simplified, cartoony style akin to the one he has been utilizing for the past seven years on Dick Tracy.  At first it was a bit of a jolt to see these familiar characters drawn this way, but I soon got used to it.  If this is indeed the final outing of E-Man and Nova by Cuti & Staton, then they go out on a high note.

While it’s regrettable that E-Man was never a long-running, super-successful comic book series, we are at least fortunate that Nicola Cuti and Joe Staton had several different opportunities to return to their creation over the decades, each time crafting fun, enjoyable stories.