Frank Thorne: 1930 to 2021

Longtime comic book & fantasy artist Frank Thorne passed away on the morning of March 7th at 90 years old. Marilyn Thorne, his wife of many years, later passed away that afternoon.

Thorne’s career in comic books actually began back in 1948. He was a regular contributor to Dell Comics throughout the 1950s and 60s. From 1968 to 1972 Thorne was the artist on the Western adventure series Tomahawk published by DC Comics. He drew several comics for the short-lived publisher Atlas / Seaboard in the mid 1970s.

Red Sonja #9 (May 1978)

Thorne’s career entered what could be regarded as a “second act” in late 1975. Red Sonja, the sexy female barbarian created by Roy Thomas & Barry-Windsor Smith (inspired by the Robert E. Howard character Red Sonya of Rogatino), was given her own solo series beginning with Marvel Feature volume 2 #1, cover-dated November 1975. The first issue was written by Thomas and drawn by Dick Giordano. Paired with writer Bruce Jones, Thorne took over drawing Red Sonja in Marvel Feature with issue #2 (January 1976).

Thorne remained on Marvel Feature thru #7, the final issue. It was immediately followed by an ongoing bimonthly Red Sonja series written by Roy Thomas & Clara Noto. Thorne penciled, inked, lettered and colored the first 11 issues (January 1977 to September 1978), producing stunning and exquisitely detailed work.

Due to his striking rendition of Red Sonja, Thorne became very well-regarded and much in-demand for his depictions of beautiful women. He subsequently created a number of erotic fantasy series. Thorne’s sexy stories & artwork were also published in Heavy Metal, National Lampoon and Playboy.

Thorne’s book Drawing Sexy Woman, published by Fantagraphics in 2000, was an informal autobiography of sorts, with his recollections complemented by several dozen illustrations of lovely ladies drawn specifically for the book. It’s an interesting an offbeat look back by Thorne at his life and career.

Even more Comic Book Cats highlights

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

John Paul Leon

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

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

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

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

Marcio Takara

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

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

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

Irv Novick & Joe Giella

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

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

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

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

George Herriman

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

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

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

Inaki Miranda

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

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

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

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

Sam Glanzman

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

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

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

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

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

Val Semeiks & Denis Rodier

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

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

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

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

Jim Aparo

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

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

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

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

Christopher Weyant

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

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

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

Jim Davis

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

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

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

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

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

Octobriana: Filling in the Blanks – Redux #1 preview

Octobriana, the Russian devil-woman who embodies the true spirit of the Communist Revolution and who fights against Soviet authoritarianism, made her debut 50 years ago. Octobriana was first introduced to the world in Octobriana and the Russian Underground by Petr Sadecký, published in the UK by Tom Stacey Ltd, 1971.

I previously discussed the character of Octobriana in my blog post The Octobriana Revolution which details both the highly unusual origins of the character and her publication history throughout the decades.

Octobriana and the Russian Underground

To celebrate fifty years of Octobriana, writer Stu Taylor, who wrote the character in the 1990s, is assembling Octobriana With Love, which he describes as “an all-new anthology that celebrates her 50th anniversary and features exciting takes on the character by some of the biggest names in comics today.” Among the creators who will be contributing to the anthology are Simon Fraser, Marc Laming, Stephanie Phillips and Marguerite Sauvage, with more to be announced.

Taylor will be launching a Kickstarter campaign in the Spring to fund Octobriana With Love. As a lead-in, Taylor is presenting Octobriana: Filling in the Blanks – Redux, a five-part “remaster” of the miniseries he wrote, with artwork by Dave Roberts, now with coloring by Sofie Dodgson and with new material.

I enjoyed the original black & white miniseries published by Artful Salamander in 1997. The first issue of the “remaster” looks great, and I’m looking forward to the next four issues, and to the publication of Octobriana With Love.

The first digital issue of Octobriana: Filling in the Blanks – Redux is available for purchase on the Octobriana Comic website. Below is a preview.

The Art of Steve Lightle

Yesterday I wrote a short retrospective on comic book creator Steve Lightle, who passed away at 61 years old on January 8th.  Lightle was a very talented artist who worked on numerous series during a career that lasted three and a half decades. I am going to spotlight some more examples of his artwork.  Here are ten of my favorite Steve Lightle covers and pin-ups.

1) Bolt Special (Spring 1984) – Steve Lightle’s earliest published work was for Bill Black and AC Comics. He drew several covers for AC, including this one. In addition to the title character, this features Tara the Jungle Girl, who would soon co-star in AC’s flagship title Femforce.  This cover really shows that Steve hit the ground running.

2) Tales of the Legion of Super-Heroes #342 (Dec 1986) – This is definitely a fantastic showcase of Lightle’s work on the Legion, fitting the entire mid-1980s lineup onto a single cover. He really captured the individual personalities of the various characters. The coloring is by Anthony Tollin.

3) Who’s Who: The Definitive Directory of the DC Universe #23 (Jan 1987) – Lightle co-created Legion member Tellus with writer Paul Levitz. Lightle revealed in interviews that in designing Tellus he wanted to come up with a completely alien, non-humanoid being, and he put a lot of thought into developing the character. This pin-up really illustrates what a unique character Tellus is.

4) Who’s Who in the Legion of Super-Heroes #1 (Apr 1988) – Lightle contributed wrap-around covers to the first two issues of this seven part spin-off from the main Who’s Who project. On this first one Lightle draws several members of the then-current line-up alongside a flashback to the team’s first tragic battle with Computo, a story originally recounted during the Silver Age.

5) Classic X-Men #36 (Aug 1989) – Lightle drew a number of incredible covers during his three year run as cover artist on Classic X-Men. The assignment gave him the opportunity to revisit, and reexamine, many of the already-iconic moments from the classic Claremont & Byrne run. Lightle seemed to be especially inspired on his covers for the reprints of “The Darth Phoenix Saga,” with this image of the X-Men and Phoenix being especially stunning.

6) Who’s Who in the DC Universe #14 (Nov 1991) – Lady Quark is a somewhat atypical female superhero, possessing a more athletic physique, harder features and short cropped hair (apparently her look was based on Scottish singer Annie Lennox). Lightle does a fine job illustrating Lady Quark in this profile pic, showcasing her as a powerful, formidable being. The coloring is by Tom McCraw.

7) Marvel Comics Presents #127 (Apr 1993) – This cover with Ghost Rider and Typhoid Mary works well to visualize the duality of the later character, with the Spirit of Vengeance caught between her two personalities . The coloring on this is also very effective, and is probably by Steve himself or his wife Marianne.

8) Wonder Woman Gallery (Sept 1996) – Lightle certainly did a very beautiful pin-up of Princess Diana for this special. It’s unfortunate that he did not have too many opportunities to draw Wonder Woman. The coloring is by Tom McCraw.

9)  The Flash #161 (June 2000) – Lightle drew a lot of great pieces during his three year run as cover artist on The Flash, but many people (myself included) nevertheless consider this to be one of the best. This issue features a flashback to the honeymoon of the first Flash, Jay Garrick, and his wife Joan in Las Vegas in 1947, with Jay’s teammates in the Justice Society crashing the party. Lightle successfully evokes the feel of the Golden Age art styles from the original JSA stories. The lettering is by Todd Klein.

10) The Mighty Titan #3 (October 2014) – When writer Joe Martino was running the Kickstarter campaigns to fund The Mighty Titan he asked several established artists to contribute covers. Among them was Lightle, who drew the cover for issue #3. Lightle was a good person, and it was just like him to help an up-and-coming creator. I think it was Lightle posting this cover on social media that made me aware of The Mighty Titan in the first place, which led me to back the Kickstarter. The coloring is by Ross Hughes.

This list could easily have been twice as long. Steve Lightle drew so many amazing pieces of artwork during his lifetime. He will certainly be missed.

Kurt Schaffenberger: The Definitive Lois Lane Artist of the Silver Age

Welcome to the latest round of Super Blog Team-Up. We actually have TWO topics this time, “What If?” and Creators. I decided to spotlight a creator, because coming up with “What If” scenarios for how certain comic book stories could (or should) have gone is just too depressing. (What if Armageddon 2001 had used the original planned ending where Monarch was revealed to be Captain Atom? Sheesh, don’t get me started, we’ll be here all day!)

*AHEM!* So which comic book creator am I going to be spotlighting? The answer is Kurt Schaffenberger.

Kurt Schaffenberger, whose career stretched from 1941 to 1995, was born on December 15, 1920, meaning that TODAY is the 100th anniversary of his birth. I could not think of a more appropriate creator to blog about.

Superman’s Girl Friend, Lois Lane #42 (July 1963) written by Jerry Siegel and drawn by Kurt Schaffenberger

Much of Schaffenberger’s work for the first decade and a half of his career was for Fawcett Publications, drawing Captain Marvel, Captain Marvel Jr, the Marvel Family, Ibis the Invincible and other features. Regrettably, due to the lawsuit by DC Comics alleging that Captain Marvel was a rip-off of Superman, Fawcett ceased publication in late 1953. For the next few years Schaffenberger found work at publishers Lev Gleason, Premier Magazines and American Comics Group.

Then in 1957 Schaffenberger was offered work by none other than DC Comics, the company that had put his previous regular employer out of business. Otto Binder, who had been one of the best writers at Fawcett, quickly found work at DC (the irony of DC suing Fawcett because Captain Marvel was supposedly too similar to Superman, and then hiring the main writer of Captain Marvel to work on Superman, has been noted over the years). Binder then went on suggest that DC also hire Schaffenberger.

Superman’s Girl Friend, Lois Lane #1 (March-April 1958) written by Jerry Coleman and drawn by Kurt Schaffenberger

Schaffenberger’s first assignment at DC was drawing Superman’s Girl Friend, Lois Lane commencing with its debut issue, cover-dated March-April 1958. Schaffenberger drew nearly every issue of Lois Lane up to #81, a decade-long run. It was Schaffenberger’s work on this title that gained him a great many fans, and he is often regarded as the best Lois Lane artist of the Silver Age.

I have to admit, I am typically not a huge fan of the Superman stories from the Silver Age edited by Mort Weisinger. A significant part of my dislike is due to the depiction of Lois Lane. The character had started out in the late 1930s as a tough, intelligent, driven investigative journalist. However, by the 1950s, no doubt due to the conservative political & social climate in the United States, Lois had been reduced to a shrill, catty, manipulative shrew who constantly schemed to trick Superman into marrying her.

Superman’s Girl Friend, Lois Lane #65 (January 1965) cover by Kurt Schaffenberger

Having said all that, I feel that Schaffenberger’s fun, cartoony style was a really good fit for all of the zany antics that occurred with alarming regularity in those Superman stories of the Silver Age. So I love Schaffenberger’s art on Lois Lane. The stories in that series were so ridiculous and over-the-top that they definitely benefited from his style.

Personally speaking, I find the crazy, dysfunctional misadventures Lois and Superman and everyone else got up to during the Silver Age a lot more palatable when drawn by Schaffenberger, because his artwork makes all of it feel genuinely comedic.

Superman’s Girl Friend, Lois Lane #44 (October 1963) drawn by Kurt Schaffenberger

Even when Lois and Lana Lang were acting horribly bitchy towards each other, fighting over which of them would get to marry Superman, as rendered by Schaffenberger their quarrels felt more humorous than sexist.

Schaffenberger certainly made Lois a very expressive character, investing her with a great deal of personality. This is very well demonstrated thru the model sheet of Lois by Schaffenberger seen below that saw print in Superman Family #164 (April-May 1974). It showcases how he drew the character throughout the 1960s. Schaffenberger definitely gave Lois a wide range of emotions.

The many faces of Lois Lane, courtesy of Kurt Schaffenberger

Also, Schaffenberger’s depictions of Lois were beautiful. Considering the fact that he had to work within the very restrained standards of the newly-established Comics Code Authority, and the staid fashions Lois typically wore (soooo many damn pillbox hats!) he was very successful at drawing a genuinely sexy Lois.

Stories would occasionally see Lois dressing in various period costumes. Schaffenberger always did a superb job on these, investing them with rich detail. For example, in “Lois Lane — Queen and Superman – Commoner” written by Leo Dorfman from issue #67 (Aug 1966), as part of a really convoluted scheme a gang of crooks kidnap Lois’ sister Lucy and force Lois dress up and act like famous historical monarchs. Schaffenberger excels at drawing her as these various queens. His depiction of Lois in the guise of Cleopatra, Queen of the Nile is especially alluring.

Superman’s Girl Friend, Lois Lane #67 (August 1966) written by Leo Dorfman and drawn by Kurt Schaffenberger

By the time Schaffenberger’s run on Lois Lane concluded it was the late 1960s and American societal mores had definitely loosened. Schaffenberger began drawing Lois wearing less-conservative clothing.

In “Get Out of My Life, Superman” written by Dorfman from issue #80 (Jan 1968), Schaffenberger’s penultimate issue, we see Lois, furious at Superman for having forgotten her birthday (the image of a distraught Lois finding Superman sitting in a rainy junkyard pounding old cars into scrap is hysterical) breaks up with him and leaves town. Before departing Metropolis, she buys a whole new wardrobe and modes a few rather (for the time) risqué outfits. As always Schaffenberger does a fine job.

Superman’s Girl Friend, Lois Lane (January 1968) written by Leo Dorfman and drawn by Kurt Schaffenberger

I am going to quote comic book historian Mark Voger regarding Schaffenberger’s work on the Lois Lane character and comic book…

“Kurt, that rascal, never shied away from rendering the feminine form in all of its natural, linear beauty. Lois had one tight waist, rounded hips and pin-up perfect gams (always in heels). The artist often poked fun at his own heroine when he depicted the gamut of emotions she couldn’t mask: curiosity when on the scent of a “scoop”; jealousy when Superman paid too much attention to rival Lana Lang; anger when confronting him about said crime; elation when wrapped in the Man of Steel’s bulging arms.”

Oh, yes… Schaffenberger also excelled at illustrating the numerous incredibly bizarre circumstances in which Lois regularly found herself embroiled. Seriously, WTF is going on with the cover to issue #73?!?

Superman’s Girl Friend, Lois Lane #73 (April 1967) cover by Kurt Schaffenberger

In early 1968 DC moved Schaffenberger, against his wishes, over to the Supergirl feature in Action Comics. Even though he was not enthusiastic about his reassignment, he nevertheless continued to do professional work, turning in nice art on those Supergirl stories.

Soon after this, Schaffenberger was unfortunately fired by DC after he supported the attempt by several freelance writers to unionize. In the early 1970s Schaffenberger drew a few stories for Archie, Marvel and Skywald. His aptitude for rendering beautiful women made him a natural fit for romance comic books.

“Mr. and Mrs. Superman” from Superman #327 (September 1978) written by Cary Bates, penciled by Kurt Schaffenberger, inked by Joe Giella, lettered by Jean Simek and colored by Gene D’Angelo

In late 1972 Schaffenberger again gained work from DC, and throughout the Bronze Age he was a regular presence in the various Superman titles, drawing stories featuring various members of the supporting cast. Unlike in the 1950s and 60s, Schaffenberger now often provided only pencils, rather than full artwork. He was paired with several different inkers, often with variable results. This offers another valuable demonstration of the importance of the inker in the look of the finished art.

Schaffenberger finally had the opportunity to once again draw Lois Lane regularly when he became the penciler on the “Mr. and Mrs. Superman” back-up stories that starred the Clark Kent and Lois Lane of Earth-2 after they married.  Initially appearing in Superman #327 and #329 (Sept and Nov 1978) the “Mr. and Mrs. Superman” feature then migrated to Superman Family, where it ran in nearly every issue for the next five years.

“Mr. and Mrs. Superman” from Superman Family #205 (January 1981) written by E. Nelson Bridwell, penciled by Kurt Schaffenberger, inked by Dan Adkins, lettered by John Workman and colored by Adrienne Roy

“Catch a Falling Star” from Superman Family #205 (Jan 1981) offers a good example of Schaffenberger’s work on the “Mr. and Mrs. Superman” stories. Here he is inked by Dan Adkins, probably one of the best embellishers he received during the Bronze Age. Schaffenberger does a fine job penciling E. Nelson Bridwell’s story. Schaffenberger’s storytelling imbues Lois and Clark with a great deal of personality & emotion and effectively communicates the depth of their relationship.

I’ve always found the “Mr. and Mrs. Superman” stories to be very enjoyable, and I hope one of these days they DC collects them together in a trade paperback.

Oh, yes, one other thing about Kurt Schaffenberger: even his signature was a work of art! Take a look below…

If you would like more information about Kurt Schaffenberger, I recommend Mark Voger’s book Hero Gets Girl! The Life and Art of Kurt Schaffenberger. It is unfortunately out of print, but a digital edition is still available from TwoMorrows Publishing.  Additionally, the recently released Alter Ego #166, also from TwoMorrows, contains a transcript of an informative panel discussion with Kurt Schaffenberger and his wife Dorothy from the 1996 San Diego Comic-Con.

Also, for the perspective of someone who read some of these comics when they first came out, head on over to Alan Stewart’s excellent blog Attack of the 50 Year Old Comic Books for his look back at Lois Lane #62 (Jan 1966).

Kurt Schaffenberger passed away on January 24, 2002 at the age of 81. Schaffenberger is, in my mind, unfortunately a rather underrated artist, and I feel he is due for a reappraisal. I certainly encourage everyone to seek out his work.

Thanks for reading. Here are the other Super Blog Team-Up entries:

SBTU Red

SBTU Gold

Richard Corben: 1940 to 2020

Longtime illustrator and comic book artist Richard Corben passed away on December 2, 2020. He was 80 years old. While I cannot say that I was a huge fan of Corben, I was certainly aware of his work, and I enjoyed it whenever I saw it.

I believe the very first time I saw Corben’s art was on Teenage Mutant Ninja Turtles #33, published in June 1990 by Mirage Studios. In the early 1990s the TMNT series had a number of independent / non-mainstream creators doing story arcs or one-off tales. With hindsight, these probably offered me my first major exposure to creators outside of the Marvel and DC superhero ghetto. “Turtles Take Time” was a wild, entertaining time travel story written by Jan Strnad which Corben did a brilliantly hilarious job illustrating.

By the late 1990s I must have become much more aware of Corben and his work, and I picked up the Heavy Metal Fall Special 1998. Topped by a beautiful yet macabre cover painted by Corben, this special reprinted a number of the stories which he drew for the Creepy and Eerie horror anthologies from Warren Publishing between 1974 and 1977.

The selection of stories collected in the Heavy Metal Fall Special 1998 definitely presented the various aspects of Corben’s work. For example, “You’re A Big Girl Now” from Eerie #81 (February 1977) written by Bruce Jones demonstrated Corben’s aptitude for drawing beautiful women. In this case, to be specific, a very beautiful giant woman.

“Within You… Without You” from Eerie #77 (September 1976), also written by Bruce Jones, showcased Corben’s skill at rendering dinosaurs, fantastical prehistoric landscapes, and high tech sci-fi elements.

Another series that Corben worked on was the five issue Cage miniseries published by Marvel Comics in 2002 under their Marvel Max imprint. It was written by Brian Azzarello, lettered by Wes Abbott and colored by José Villarrubia. I wasn’t all that into the story, but I nevertheless enjoyed Corben’s artwork. Again he demonstrated his versatility by drawing an urban crime / “blaxploitation” type of adventure.

Although Cage was a”mature readers” miniseries apparently set outside regular Marvel continuity, Corben’s redesign of Luke Cage very soon became the default version of the character, and was seen when he appeared soon afterwards in Alias and New Avengers.

All of this is, of course, just the tip of the iceberg. Corben was a prolific artist whose career stretched across half a century.

Richard Corben was a longtime contributor to Heavy Metal, and the magazine featured an obituary on its website. There is also an insightful 1981 interview with Corben archived there.

Some more Comic Book Cats highlights

Since July I have been posting Comic Book Cats entries daily on the Comic Book Historians group on Facebook. The object is to see how many different pencilers I can find artwork by featuring cats. These posts are being archived on First Comics News. Here are 10 more highlights, taken from entries 51 to 100.

Frank Robbins

House of Mystery #241, drawn by Frank Robbins, written by Jack Oleck and lettered by Ben Oda, published by DC Comics in May 1976.

“Paid in Full” is described by House of Mystery host Cain as an “eerie black cat tale.”  Hold-up man Cass, wounded in a shoot-out with the police, hops a freight train out of town.  Coming to in Kentucky, he is nursed back to health by elderly Martha Wright, who lives in a cabin with her cat Lucifer.  Unfortunately for Martha, Cass realizes she is a witch and threatens to shoot Lucifer if she does not use her magic to conjure up money for him.

Cass then orders Martha to give him “a new face, a new body” so that he can evade the police.  She creates a formula that will do this, and the criminal thanks the old lady by murdering her.  Burying her in the woods, Cass downs the formula.  It does indeed give him a “new” body, one that is only six inches tall.  And waiting for the now mouse-sized Cass is a very angry Lucifer, ready to enact revenge.

I know that my experience with Frank Robbins’ work parallels a number of other readers, in that initially I disliked it, over time I gradually learned to appreciate it, and now I now really enjoy his art.  I feel Robbins’ work was more suited to war, adventure, mystery and horror stories than superheroes.  DC’s horror anthologies were the perfect venue for Robbins’ talents.  He definitely drew the heck out of “Paid in Full,” rendering an atmospheric little tale that is capped off with a strikingly ferocious black cat on the prowl.

Tania Del Rio & Jim Amash

Sabrina the Teenage Witch volume 2 #58, written & penciled by Tania Del Rio, inked by Jim Amash, and colored by Jason Jensen, published by Archie Comics in August 2004.

Archie Comics decided in 2004 to take Sabrina the Teenage Witch in a manga-inspired direction, with stories & artwork by newcomer Talia Del Rio.  This direction lasted for 42 issues, with Del Rio working on the entire run.  She was paired up with frequent Archie inker Jim Amash.

In this scene from Del Rio’s first full issue, Sabrina is bummed at having been chewed out by her aunts for coming home late from a date with her boyfriend Harvey.  Unfortunately for Sabrina, matters soon become even worse, as her cat Salem reminds her that she has a report due at school tomorrow.  As a despondent Sabrina conjures up a can of Zap cola and sets to work on her report, a less than sympathetic Salem observes “It’s going to be a LONG night…”

Joe Eisma

Faith #10, drawn by Joe Eisma, written by Jody Hauser and lettered by Dave Sharpe, published by Valiant Entertainment in April 2017.

The various enemies of Faith Herbert, aka Zephyr, join forces to gain revenge on the telekinetic superhero.  Among the members of the nefarious Faithless is Dark Star, “a parasitic psiot entity currently trapped in a cat.”  Dark Star may look cute and cuddly, but trust me, he’s a major @$$hole.  Just don’t give him any champagne.  He gets drunk REALLY easily.

Faith was a really good comic book series.  Jody Hauser’s stories were both poignant and humorous.  She did a great job developing Faith Herbert’s character.  The artists who worked with Hauser on the miniseries and ongoing all did high quality work.

Joe Eisma has also drawn Morning Glories for Image Comics and several titles for Archie Comics.  He is definitely very adept at drawing teenage characters.

Auraleon

Vampirella #32, drawn by Auraleon and written by Steve Skeates, published by Warren in April 1974.

This back-up story features an early appearance by Pantha, the lovely feline shape-shifter who would go on to become Vampirella’s close friend.  This beautifully illustrated page sees Pantha transforming from her panther form back into her human self.  Pacing along beside her in the final panel is a black cat, who perhaps recognizes her as a kindred spirit.  After all, black cats have often been described as “mini panthers.”

Auraleon, full name Rafael Aura León, was another of the incredibly talented Spanish artists who worked for Warren throughout the 1970s.  He was one of the most prolific artists at Warren, rendering stunning, atmospheric work.

Auraleon also illustrated stories in various genres for Spanish and British publishers.  Tragically, Auraleon suffered from depression, and he committed suicide in 1993.

George Papp

Superboy #131, drawn by George Papp, published by DC Comics in July 1966.

“The Dog from S.C.P.A.” sees Krypto the Superdog joining several other super-powered canines as a member of the Space Canine Patrol Agents.  Krypto must rescue the other members of the S.P.C.A. from the clutches of the Canine Caper Gang.  The two sides fight to a draw, at which point the Gang agree to leave if Krypto promises to take them “to a new world, where there aren’t any canine agents.”  Krypto agrees, and the desperado dogs are elated at the thought of being able to carry on their larcenous activities unhindered… until they discover that Krypto has taken them to a planet with a different sort of S.P.C.A., specifically the Space Cat Patrol Agents!

What a great twist ending!  I’m just a bit disappointed that we never got to see Atomic Tom, Crab-Tabby and Power Puss team up with Streaky!

George Papp was one of the regular artists on Superboy from 1958 to 1968.  Among his other credits, Papp drew some of the early Legion of Super-Heroes stories and co-created Green Arrow with Mort Weisinger.  Unfortunately he was one of several older creators who were fired by DC Comics in the late 1960s when they requested health & retirement benefits.  Papp then went into advertising.  He passed away in 1989 at the age of 73.

Reed Waller

The Complete Omaha the Cat Dancer Volume 4, cover artwork by Reed Waller, published by Amerotica / NBM in 2006, reprinting Omaha the Cat Dancer #10-13, written by Kate Worley and drawn by Reed Waller, published by Kitchen Sink Press in 1988 and 1989.

My girlfriend Michele Witchipoo is a huge fan of Omaha the Cat Dancer.  She recommended that I spotlight Omaha in Comic Book Cats.

Omaha the Cat Dancer was created by Reed Waller in 1978.  Omaha initially appeared in several anthologies throughout the late 1970s and early 1980s.  An ongoing series began in 1984, and with the second issue Kate Worley became the writer. Waller and Worley collaborated on Omaha for the next two decades.  Worley unfortunately passed away in 2004. Subsequently her husband James Vance worked with Waller to complete the series.  Omaha was ultimately collected in eight volumes by Amerotica / NBM Publishing.

Omaha the Cat Dancer is set in a universe populated by anthropomorphic “funny animal” characters and is set in Mipple City, Minnesota, a fictionalized version of Minneapolis.  It stars Susan “Susie” Jensen, a feline who under the name Omaha works as a stripper and pin-up model, and her boyfriend Charles “Chuck” Tabey, Jr. aka Chuck Katt.  Initially conceived by Waller to protest against censorship and St. Paul’s blue laws, the series evolved into a soap opera.

As you can no doubt tell from the premise, as well as from Waller’s artwork, there is a great deal of sex and nudity in Omaha the Cat Dancer.  Although explicit, these elements are often utilized in the service of telling the story and developing the relationships between the characters.

B. Kliban

Cats by B. Kliban, written & drawn by Bernard Kliban, published by Workman Publishing Company in September 1975.

Bernard Kliban’s 1975 collection of cat cartoons has been referred to as “the mother of all cat books.” The book was a massive bestseller, and today Kliban’s iconic depictions of felines are recognized the world over. This cartoon from that book all-too-accurately captures the experience of becoming a “cat person.” You start off with just one, and the next thing you know…

Kliban’s cartoons also appeared regularly in the pages of Playboy for throughout the 1970s and 80s. He passed away in August 1990 at the age of 55.

Don Heck

Journey Into Mystery #62, drawn by Don Heck, published by Atlas / Marvel Comics in November 1960.

“There Is a Brain Behind the Fangs” is such an odd little tale. I’m just going to use the Grand Comics Database’s description:

“A man is convinced that dogs are secretly planning to take over the world. His friend hypnotizes a dog and proves that it cannot understand complex questions. Neither suspects that the dog has been hypnotized by the cat.”

Yes, that’s correct, dogs are planning to take over the world, but the actual masterminds behind the scheme are cats! That sounds about right.

Say, the cat in this story sort of resembles my own cat Nettie. You don’t think…? Naah, it couldn’t be!

Seriously, this story features some nice art by the often-underrated Don Heck. As has often been observed, Heck’s strengths lay outside of superheroes, and as that genre came to dominate comic books he was unfortunately asked to work within it more and more often. Heck’s work in mystery, horror, war, romance and Westerns was always very effective. As seen on this page, he was certainly adept at illustrating animals such as dogs and cats.

Kelley Jones & Malcolm Jones III

Sandman #18, penciled by Kelley Jones, inked by Malcolm Jones III, written by Neil Gaiman, lettered by Todd Klein and colored by Robbie Busch, published by DC Comics in November 1991.

It’s been quite a few years since I’ve read Sandman. I had the first few trade paperbacks, but I lent them to someone over a decade ago, never got them back, and haven’t seen them since. So I had to be reminded of “A Dream of a Thousand Cats” from issue #18, which several people suggested I showcase. Here is a page of that story, taken from the digital edition. One of these days I should replace my copies of the physical books. Fortunately the trade paperbacks are easy to find.

Kelley Jones is yet another of those artists who when I first saw his work I was not especially fond of it, finding his figures to be grotesque and distorted. However, I very quickly came to appreciate Jones’ art. He excels at creating moody, atmospheric scenes. As seen here, he also draws some wonderfully detailed, expressive cats. Inking is by Malcolm Jones III, who was also paired with Jones on the Batman & Dracula: Red Rain graphic novel.

Gus Arriola

Gordo by Gus Arriola, published on November 6, 1977.

Comic book creator and fellow cat-lover Richard Howell introduced me to Gordo, the newspaper comic strip created by Gustavo “Gus” Arriola that ran from 1941 to 1985.  The series chronicled the life of Mexican bean farmer, and later tour guide, Perfecto Salazar “Gordo” Lopez. There were a number of animals that appeared regularly in Gordo, including three cats: an orange tabby named Poosy Gato, a black cat named PM, and PM’s kitten Bête Noire.

In this Sunday strip, we see Poosy trying to figure out a new place to take a nap, since he’s bored with all of the usual locations. Arriola definitely draws a cut cat and invests him with personality.

Arriola passed away on February 2008 at the age of 90.

Thanks for stopping by. Once again, 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.

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.

Joe Giella comic book mail call

Due to the Covid-19 pandemic all of the major comic book conventions are cancelled.  It’s unfortunate, but certainly understandable.  “Con crud” is a real thing at the best of times, and any huge comic con would be a major health hazard.

I enjoy going to comic cons for the opportunity to meet creators and get their autographs on books that they worked on.  Obviously that is NOT happening this year.  So this summer I contacted a few creators via social media and asked if I could mail them books to get signed.

One of these creators was longtime artist Joe Giella.  I reached out to him via his son Frank Giella, who I’ve known for a couple of decades.  I’ve gotten a couple of things signed by Joe in the past, but I had a few others I was hoping to have him autograph, so I asked Frank if I could mail them to him to pass along to his father, and he very kindly agreed.

I sent Joe Giella a few Bronze Age comic books.  I don’t have any of the really classic issues he worked on for DC Comics in the 1950s and 60s since the majority of those are out of my budget.  Whatever the case, I’m happy I had the opportunity to get these books signed.

All-Star Comics #73 (July 1978) has Giella inking the pencils of Joe Staton, another artist whose work I love.  The writing is by Paul Levitz.  I only got into the 1970s revival of the Justice Society of America in recent years when I picked up the trade paperbacks, but I immediately became a fan.  I guess I’ve always liked the JSA a bit more than the Justice League because the JSA members don’t have their own solo titles, which enables more character development to take place in their series.  Also, the Earth-2 setting allowed the original JSA members to age, and to mentor a new generation of heroes, which I enjoyed.

Joe Giella began working for DC Comics in 1949, and some of the earliest characters he ever drew for them were the members of the JSA.  Then in the early 1960s Giella was one of the artists on the stories that introduced the Earth-2 concept and which brought the JSA back into print for the first time in a decade.  Given his historic connection to these characters, I was glad to have him autograph All-Star Comics #73.

Captain America #182 (Feb 1975) was a rare Marvel Comics job by Giella.  He inked a few odd issues for Marvel during the 1970s, as well as doing full artwork on various one-off projects such as a few t-shirts and The Mighty Marvel Superheroes’ Cookbook, which was an actual thing.  Here Giella is inking Frank Robbins.  This was during the period following the classic “Secret Empire” storyline by Steve Englehart when a disillusioned Steve Rogers abandoned the Cap identity and became Nomad.

I know that my experience with Robbins’ work parallels a number of other readers, in that initially I disliked it, over time I gradually learned to appreciate it, and now I now really enjoy his art.  I feel Robbins’ work was more suited to war and mystery and horror stories than superheroes, but even on the later genre I find there’s quite a bit to appreciate.  I think Giella did a very nice job inking Robbins on this issue, and I wish they had worked together more often.

Superman Family #200 (March 1980) was a really fun “imaginary story” written by Gerry Conway.  Set 20 years in the future (late 1999 to be specific) it featured Clark Kent and Lois Lane married with a teenage daughter named Laura.

There were several art teams on Superman Family #200.  The portions of this issue that Giella inked were penciled by Bob Oksner, another great artist whose work I have grown to appreciate in recent years.  Oksner & Giella made an effective art team.  That’s another collaboration I wish we had seen occur more frequently.

Finally, here is the variant cover that Giella drew for the sixth issue of the Archie Meets Batman ‘66 miniseries published by DC and Archie Comics (March 2019).  Giella is apparently the oldest living Batman artist, so I really wanted to have him sign something featuring the Dark Knight of Gotham City.  This cover is a nice piece which demonstrates that Giella, now in his early 90s, is still going strong as an artist.

Thanks again to Joe Giella for autographing these books, and to his son Frank for arranging everything.

The Daily Comic Book Coffee, Part 14

Welcome to the 14th edition of Comic Book Coffee. I previously posted these daily in the Comic Book Historians group on Facebook. The challenge posed by group moderator Jim Thompson was to pick a subject and find a different artist every day for that subject.  The subject I chose was Coffee.

66) Ramón Torrents

“Good to the Last Drop” was drawn by Ramón Torrents and written by Martin Pasko.  It appeared in Vampirella #36, released by Warren Publishing in September 1974.

Christina Kavanaugh, heiress to the Miller Foods fortune, has been having an affair with Bill Wright, VP of Product Improvement.  Unfortunately her husband Jim, current President of Miller Foods, has just found out.  As we see, Jim reacts badly to the news, brutally slapping Christina while she is having her morning coffee.  Jim slaps his wife so hard that she hits her head against the grandfather clock, causing her death.  This leads the grieving, still-jealous Jim to embark on a very twisted plot to gain revenge on Bill Wright, a scheme that centers on Miller Foods’ production of freeze dried coffee.  Fortunately by the end of this grim little tale karma has boomeranged back on Jim, leading him to a fitting end.

“Good to the Last Drop” appears to have afforded Martin Pasko an opportunity to let his very skewed, offbeat sense of humor go extremely wild.  The story is effectively illustrated by Ramón Torrents, a Spanish artist who had previously worked for British publishers Fleetway and D.C. Thompson on several romance titles in the 1960s, followed by short horror stories for American publisher Skywald in the early 1970s.  Torrents drew a number of stories for Warren that saw print in Vampirella, Creepy and Eerie and between 1973 and 1979.  Reportedly he left the comic book field at the end of that decade.

67) Dan DeCarlo & Rudy Lapick

“Power Shortage” from Sabrina the Teenage Witch #60, penciled by Dan DeCarlo, inked by Rudy Lapick, written by Frank Doyle, lettered by Bill Yashida, and colored by Barry Grossman, published by Archie Comics in June 1980.

Sabrina and her boyfriend Harvey are walking home from school when they see a flying carpet whiz by carrying groceries.  Sabrina rushes home and demands to know why her Aunt Hilda is using a flying carpet during the middle of the day.  Hilda explains that she forgot her weekly magical recharge again.  She doesn’t have the power to just “zap” some groceries home like she usually does, and needs to rely on the carpet.  To demonstrate her weakened power, Hilda attempts to levitate her coffee cup over, and it crashes to the floor.  Sabrina tells her Aunt she had better get a recharge soon.  Hilda then realizes that she forgot to pick up lemons at the market, and she sends the flying carpet out again.  Naturally enough, hilarity ensues.

Dan DeCarlo was definitely adept at drawing comedy.  His style was very well suited to Archie Comics, where he did great work for nearly half a century, from the early 1950s to the late 1990s.  For many years DeCarlo’s art served as the basis for the company’s house style.  Sabrina the Teenage Witch was one of the characters he had a hand in creating.

68) Mike Zeck & Denis Rodier

Damned #3, penciled by Mike Zeck, inked by Denis Rodier, written by Steven Grant, and colored by Kurt Goldzung, published by Image Comics in August 1997.

Damned features the recently-paroled Mick Thorne, who is attempting to deliver a message to the sister of his deceased cellmate Doug Orton.  Unfortunately, New Covenant crime boss Silver believes that Mick knows the location of the fortune that Doug stole from the mob before going to prison.  Mick has to avoid Silver’s thugs while trying to locate Doug’s elusive sister.

In this scene Charlotte Dahl of the State Parole Office is working late, attempting to track down Mick, as well as figure out who murdered Mick’s parole officer.  Drinking coffee to keep awake, Charlotte and her assistant begin looking through the files of other ex-cons who are now in New Covenant, searching for any kind of link to Mick.

Damned was a four issue crime noir miniseries that reunited Steven Grant and Mike Zeck, the creative team that had successfully launched the Punisher into super-stardom a decade earlier.  Damned was collected together by Cybrosia Publishing in 2003 with a new epilogue by Grant & Zeck and behind-the-scenes material.  The collected edition was reissued in 2013 by BOOM! Studios.

I’m a huge fan of Zeck, and I really enjoyed his work on this miniseries.  Rodier’s inking was a good fit for the tone of the story.  I definitely recommend picking up the trade paperback.

69) Art Saaf & Vince Colletta

“Never a Bride to Be” from Falling In Love #117, penciled by Art Saaf and inked by Vince Colletta, published by DC Comics in August 1970.

Another coffee page from a romance story?  What is it with people drinking coffee in romance comics?  Maybe that’s why everyone is so emotional and melodramatic; too much caffeine!

Lisa, the boss’ daughter, has invited young, handsome British engineer Derek over to dinner with her family.  It’s all part of a plan to try to get Derek interested in Lisa’s shy sister Dottie.  Derek and Dottie are soon dating, but Dottie is worried that Lisa is going to try to steal him away.  Indeed, Lisa soon realizes that she is attracted to Derek after all.  What’s a girl to do?

Art Saaf’s career stretched back to the Golden Age.  He did a great deal of work for Fiction House throughout the 1940s, and then for Standard Comics in the late 1940s and early 50s.  In the mid 1950s Saaf began working in television; among his jobs was creating storyboards for The Jackie Gleason Show.  He did feelance advertising work throughout the 1960s, and returned to comic books at the end of the decade.  Between 1969 and 1974 he drew a number of romance stories for DC Comics, several issues of Supergirl, and a handful of war and horror tales.

Saaf is paired here with Vince Colletta, one of his regular inkers at DC.  Colletta’s inking is fairly heavy, but you can still perceive Saaf’s expert storytelling and use of facial expressions & body language to establish the personalities of the characters.  He certainly does an excellent job differentiating between the outgoing Lisa and introverted Dottie here.  I like the awkward humor of those bottom two panels and Lisa and her parents none-too-subtly leave Dottie and Derek to have coffee alone together.

Saaf and Colletta both excelled at drawing beautiful women, so pairing them up was perhaps an inspired choice, after all.  Romance comics historian Jacque Nodell expressed a fondness for their collaborations on her blog Sequential Crush.

70) Sergio Cariello & James Pascoe

Here are two coffee-drinking pages from Azrael: Agent of the Bat penciled by Denny O’Neil, penciled by Sergio Cariello, and colored by Rob Ro & Alex Bleyaert, from DC Comics.  Issue #83 was inked by James Pascoe and lettered by Ken Bruzenak, published December 2001.  Issue #99 was inked by Cariello and lettered by Jack Morelli, published April 2003.

On the first page Lilhy, a member of the sinister Order of St. Dumas, seeks to understand the nature of evil.  She visits the Joker, currently incarcerated at the maximum security prison the Slab, to see if the insane super-villain can offer any insights.  Unfortunately she arrives just as the Joker releases a modified form of his “Joker venom” that transforms everyone in the Slab into doppelgangers of the Clown Prince of Crime.

The now-Jokerized Lilhy returns to Gotham City, where she meets with the psychiatrist Bryan.  Over coffee Bryan attempts to explain to Lilhy that humanity has struggled to understand the nature of evil throughout its entire existence.

On the second page Azrael, aka Jean-Paul Valley, is meeting with Dr. Leslie Thompkins, who has recently been treating him.  Due to the genetic manipulation and brainwashing inflicted upon Jean-Paul in his childhood by the Order, he has been experiencing serious health issues, as well as another bout of mental instability.  It appears that at long last Jean-Paul has finally stabilized, both physically and psychologically.  Over coffee with Leslie, the directionless Jean-Paul wonders what to do next.  She urges him to try to live his own life, and find happiness.

“The Evil Men Do” and “Last Respects” are written by the legendary Denny O’Neil, who passed away in June at the age of 81.  O’Neil co-created Azrael and wrote the entirety of the character’s solo series, which ran for 100 issues.  He appeared to have a fondness for the character.  Interviewed about Azrael in 2009, O’Neil had this to say…

“I wish I’d done one or two things differently, and I think the series kind of lost its way for a while in the middle of the run.  But all that aside…I don’t think there’s ever been a character exactly like Az before or since and I generally enjoyed working on him.  I wish the 100th issue could have been stronger, but it was wonderful of Mike [Carlin] to let me write it; I was only weeks past major surgery at the time and maybe a ways from my best.”

O’Neil was an intelligent and contemplative individual, qualities that were frequently present in his writing.  Although the “Joker: Last Laugh” crossover was a ridiculous event, O’Neil appears to have used this tie-in issue to briefly touch upon the subjective nature of human morality, and our struggles to understand if our actions are ethical.

Likewise, as I recently discussed on this blog, O’Neil utilized Leslie Thompins, another character he created, as a counterpoint to Batman and Azrael.  Leslie is passionately dedicated to fighting for social justice, but she is an avowed pacifist.  In the last storyline of this series O’Neil had Leslie calling out Batman for dragging the emotionally damaged Azrael further into a life of endless violence, and she works closely with Jean-Paul hoping that she will get him to see that he can walk his own path.

Brazilian-born Sergio Cariello penciled Azrael from issue #69 to the finale in issue #100.  He was initially paired with James Pasco, who inked the series for seven years.  On the last nine issues Cariello inked his own work.

Cariello was a student at the Joe Kubert School, and he later taught there.  Thinking about it, I suppose you could describe Cariello’s work as a cartoony version of Kubert’s style.  The Kubert influence certainly became more apparent in the issues where Cariello did full artwork.  It’s another good demonstration of how different inkers affect the look of the finished art.

I actually did another 30 of these Daily Comic Book Coffee entries on the Comic Book Historians group for a grand total of 100. At some point I may re-post the rest of them here on my blog. However, all of the entries have already been archived by Rik Offenberger at First Comics News. Rik is also responsible for the nifty Daily Comic Book Coffee banner seen at the top of this blog post. Thanks again, Rik.

First Comics News is currently presenting my Comic Book Cats posts, as well. I hope you will check them out.