The Daily Comic Book Coffee, Part 13

Welcome to the 13th edition of Comic Book Coffee. I previously posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

(I has nasal surgery a couple of days ago, so if any typos creep into this I apologize. My head is pretty stuffed up right now!)

61) Gene Colan & Tom Palmer

Daredevil #90, penciled by Gene Colan, inked by Tom Palmer, written by Gerry Conway and lettered by Sam Rosen, published by Marvel Comics with an August 1972 cover date.

It’s not all that surprising that during his career Daredevil has encountered four different criminals who assumed the costumed identity of Mister Fear.  What would be more natural that for the self-proclaimed “Man Without Fear” to cross swords with a villain whose modus operandi was the creation of fear?

Here we see Daredevil, hit by Mister Fear’s powers, has crashed through the window of an office building, and is now cowering in terror at the little old lady who cleans the building.  The next panel finds DD a guest of the local precinct, with the cops offering the still-unsteady crimefighter a cup of coffee.

Gene Colan had a style that was generally not an especially good fit for superheroes, yet he is regarded as one of the all-time great Daredevil artists.  Perhaps that is because DD is a non-powered acrobatic character, as well as the fact that, no matter how weird and jokey the series sometimes got, it usually still had one foot planted in gritty noir.  Both these elements made Daredevil an ideal fit for Colan’s unconventional layouts and shadowy penciling.

Colan was reportedly a somewhat-challenging artist to ink.  Tom Palmer is usually classed as one of the best inkers of Colan’s pencils.  They definitely worked extremely well together on Daredevil, Doctor Strange and Tomb of Dracula.

62) John Rosenberger

“What’s Ambition, Anyway?” drawn by John Rosenberger, written by Richard Hughes, and lettered by Ed Hamilton, from Confessions of the Lovelorn #81, published by ACG in May 1957.

Beautiful, talented Jill Sanders dreams of becoming an actress.  She auditions with famed producer-director Carl Rogers, who agrees to see how she works out in rehearsals for his upcoming musical.  While having coffee with Rogers and the rest of the cast, Jill thinks to herself “He’s a real professional — and a swell guy!”  Unfortunately for Jill, her high school rival Marion Major has also joined the cast, and pretty soon the ambitious, arrogant blonde is sinking her claws into Rogers himself.  Due to budget cuts Jill is squeezed out of the chorus and finds herself back waiting tables, and the despairing young woman believes she has lost out on both show business and Carl Rogers.  However, when Carl’s investors back out on him, Jill convinces her restaurateur boss to help finance the show.  It’s a success, and Carl has fallen in love with Jill.

Artist John Rosenberger’s career stretched over 30 years, from 1946 to 1975.  He worked for several different companies, drawing stories in various genres.  His style was definitely well-suited for romance, as he had an aptitude for rendering beautiful, fashionable women.  Towards the end of his career he penciled Superman’s Girlfriend Lois Lane for DC Comics, where once again his knack for drawing lovely ladies was a definite asset.  Rosenberger became the regular artist on Wonder Woman in 1975, but sadly only completed two issues before taking ill.  He passed away in January 1977 at the age of 58.

The entire story “What’s Ambition, Anyway?” can be read on the Comic Book Plus website.

63) Ron Lim & Chris Ivy

Sovereign Seven #36, penciled by Ron Lim, inked by Chris Ivy, and written by Chris Claremont, published by DC Comics with a July 1998 cover date.

As the final issue of Chris Claremont’s Sovereign Seven comes to a close, the Sovereigns, after a long, hard-fought conflict, have finally emerged triumphant against the insidious Rapture.

And then we see that, apparently, the entire story of S7 has been nothing more than a comic book series created by Casey and Morgan, two young women who are customers at the Crossroads Coffee Bar that appeared so often throughout the series.

Sovereign Seven was a creator-owned series that nevertheless took place in the DC universe, with appearances by Darkseid, Superman, Power Girl and other mainstays.  Presumably this ending was conceived by Claremont to allow the series to end with a clean break, so that in the future he could have his characters return in an entirely different venue.  It’s certainly a metatextual scene, with Casey and Morgan standing in for Claremont himself to reflect on the series’ cancellation.

Of course, as Alan Moore once famously observed, “This is an Imaginary Story… Aren’t they all?”  And so I like to think that in some corner or another of the multiverse the events of Sovereign Seven “really” did happen.  Ah, well, real or not, it was a fun series.

Ron Lim was the second regular penciler on S7.  I have been a fan of Lim since he drew Captain America way back in the early 1990s.  I definitely regard him as underrated.  On most of his S7 issues Lim was inked by Chris Ivy.  They made a great art team, wonderfully illustrating Claremont’s stories.

So, anyone know where I can snag one of those big S7 coffee cups?

64) Frank Bolle

Golden and Silver Age artist Frank Bolle passed away on May 12th at the age of 95.  “Outlaw Gold” was penciled & inked by Bolle. It appeared in Tim Holt #29, published by Magazine Enterprises with an April-May 1952 cover date.

Tim Holt was a Western movie star during the 1940s and early 50s.  The comic book Tim Holt featured a fictionalized version of the actor who assumes the guise of the costumed vigilante Red Mask in the post-Civil War “Old West.”  Tim Holt ran for 54 issues, being re-titled Red Mask with issue #42.  Frank Bolle’s artwork appeared in every single issue of Tim Holt / Red Mask.  Bolle really excelled at drawing Westerns, and his work on this series was definitely impressive.

“Outlaw Gold” sees beautiful dancehall girl Della Martin enlisting the help of Red Mask to locate a treasure which she says her father hid out in the desert, west of Bald Rock.  Pursuing Della are members of Butch Cassidy’s “Wild Bunch” gang, who are all too ready to murder the lovely singer so that they may claim the buried fortune.

On this page, en route to Bald Rock, Red Mask and Della are pursued by a trio of Wild Bunch thugs.  Red Mask makes short work of them, knocking all three out.  He and Della then bunk down for the night, brewing up some hot coffee to keep warm.

Bolle does nice work on this page.  The action flows well.  I like how Bolle has Red Mask’s fist swinging out of that third panel, really highlighting the punch.   Della is beautifully drawn.  And since this is a Western, of course we have horses.  I guess this is another crossover with Jim Thompson’s 1000 Horses series!

The entire issue can be read on the Comic Book Plus website.

65) Jerry Ordway & George Perez

Here is a double dose of Da Ordster!  First up is Adventures of Superman #428, penciled & inked by Jerry Ordway, written by Marv Wolfman, lettered by John Costanza, and colored by Tom Ziuko, published by DC Comics in May 1987.

Here we see Clark Kent and Cat Grant at the offices of the Daily Planet, discussing Perry White’s ongoing investigation of organized crime in Metropolis.  Clark is having his morning coffee, and as we can see from his choice of mug he’s a fan of The Far Side.

This page is a good example of both Ordway’s storytelling and inking.  He does a good job laying out the conversation between Clark and Cat, presenting it from different angles, making it interesting.  I like how Ordway inks Cat on this page.  Panel four is especially beautiful.

I know that it’s undoubtedly a function of my having gotten into DC Comics in the late 1980s, but I definitely regard Ordway as one of the definitive Superman artists.

Jumping forward a dozen years we have Avengers volume 3 #18, written & penciled by Jerry Ordway, inked by George Perez, lettered by Richard Starkings, and colored by Tom Smith, published by Marvel Comics in July 1999.

Ordway wrote & drew a really fun three issue story arc on Avengers to give Kurt Busiek & George Perez a chance to catch their breaths.  This is the final page of Ordway’s last issue.

Hank Pym is in his lab late at night, studying the technology of the cyborg Doomsday Man, one of the threats the Avengers faced during Ordway’s storyline.  Hank has obviously been working for a while, because he disgustedly thinks to himself “*GAH* Coffee’s bitter! ‘Course that pot’s only been on all night…”

Before Hank has a chance to brew some fresh java he is interrupted by the violent arrival of several leering metal monstrosities, servants of his mechanical “son” Ultron.  And so Ordway segues back into Busiek & Perez’s own ongoing storylines, with Perez himself inking this last page as part of the transition.  Ordway must have been working closely with Busiek, Perez and editor Tom Brevoort to get everything to line up so smoothly.

Jerry Ordway is one of my favorite comic book creators, and I enjoyed his short stint on Avengers.  As much as I liked Busiek & Perez, I really wish Ordway could have done more work on this title.  He latter penciled the Domination Factor: Avengers and Maximum Security miniseries, on both of these once again doing excellent jobs depicting Earth’s Mightiest Heroes.

I don’t think Ordway’s had any ongoing assignments in the last two decades, instead bouncing around between various short guest runs, fill-ins, miniseries and specials.  That’s a shame, because he’s a very talented artist.

Happy birthday to Joyce Chin

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

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

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

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

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

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

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

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

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

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

The Daily Comic Book Coffee, Part 12

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

56) Judit Tondora

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

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

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

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

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

57) Brad Gorby & Mark Heike

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

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

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

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

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

58) José Beá

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

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

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

59) Peter Krause & Dick Giordano

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

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

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

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

60) Amy Reeder

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

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

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

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

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

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

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

The Art of Joe Sinnott

Last week I wrote a short tribute to Joe Sinnott, who passed away at 93 years old on June 25th.  Sinnott’s career stretched across seven decades.  He worked on so many different comic books during his lifetime that I wanted to spotlight some more examples of his work, both doing full art, and as an inker / embellisher.  Here are twelve highlights from his career.

1) “Drink Deep, Vampire” is one of Joe Sinnott’s earliest stories.  It appeared in Strange Tales #9, published by Atlas Comics with an August 1952 cover date.  Decades later Sinnott would cite it as a favorite.

2) Sinnott drew many Western stories for Atlas during the 1950s.  Here is a good example of his work in the genre.  “The End of the Dakota Kid” appeared in Gunsmoke Western #46 (May 1958).

3) One of the earliest jobs on which Sinnott inked Jack Kirby was the monster story “I Was Trapped By Titano the Monster That Time Forgot!” in Tales to Astonish #10 (July 1960).  Right from the start they were doing great work together.  They certainly did a superb job depicting Titano, an immense crab.

4) Sinnott did a great deal of work for Treasure Chest of Fun & Fact published by George A. Pflaum.  One of his most noteworthy assignments for that educational comic book was “The Story of Pope John XXIII, Who Won Our Hearts,” a 65 page biography serialized over nine issues.  Here is the beautifully detailed opening page of the first chapter, published in Treasure Chest vol 18 #1 (September 13, 1962).

5) Journey Into Mystery #91 (April 1963) featuring Thor was one of the very few Marvel Comics superhero stories for which Sinnott did the full art.  He did nice work on this one.  I especially like the first panel on this page, with the beautiful Valkyries in flowing gowns descending from Asgard to give an imprisoned Thor his belt of strength.

6) Ask who was Jack Kirby’s best inker, and many fans will respond that it was Joe Sinnott.  Sinnott did superb work over Kirby at Marvel, especially on Fantastic Four.  Issue #72 (March 1968) has one of the most iconic covers from their run, and it doesn’t even feature the FF.  Instead we have the Silver Surfer soaring through outer space, with the Watcher in the background, surrounded by a bundle of “Kirby crackle.”

7) Tender Love Stories was a short-lived romance series from Skywald Publications, who were in operation for the first half of the 1970s.  The cover of the first issue (February 1971) has the interesting pairing of Don Heck and Joe Sinnott.  I’m one of those people who believe Heck was underrated.  His style was well-suited to the romance genre.  Sinnott’s inking complements Heck’s pencils on this piece.

8) Sinnott remained on Fantastic Four for a decade after Kirby departed.  In the early 1970s he was paired with John Buscema.  This splash page from FF #137 (August 1973) beautifully showcases Sinnott’s detailed, polished inking.  The textures on the castle walls, the forest surrounding it, and the Moon in the sky above are incredibly rendered.

9) Although from the early 1960s on nearly all of Sinnott’s work for Marvel was as an inker / finisher, from time to time he did full art for covers and licensing art.  Here is one of his occasional covers, for The Invaders #30 (July 1978) featuring Captain America, Namor the Sub-Mariner and the original Human Torch in battle with a Nazi flying saucer.

10) Sinnott stated a number of times that his favorite character to draw was Ben Grimm, the Thing.  In addition to inking the Thing in innumerable issues of the Fantastic Four, Sinnott also did inks / finishes for the character in his solo series published in the 1980s.  Sinnott was paired with penciler Ron Wilson, and they made an effective team.  Here’s a page from The Thing #24 (June 1985) that has Ben tussling with the Rhino.  Just look at the detailed, textured manner in which Sinnott inks the Rhino’s costume.

11) Sinnott did very little work for DC Comics.  One of the few jobs he did appeared in the pin-up book Superman: The Man of Steel Gallery (December 1995).  Sinnott inked longtime Superman artist Curt Swan, and it was a beautiful collaboration.  Looking at this, I really wish Swan & Sinnott could have worked on a few Superman stories together.  I got this autographed by Joe at a comic book convention several years ago.

12) Deadbeats is a vampire soap opera written & penciled by Richard Howell and inked by Ricardo Villagran published by Claypool Comics.  It ran for 82 issues, and has continued as a web comic.  Howell asked a number of different artists to ink the covers throughout the run.  The cover to the penultimate installment, Deadbeats #81 (December 2006), was inked by Sinnott, who had previously inked Howell a few times at Marvel.  The coloring is by John Heebink.

Originally I was going to show 10 examples of Joe Sinnott’s artwork, but I just could not narrow it down, which is why we have 12…. or 13, if you count Joe’s self-portrait at the top.  Even with that I still had to leave out a few examples I really liked!  As I said before, Sinnott did so much great artwork over the decades.  Please feel free to mention your own favorites in the comments below.

Denny O’Neil, Azrael, and the Pursuit of Social Justice

This morning, over on the Facebook group Comic Book Historians, I posted images from a couple of issues of Azrael: Agent of the Bat for today’s Comic Book Coffee entry. Denny O’Neil, who passed away last week, wrote the entire 100 issue run of Azrael.

Thinking it over, I feel that O’Neil’s work on the Azrael series was underrated.  He co-created the character and played a major role in Jean-Paul Valley’s development.

Azrael was initially conceived solely to serve the role of an insane, violent substitute to Batman during the “Knightfall” storyline, to demonstrate why it was important that the real Batman not become a ruthless killer.  But following the conclusion of “Knightfall” O’Neil appears to have put a great deal of effort into developing Jean-Paul Valley into a three-dimensional character, to remake him as an actual hero.

Another character that O’Neil created, Dr. Leslie Thompkins, became an important presence in the Azrael series, beginning during the “No Man’s Land” crossover in Azrael: Agent of the Bat #55 (August 1999), penciled by Roger Robinson and inked by James Pascoe.

In a 2014 interview with 13th Dimension, O’Neil explained that Leslie was inspired by social activist Dorothy Day, who co-founded the Catholic Worker movement.

Over the years I’ve come to realize that Leslie was a character who embodied much of O’Neil’s own beliefs.  Leslie dedicated her life to fighting against injustice & inequality, to helping the poor & downtrodden, and she sought to find constructive ways in which to make real, lasting changes to society.

This two page scene below is from Azrael: Agent of the Bat #92 (September 2002), written by O’Neil, penciled & inked by Sergio Cariello, lettered by Jack Morelli, and colored by Rob Ro & Alex Bleyaert, with a cover by Mike Zeck & Jerry Ordway.  It encapsulates Leslie’s beliefs, and in turn offers an insight into O’Neil’s own worldview.

Azrael is missing and presumed dead (that happens a lot in superhero comic books).  Leslie, who has been attempting to help the psychologically damaged Jean-Paul Valley for some time, is angry, and she call Batman out on the role he played in this tragedy.  She accurately points out to the Dark Knight all of the other ways in which Jean-Paul could have fought against injustice, and she castigates Batman for instead influencing the young man to follow in his vigilante footsteps.

In a 2017 interview with Pop Mythology writer / artist Howard Chaykin had this to say about Batman:

“Batman had a bad day when he was eight. His reaction is this: instead of investing his inherited billions in addressing crime where it starts, or getting in politics to become a force for good, he dresses up like a bondage freak and beats the living shit out of people he doesn’t know but identifies them as bad on the basis of the way they look. This is a fifteen year-old’s idea of how the world works.”

O’Neil was obviously a very intelligent & insightful person.  He wrote and edited the Batman titles for many years, so I am certain he perceived this juvenile fantasy element of the character.  As one of the primary caretakers of the Dark Knight’s world he probably felt he could not critique this too directly.  However, right from the early days of his career O’Neil actively sought to address social & political issues in his stories.  Leslie was one way in which he did so throughout the years, presenting her as a counterpoint to Batman’s ideology & methods.

O’Neil often had Leslie voicing a great deal of criticism towards Batman.  Leslie believes that Batman, in his identity as billionaire industrialist Bruce Wayne, has the resources & influence to help peacefully shape the world into a better place, and that it is there where he ought to be focusing his time & energies.

Leslie Thompkins is one of those characters that I never quite understood when I was younger.  However, as I have gotten older and (hopefully) more mature, I have come to appreciate the character, and to recognize that O’Neil utilized her to attempt to get readers to think.  It makes sense that O’Neil would use Leslie as a central figure in the Azrael series.  Just as within the stories Leslie worked to help Jean-Paul become a better person, in his writing O’Neil attempted to make Azrael a better character.

Several years ago O’Neil was a guest at a small comic book convention in Brooklyn.  One of the books I got autographed by him was an issue of Azrael.  I do not recall his exact words, but after looking that book over he said something along the lines of “We really tried to make the character work.”

O’Neil could be critical of his own writing, and he reflected that perhaps he could have done a better job on the Azrael series.  Nevertheless, in spite of the flaws, I appreciate the work he did with Jean-Paul Valley and Leslie Thompkins, to have the Azrael series be something more than just another Batman spin-off or superhero slugfest.  As he did on a number of other occasions, O’Neil sought to stretch the boundaries of the genre in an intelligent, mature manner.

The Daily Comic Book Coffee, Part Nine

Welcome to the ninth Comic Book Coffee collection. I’ve been posting these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

41) Ramona Fradon & Mike Royer

We have selected panels from Plastic Man #14, penciled by Ramona Fradon, inked by Mike Royer, and written by Elliot S! Maggin, published by DC Comics with an Aug-Sept 1976 cover date.

It’s a late night at the headquarters of the National Bureau of Investigation, and the Chief tells his secretary Sundae to put on some coffee while he briefs his agents about a dangerous new threat to national security.  The Chief details to Plastic Man, Woozy Winks and Gully Foyle the gruesome origins of the oozing menace known as “Meat By-Product… The Dump That Walks!”  By the time the Chief is finished describing this monstrosity in excruciating detail, Plas and Co are so completely grossed out that when Sundae attempts to serve them coffee, donuts and cream-filled Danishes, they’re ready to toss their cookies.

I love Ramona Fradon’s artwork.  She has such a distinctive, unconventional, cartoony style.  She brought a very offbeat, fun, comedic sensibility to Metamorpho the Element Man, the character she co-created with writer Bob Haney and editor George Kashdan in 1965.  That definitely made her very well-suited to draw Plastic Man a decade later.  Fradon stated in interviews that he was one of her favorite characters to have worked on.

Fradon is inked here by Mike Royer.  Fradon loved Royer’s inking of her pencils on this story, and has said she wishes they’d had other opportunities to work together.  It’s certainly a great collaboration.

42) June Brigman & Roy Richardson

Here is a trio of coffee-related installments of the Mary Worth newspaper comic strip, penciled by June Brigman, inked by Roy Richardson, and written by Karen Moy.

In the November 10, 2017 strip, Iris is having late night coffee with her boyfriend Zak.  Iris and Zak had previously dated, but she wasn’t certain if they should be together, since she was several years older than Zak.  However, following her break-up with Wilbur she decided to give her relationship with Zak another shot.

Paralleling this, in the December 5, 2017 strip, Wilbur has returned home from his travels abroad. Over morning coffee (complete with a Hello Kitty coffee mug) he is catching up with his daughter Dawn.  Wilbur had a disastrous time in Bogota, where a woman attempted to scam him out of his money.  This has left him wondering if he should try to get back together with Iris, not knowing she is now involved with Zak.

Jumping forward a year to the November 26, 2018 strip, Mary agrees to foster Libby, a one-eyed tabby cat.  Libby is definitely a mischievous kitty, and when Mary tries to have her morning coffee the tabby knocks over her milk.  Mary ultimately cannot keep Libby, because her boyfriend Jeff is allergic to cats.  Fortunately Mary’s neighbor Estelle agrees to adopt Libby.

I liked the Libby storyline.  Libby reminds me of Champ, one of my girlfriend Michele’s old cats.  Champ was a one-eyed cat as well, the runt of the litter.  She was a sweet & affectionate kitty, and we were sad when she passed away from old age.

I’ve been a fan of June Brigman’s work ever since she co-created Power Pack with Louise Simonson at Marvel Comics in 1984.  Brigman has often worked with her husband Roy Richardson, an accomplished inker.  June and Roy have been drawing Mary Worth since 2016.  They both love cats, so I’m sure they enjoyed introducing Libby to the strip.  Please check out their awesome cat-centric sci-fi series Captain Ginger written by Stuart Moore from Ahoy Comics.

43) Mark Bright & Bob Layton

Iron Man #228, layouts by Mark Bright, finishes & co-plot by Bob Layton, script & co-plot by David Michelinie, letters by Janice Chiang, and colors by Bob Sharen, published by Marvel Comics in March 1988.

One of the qualities of David Michelinie & Bob Layton’s runs on Iron Man that I have always appreciated has been their ability to write Tony Stark as a flawed, sometimes unsympathetic person while keeping his actions completely in character and believable.  Unlike some of the writers who followed them, they never had Stark acting in a wildly implausible manner simply to advance the plot.

Witness the now-classic storyline “Armor Wars” which saw Stark desperately attempting to destroy the technology he developed that was now in the hands of others.  As the story progressed, Stark became more and more obsessed, manipulative and ruthless, but the execution of this made it feel this progression was genuine.

Iron Man #228 sees Stark planning to attack the Vault, the federal penitentiary for incarcerating super-powered criminals, in order to destroy the Guardsmen armor that was developed from his technology.  While planning their assault, Stark and his close friend Jim Rhodes stop at a nearby greasy spoon for some coffee.  This scene by Layton, Michelinie and Mark Bright allows for a momentary pause in the action, enabling us to see the friendship and rapport that exists between Stark and Rhodes.

There’s very nice lettering by Janice Chiang on display here.  I love her work, and can usually spot it in an instant.

I’m not quite sure what to make of Stark’s anecdote, though…

“Took me three weeks to get rid of the blueberry stain. Had to tell the guys at the gym it was a tattoo.”

Sounds like it could be the punchline to a dirty story.  Whatever the set-up might have been, I doubt the Comics Code Authority would have approved!

44) Bob Oksner & Vince Colletta

This page is from the Lois Lane story “A Deadly Day in the Life” penciled by Bob Oksner, inked by Vince Colletta, written by Paul Levitz, lettered by John Costanza, and colored by Jerry Serpe.  It appeared in Superman Family #212, published by DC Comics with a November 1981 cover date.

The relationship between Lois Lane and Superman in the Bronze Age was certainly somewhat of an improvement from how it was handled in the 1950s and 60s.  Lois was at least somewhat less catty and scheming and manipulative than she had been previously depicted, and Superman appeared to genuinely care for her.

At the same time, looking at in from a 21st Century perspective, it becomes much more obvious that Lois is in a relationship with a man who is actively hiding a major part of his personal life from her, and who regularly gaslights her whenever she comes close to uncovering the truth.

Nevertheless, given that the Bronze Age writers were required to maintain the Lois Lane-Clark Kent-Superman love triangle, they did fairly good work.  Paul Levitz writes Lois and Superman as two people who are comfortable with each other.  Bob Oksner’s background drawing romance and humor stories made him well-suited to penciling scenes like this.  Likewise, Vince Colletta’s own work in the romance genre results in an effective inking job.

Plus, I love the novelty of Superman using his heat vision to brew a cup of coffee for Lois.  Jim Thompson sent this page my way.  Yes, this IS from the same story he spotlighted where someone hurls a grenade into Lois’ bathroom while she’s taking a shower, and she tosses it back out the window before it explodes.  Good thing she had that cup of coffee beforehand!

45) Stuart Immonen & Jose Marzan Jr

As a follow-up to our last entry, these pages are from Adventures of Superman #525, penciled by Stuart Immonen, inked by Jose Marzan Jr, written by Karl Kesel, lettered by Albert DeGuzman, and colored by Glenn Whitmore, published by DC Comics in July 1995.

Prior issues of the Superman titles had introduced to Clark Kent’s old high school rival Kenny Braverman, who gained superpowers and joined a covert government agency… you know, like pretty much everyone else in comic books eventually does.  Braverman, who adopted the identity Conduit, learned that Clark was Superman and attempted to murder all of Clark’s friends and family.  In a final battle with Superman, the hate-filled Conduit’s powers consumed his body, killing him.

In this issue Clark is reunited with Lois Lane, who he believed had been killed by Conduit.  Clark explains to Lois that he is seriously considering giving up his secret identity to be Superman full-time, to prevent anyone else from being in danger due to their association with him.

Lois tells Clark she wants to go get a cup of coffee in the nearby town, but with one proviso: Clark needs to do it a Superman.  Changing into the Man of Steel, he goes to a nearby diner to order a cup of coffee, only to discover that everyone is ill-at-ease around him.  Some people are expecting a super-villain to attack any minute; others simply don’t know how to act around him.

Meeting up with Superman outside of town, Lois explains to him:

“You NEED a secret identity. It’s what protects you from people… and it’s what connects you to people. Under that costume you’re Clark Kent — you’ll always be Clark Kent. You can’t live without him… and neither can I!”

I feel that the post-Crisis continuity improved Lois Lane’s character a great deal. As I explained before, I was never overly fond of Lois.  I couldn’t understand why Clark / Superman wanted to be with her.  Even the efforts to make her less of a caricature in the 1970s were hampered by the need to maintain the Lois Lane-Superman-Clark Kent love triangle.  I think a clean break was needed for Lois, and Crisis provided John Byrne with that opportunity.

Of course, having subsequently read some of the original Siegel & Shuster stories, I now realize Byrne was actually returning Lois to her original conception, the intelligent, assertive, tough-as-nails investigative reporter of the early Golden Age, and away from the catty, scheming version that existed in the 1950s.

I also like that Byrne had Clark wanting to win Lois as himself, not as Superman, because Clark Kent was his real self, and “Superman” was the secret identity.

Byrne’s work with Lois and Clark definitely set the stage for Jerry Ordway, Roger Stern, Dan Jurgens and others to write the characters in an interesting, adult relationship, and for Lois to finally learn that Clark was Superman.

In this issue Karl Kesel does really good work with the couple.  The artwork by Stuart Immonen & Jose Marzan Jr expertly tells the story.  And, wow, that coloring by Glenn Whitmore on page 19, with the sun setting in a dusky star-filled sky, is beautiful.

I know there are fans that are older than me who grew up on the Silver Age or Bronze Age comic books and did not like the changes made to these characters.  I can understand that.  I can only say that I read these stories when I was a teenager.  So for me this will always be MY version of Lois and Clark.

Denny O’Neil: 1939 to 2020

Longtime, influential comic book writer and editor Denny O’Neil passed away on June 11th at the age of 81.

A journalism major, O’Neil got started in the comic book filed in the mid 1960s.  After brief stints at Marvel and Charlton, O’Neil came to DC Comics, where he made a significant impact.

O’Neil was a very socially conscious individual, and he brought his concerns about inequality and injustice to his work.  He was assigned the Green Lantern series, which at the time was struggling in sales.  Working with artist Neal Adams, another young talented newcomer interested in shaking thing up, O’Neil had GL Hal Jordan team up with the archer Green Arrow, aka Oliver Queen, in a series of stories that addressed head-on issues of racism, pollution, overpopulation, drug abuse, and political corruption.

The above page from Green Lantern / Green Arrow #76 (April 1970), the first issue by O’Neil & Adams, is probably one of the most famous scenes in comic book history.

I read these stories in the 1990s, a quarter century after they were published.  At the time I found them underwhelming.  I felt O’Neil’s writing was unsubtle, that he threw Hal Jordan under the bus to make a point, and that Oliver Queen was just the sort of smug, condescending left-winger who gives the rest of us liberals a really bad name.  As with a number of other people, I always though Hal Jordan’s response to the old black man should have been “Hey, I saved the entire planet Earth, and everyone on it, on multiple occasions!”

When I voiced these criticisms, older readers typically responded “You really needed to read these stories when they were first published to understand their impact and significance.”  I never really understood this until I started reading Alan Stewart’s blog Attack of the 50 Year Old Comic Books.  Alan writes about the comic books that he read as a kid half a century ago.  When I came to Alan’s posts about O’Neil’s early work on Justice League of America for DC Comics in the late 1960s, I finally began to understand exactly what sort of an impression O’Neil’s stories, with their commentary on critical real-world issues, made upon so many young readers of that era.

So, upon further consideration, while I still find O’Neil’s writing on Green Lantern / Green Arrow to be anvilicious, I recognize that he was attempting to address serious social & political crises for which he felt genuine concern, and in a medium that for a long time was regarded solely as the purview of children.  However imperfect the execution may have been, I admire O’Neil’s passion and convictions.

In any case, O’Neil & Adams’ work on Green Lantern / Green Arrow is yet more evidence that comic books have addressed political issues in the past, and anyone attempting to argue otherwise is flat-out ignoring reality.

UPDATE: For an insightful alternate perspective on the Green Lantern / Green Arrow stories I recommend reading J.R. LeMar’s blog post on Denny O’Neil.

O’Neil & Adams were also among the creators in the late 1960s and early 1970s who helped to bring the character of Batman back to his darker Golden Age roots as a grim costumed vigilante operating in the darkness of Gotham City.  O’Neil & Adams collaborated on a number of Batman stories that are now rightfully regarded as classics.

I really enjoy O’Neil’s approach to Batman.  His version of the Dark Knight was serious and somber, but still very human, and often fallible.  I wish that more recent writers would follow O’Neil’s example on how to write Batman, rather than depicting him as some brooding, manipulative monomaniac.  O’Neil really knew how to balance out the different aspects of Batman’s personality so that he was intense but still likable.

O’Neil & Adams, following the directive of editor Julius Schwartz, created the immortal ecoterrorist Ra’s al Ghul and his beautiful daughter Talia.  Ra’s al Ghul debuted in Batman #232 (June 1971) by O’Neil, Adams and inker Dick Giordano.

Ra’s al Ghul was certainly an interesting villain in that he possessed shades of grey.  He admired Batman, and easily deduced that the Dark Knight was actually Bruce Wayne.  Ra’s wanted Batman to become his successor and marry Talia.  Ra’s was genuinely passionate about saving the environment; unfortunately his solution was to wipe out 90% of the Earth’s population and rule over the survivors.  While Batman had feelings for Talia and sympathized with Ra’s end goals, he was understandably repulsed by the ruthless, brutal means Ra’s pursued, and so the two men repeatedly came into conflict.

Throughout the 1970s O’Neil, working with artists Adams & Giordano, as well as Bob Brown, Irv Novick, Michael Golden, Don Newton & Dan Adkins developed the globe-spanning conflict between Batman and Ra’s al Ghul, with Talia often caught in the middle of their immense struggle of wills.  These epic stories were later reprinted in the trade paperback Batman: Tales of the Demon.  It is some of O’Neil’s best writing, and I definitely recommend it.

O’Neil of course wrote a number of other great Batman stories during the 1970s outside of those involving Ra’s al Ghul and Talia. Among those stories by O’Neil that are now considered classics is “There Is No Hope In Crime Alley” illustrated by Dick Giordano, from Detective Comics #457 (March 1976).

“There Is No Hope In Crime Alley” expanded upon Batman’s origin and introduced Leslie Thompkins, the doctor and social worker who cared for young Bruce Wayne after his parents were murdered in Crime Alley. The story was later included in the 1988 collection The Greatest Batman Stories Ever Told, which is where I first read it. It was actually one of four stories from the 1970s written by O’Neil to be included in that volume, a fact that speaks to how well-regarded his work on the character was.

In the early 1980s O’Neil went to work at Marvel Comics.  In addition to editing several titles, he wrote Iron Man and Daredevil.  On Iron Man he decided to follow up on Tony Stark’s alcoholism, which had been established a few years earlier by Bob Layton & David Michelinie. O’Neil had struggled with alcoholism in real life, and he wanted to address that in the comic book Stark was apparently white-knuckling it, trying to stay sober without a support system or a program of recovery.

O’Neil, working with penciler Luke McDonnell & inker Steve Mitchell, wrote a three year long story arc around Stark’s alcoholism.  Corporate raider Obidiah Stane, a literal chess master, ruthlessly manipulated events so that Tony fell off the wagon hard, then swooped in and bought out Stark International from under him.  Stark became destitute and homeless, and was forced to make a long, difficult climb back to sobriety, rebuilding both his life and his company from the ground up.

It’s worth noting another development in O’Neil’s Iron Man run.  Previously in Green Lantern / Green Arrow, O’Neil & Adams had introduced African American architect John Stewart, who they had become a new Green Lantern.  Twelve years later on Iron Man O’Neil had African-American pilot & ex-soldier James Rhodes, a longtime supporting character, become the new Iron Man after Stark succumbed to alcoholism.  Rhodey would remain in the Iron Man role for over two years, until Tony was finally well enough to resume it.

So, once again, the next time you hear some troll grousing about SJWs replacing long-running white superheroes with minorities, or some such nonsense, remember that O’Neil did this twice, telling some really interesting, insightful stories in the process.

This is another instance where the argument comes up that you had to be reading these comic books when they were coming out to understand that impact.  In this case I can vouch for it personally.  It was early 1985, I was eight years old, and the very first issue of Iron Man I ever read was in the middle of this storyline. So right from the start I just accepted that there could be different people in the Iron Man armor, and one of them just happened to be black.

In the late 1980s O’Neil returned to DC Comics, where he became the editor of the various Batman titles.  He also continued to write.  Among the noteworthy stories he penned was “Venom” in Batman: Legends of the Dark Knight #16-20 (March to July 1991), with layouts by Trevor Von Eeden, pencils by Russ Braun, and inks & covers by Jose Luis Garcia-Lopez.

“Venom” is set early in Batman’s career.  After the Dark Knight fails to save a young girl from drowning, he begins to take an experimental drug to heighten his strength.  Unfortunately he very quickly becomes addicted to the Venom, and is almost manipulated into becoming a murderer by the military conspiracy that developed the drug.  Locking himself in the Batcave for a month, Batman suffers a horrific withdrawal.  Finally clean, he emerges to pursue the creators of the Venom drug.

It is likely that “Venom” was another story informed by O’Neil’s own struggles with addiction.  It is certainly a riveting, intense story.  Venom was reintroduced a few years later in the sprawling Batman crossover “Knightfall” that O’Neil edited, which saw the criminal mastermind Bane using the drug as the source of his superhuman strength.

In 1992 O’Neil, working with up-and-coming penciler Joe Quesada and inker Kevin Nolan, introduced a new character to the Bat-verse.  Azrael was the latest in a line of warriors tasked with serving the secretive religious sect The Order of St. Dumas.  Programmed subliminally from birth, Jean-Paul Valley assumed the Azrael identity after his father’s murder.

Azrael soon after became a significant figure in the “Knightfall” crossover.  After Batman is defeated by Bane, his back broken, Azrael becomes the new Dark Knight.  Unfortunately the brainwashing by the Order led Azrael / Batman to become increasingly violent and unstable.  After a long, difficult recovery Bruce Wayne resumed the identity of Batman and defeated Azrael.  O’Neil appears to have had a fondness for the character, as he then went on the write the Azrael ongoing series that lasted for 100 issues.

Another of O’Neil’s projects from the 1990s that I enjoyed was the bookshelf special Batman / Green Arrow: The Poison Tomorrow, released in 1992.  Written by O’Neil, penciled by Michael Netzer, and inked by Josef Rubinstein, The Poison Tomorrow had the Dark Knight and the Emerald Archer working together to prevent a ruthless corporation from using the femme fatale Poison Ivy to create a virulent plague.

O’Neil’s liberalism definitely shines through with his clear distrust of Corporate America.  In one scene that evokes “the banality of evil” multi-millionaire CEO Fenn casually discusses with Poison Ivy his plan to poison jars of baby food, killing hundreds of infants, and then to sell the antidote to millions of terrified parents across the nation.  Reading this story again in 2020, it is not at all far-fetched, as in recent months we have repeatedly seen various corporations publically musing on the various ways in which they can turn a profit on the COVID-19 pandemic.

I also like how O’Neil wrote the team-up of Batman and Green Arrow.  Bruce Wayne and Oliver Queen can both be very stubborn, inflexible individuals.  Each of them has a tendency to browbeat others into submission, so having them forced to work together is basically a case of unstoppable force meets unmovable object.  O’Neil got a lot of mileage out of the tense, almost adversarial chemistry that existed between these two reluctant allies.

The Poison Tomorrow is a grim, unsettling tale.  The moody artwork by Netzer & Rubinstein and the coloring by Lovern Kindzierski effectively compliment O’Neil’s story.  There were such a deluge of Batman-related projects published by DC Comics in the early 1990s that I think The Poison Tomorrow sort of flew under a lot of people’s radar.  I definitely recommend seeking out a copy.

O’Neil had such a long, diverse career that I have really only touched on a few highlights in this piece.  I am certain other fans, as well as the colleagues who actually worked with & knew him, will be penning their own tributes in which O’Neil’s many other important contributions will be discussed.

For example, I’m sure some of you are asking “How can you not discuss O’Neil’s fantastic run on The Question with artist Denys Cowan?!?”  Regretfully I have to admit that I have never read it.  However, if you are a fan of The Question then I recommend that you read Brian Cronin’s excellent tribute to O’Neil’s work on that series.

I was very fortunate to meet O’Neil at a few comic book conventions over the years.  Briefly talking with him while he was autographing some comic books for me, and hearing him speak on panel discussions, it was immediately obvious that he was an intelligent and passionate individual.  Those qualities definitely came through in his work.

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 Daily Comic Book Coffee, Part Seven

The challenge: Pick a subject and find a different artist every day for that subject.  I chose “coffee.” From the work of how many comic book artists can I find examples of people drinking coffee?  I post these daily on Facebook, and collect them together here.

31) Rich Buckler & Joe Sinnott

“The Mind of the Monster” from Giant-Size Super-Stars #1, penciled by Rich Buckler, inked by Joe Sinnott, written by Gerry Conway, lettered by Artie Simek, and colored by Petra Goldberg, published by Marvel Comics with a May 1974 cover date.

The Incredible Hulk leaps into Manhattan and passes out in a deserted alley.  Transforming back into Bruce Banner, the cursed scientist heads over to the Fantastic Four’s Baxter Building headquarters, hoping Reed Richards can find a cure for his condition.  Only Ben Grimm, the Thing, is home, but he welcomes Bruce, telling him “Guy’s like us’ve gotta stick together.”

The Thing asks the frazzled Banner “Ya want some java?”  A grateful Banner accepts, and the Thing brews him a cup of coffee using some weird-looking Kirby-tech.  “Don’t look at me, Banner — it’s one’a Stretcho’s dohickeys.”  Yeah, leave it to Reed Richards to take something as simple as a coffee maker and transform it into a ridiculously complicated device!

The Think lets slip that Reed was recently working on a “psi-amplifier” to restore his lost humanity.  An eager Banner decides that with a few modifications the device can cure both of them in one shot.  Unfortunately they don’t wait for Reed to return before proceeding with the experiment, and of course something goes wrong.  Next thing you know, we have another epic battle between the Hulk and the Thing, but with a twist: the Thing’s mind is in the body of the Hulk, and vise versa.  Hilarity ensues… hilarity and several million dollars worth of property damage.

As explained by editor Roy Thomas in a text piece, Giant-Size Super-Stars was a monthly oversized title that would rotate through three features: the Fantastic Four, Spider-Man, and Conan the Barbarian.  After this issue was released Marvel changed their plans.  Spider-Man and Conan both received their own quarterly Giant-Size series, and Giant-Size Super-Stars also became quarterly, renamed Giant-Size Fantastic Four with issue #2.

The creators behind “The Mind of the Monster” were the regular Fantastic Four team: writer Gerry Conway, penciler Rich Buckler, and inker Joe Sinnott.  They all do good work on this entertaining tale of swapped identities and smashed buildings.  Buckler does a fine job showing via facial expressions and body language that the Thing and the Hulk have switched bodies.  Longtime FF inker Sinnott does his usual great work finishing the art.

32) Rick Burchett 

Presenting a double dose of caffeinated cliffhangers starring those two-fisted aviators the Blackhawks!  Action Comics Weekly #632 is cover-dated December 1987, and Blackhawk #2 is cover-dated April 1989.  Both stories are by the creative team of artist Rick Burchett, writer Martin Pasko, letterer Steve Haynie, and colorist Tom Ziuko, published by DC Comics.

I was sad to hear that longtime comic book writer Martin Pasko had passed away on May 10th at the age of 65.  Among the numerous characters Pasko worked on was the revamp of the Blackhawks conceived by Howard Chaykin.  Pasko chronicled the aviation adventures of Janos Prohaska and Co in serials published in Action Comics Weekly, and then in an all-too-short lived Blackhawk ongoing series.

Pasko was paired with the great, underrated artist Rick Burchett.  I’ve always enjoyed Burchett’s art.  His style is simultaneously cartoony yet possessed of a sort of gritty verisimilitude (I hope I’m articulating that in an accurate manner).  Pasko & Burchett chronicled the Blackhawk’s post World War II adventures which saw the ace pilots becoming embroiled in the Cold War anti-Communist activities of the newly-formed CIA.

Within the pages of the Action Comics Weekly #632, the Blackhawks have been tasked with transporting chemist Constance Darabont to West Berlin to pick up an experimental batch of LSD.  Unfortunately for Prosahka and his team Constance is murdered in Berlin and replaced by Nazi war criminal Gretchen Koblenz.  On the flight back the diabolical Gretchen spikes the Blackhawks’ coffee with the LSD, pulling a gun on Olaf Friedriksen when her deadly ruse is discovered!

Blackhawk #2 ends on a much less life-threatening note, but certainly one that is just as dramatic.  Over morning coffee Janos and the Blackhawks’ assistant director Mairzey ponder the current whereabouts of the missing Natalie Reed, as well as wondering what will become of Natalie’s infant son.  Mairzey tells Janos that she has been considering adopting the baby.  Suddenly an unidentified figure enters the room and announces “I was always afraid to tell you this before… but I’m the father of Natalie’s baby…”

(Cue melodramatic music!!!)

The Blackhawk serials written by Grell & Pasko and drawn by Burchett were among the best material to run in Action Comics Weekly.  I’m happy they’ve finally been collected together with the excellent Blackhawk miniseries by Chaykin.  Hopefully a second collected edition will reprint the ongoing series by Pasko & Burchett.

33) Jack Davis

Today’s art comes from “Dig That Cat… He’s Real Gone” in The Haunt of Fear #21, drawn by Jack Davis, written by Al Feldstein & Bill Gaines, lettered by Jim Wroten, and colored by Marie Severin, published by EC Comics with a Sept-Oct 1953 cover date.

When I was a kid I preferred the sci-fi stories from Weird Science and Weird Fantasy, but as I got older I developed a taste for EC’s horror titles.  I guess my dry, offbeat sense of humor came to align more closely with EC’s macabre pun-cracking horror hosts.

“Dig That Cat… He’s Real Gone” is the story of Ulric the Undying, who makes his fortune staging very public, very violent deaths from which he miraculously recovers each time.  In a flashback, we see that Ulric was previously a nameless bum on skid row who was approached by Dr. Emil Manfred.  Over a cup of coffee, Manfred claimed that he had discovered the secret of a cat’s nine lives, and offered to surgically transplant that ability into the bum, with the end goal of gaining wealth & fame.  Manfred is successful and “Ulric the Undying” is created, but this being an EC horror story, of course things eventually take a very nasty turn for all involved.

Jack Davis was a frequent contributor to EC’s horror anthologies, illustrating many of their most famous, or perhaps infamous, stories.  Davis was certainly adept at creating moody atmospheres perfectly suited to Al Feldstein’s scripts.  His artwork was also appeared regularly in EC’s satirical comic books Mad and Panic.  Following the demise of EC’s comic book line he drew trading cards for Topps.  From the 1960s onward David, who was renowned for his caricatures, did a great deal of advertising work, movie posters and magazine covers.  He passed away in 2016 at the age of 91.

34) Ross Andru & Frank Giacoia

Amazing Spider-Man #184, penciled by Ross Andru, inked by Frank Giacoia, written & edited by Marv Wolfman, lettered by John Costanza, and colored by Glynis Wein, published by Marvel Comics with a September 1978 cover date.

I recently learned of this storyline thanks to Brian Cronin of Comic Book Resources.  In the previous issue Peter Parker had asked Mary Jane Watson to marry him, but she turned him down.  A despondent Peter returned home, only to discover someone was waiting for him in his apartment!  On the splash page of this issue, we discover who: Betty Brant, secretary to Daily Bugle publisher J. Jonah Jameson, and Peter’s girlfriend from way back when.  Betty, who is all glammed up, has let herself into Peter’s apartment and made herself a cup of coffee to await his return.  Now that he’s home, Betty greets him with a very warm welcome.

There’s just one itsy-bitsy problem here: Betty married Ned Leeds a few weeks earlier, and she is supposed to be in Europe with him on their honeymoon.

Yeah, that’s the old Parker luck at work, all right.  You propose to the woman you love but she turns you down, and when you return home you find your recently-married ex-girlfriend has broken into your place, raided your supply of coffee, and is looking to have a fling with you.  Oy vey!

The subplot of Betty attempting to hook up with Peter, and Peter being very tempted in spite of that whole “just married” thing, went on for nearly a year.  I’m sure it comes as no surprise that it all ends badly for poor Peter.

Penciling this tale of torrid emotions and pilfered caffeine is veteran comic book artist Ross Andru.  After two decades of working for DC Comics on such titles as Wonder Woman, G.I. Combat, The Flash and Metal Men (the last which he co-created with writer Robert Kanigher), Andru came to Marvel in 1971.  He penciled Amazing Spider-Man for five years, from 1973 to 1978; this was one of his last issues.  Andru is paired here with well-regarded inker Frank Giacoia, who had previously embellished ASM during the early part of Andru’s half-decade run.

35) Alex Saviuk & Al Wlliamson

Web of Spider-Man #91, penciled by Alex Saviuk, inked by Al Williamson, written by Howard Mackie, lettered by Rick Parker, and colored by Bob Sharen, published by Marvel Comics with an August 1992 cover date.

Following up on our last entry, it’s another Spider-Man page featuring Peter Parker, Betty Brant, coffee and… oh no, Betty’s throwing herself at Peter again, isn’t she?

Okay, what’s actually going on here is that Betty has been working undercover on a story for the Daily Bugle.  She’s investigating the organization belonging to the international assassin the Foreigner, the man behind the murder of her husband Ned Leeds.  When Betty happens to run into Peter in the street she locks lips with him and drags him into a nearby diner so that she can give him the information she’s been collecting to pass on to Daily Bugle publisher J. Jonah Jameson.  Unfortunately the people who are following Betty see through her ruse and attack the coffee shop.  What follows is Spider-Man spending the rest of the issue trading blows with a pair of the Foreigner’s armored goons in the java joint, which of course gets demolished.  I hope the owners had their insurance premiums paid up!

Betty had spent a long time after her husband’s death traumatized & vulnerable.  This was the beginning of a new direction for her, as she quit being Jonah’s secretary, became more assertive, and began a career as an investigative journalist for the Bugle.

The pencils are by Alex Saviuk, a really good artist who had a long run on Web of Spider-Man, from 1988 to 1994.  I think Saviuk’s seven year stint on often gets overlooked because this was at the same time McFarlane, Larsen and Bagley were also drawing the character, and with their more dynamic, flashy styles they consequently receiving more attention.  That is a shame, because Saviuk turned in solid, quality work on Web of Spider-Man.  I enjoyed his depiction of the character.

As we can see from this page, Saviuk was also really good at rendering the soap opera and non-costumed sequences that are part-and-parcel of Peter Parker’s tumultuous personal life.

The Daily Comic Book Coffee, Part Six

The challenge: Pick a subject and find a different artist every day for that subject.  I chose “coffee.” From the work of how many comic book artists can I find examples of people drinking coffee?  I post these daily on Facebook, and collect them together here.

26) Robert Walker & Bill Black

Femforce #6, penciled by Robert Walker, written & inked by Bill Black, lettered by Walter Paisley, and colored by Rebekah Black, published by AC Comics, released December 1986.

I previously featured art from the AC Comics title Americomics.  Here we have another piece of coffee-drinking artwork from AC, this time from the company’s flagship title, Femforce.  Overseen by editor Bill Black, Femforce has been in continuous publication since 1985.  As the title indicates, it features the adventures of an all-female superhero team.  I discovered Femforce two decades ago, and fortunately was able to obtain a number of the earlier issues, including this one, which enabled me to get caught up very quickly.

The team is made up of a combination of public domain heroines who date back to the Golden Age of comic books and newer characters created by Black in the 1970s and 80s.  Black and his various collaborators have done a great job developing an exciting and intriguing fictional world, giving the large cast of characters interesting personalities and rich backstories.

Of course, there is also a fair amount of T&A in Femforce.  It firmly falls into the category of “good girl art.”  Robert Walker, who penciled a handful of stories for AC in the mid 1980s, was definitely one of the artists who emphasized the more, um, curvaceous aspects of the characters’ physiques.  I haven’t been able to find much info on Walker, but after his time at AC he did sporadic work for Marvel, Milestone, Dark Horse and Valiant.

Black has inked a diverse selection of pencilers during Femforce’s 35 year run, as well as producing full artwork from time to time.  I’ve always enjoyed his inking on the AC titles.  He has a very polished ink line.

This page, which has Femforce’s newest member Tara the Jungle Girl brewing some coffee, encapsulates the qualities of the series.  We have the team’s founder Ms. Victory touching upon her personal history and family life.  We also have these two female characters drawn in a sexy manner.  I suppose you could say the two hallmarks of Femforce are characterization and cheesecake.

Femforce 6 pf 4

27) Jamal Igle & Dan Davis

Let’s make a return trip to Radu’s Coffee Shop in New York City.  “Hard-Loving Heroes” is penciled by Jamal Igle, inked by Dan Davis, written by Ben Raab, lettered by Kurt Hathaway, and colored by Tom McCraw, from Green Lantern Secret Files #3, published by DC Comics with a July 2002 cover date.

By this point in time Green Lantern Kyle Rayner was now dating Jade, the daughter of the original GL, Alan Scott.  While Kyle is off fighting some nut in a giant knock-off Gundam suit, Jade is meeting with her alien friend Merayn for a cup of coffee at Radu’s.  Jade is sharing her concerns with Meryan about dating Kyle who, while a basically decent guy, is still a little on the immature and unfocused side.  Jade finds herself wondering if she might be nothing more than a replacement for Kyle’s dead girlfriend Alex.

This page is penciled by the incredible Jamal Igle, who really shows off his storytelling chops in this scene.  He makes the conversation between Jade, Merayn and Radu interesting and animated.

Igle’s earliest professional work was eight years earlier, penciling several pages of Green Lantern #52 in 1994, followed by a fill-in issue of Kobalt for Milestone.  Looking back, his work on those first couple jobs was pretty good, showing potential.  You can then see continuous growth as he did pencils for various titles over the next several years.  By the time we get to this story, Igle was doing really high-quality work.  Igle subsequently had well-regarded runs on Firestorm and Supergirl at DC.  He then made the decision to focus on creator-owned and independent projects.  I’m looking forward to future installments of his series Molly Danger, the first volume of which was released by Action Lab Comics.

Green Lantern Secret Files 3 pg 15

28) Dave Johnson with Keith Giffen

Superpatriot #4, penciled & inked by Dave Johnson, plotted by Keith Giffen, scripted by Erik Larsen, lettered by Chris Eliopolis, and colored by Digital Chameleon, published by Image Comics with a December 1993 cover date.

Today’s entry is from another part of Erik Larsen’s corner of Image Comics, what fans refer to as the “Dragonverse.”  Superpatriot was introduced by Larsen in the original Savage Dragon miniseries.

Johnny Armstrong was an American soldier in World War II.  Captured by the Nazis, he was used as a guinea pig for scientific experiments.  Johnny gained superhuman abilities and escaped.  Assuming the guise of Superpatriot, he spent decades fighting crime.  By the early 1990s age was finally catching up to him, and he was brutally crippled by members of Chicago’s super-powered mob the Vicious Circle.

Superpatriot was rebuilt as a cyborg by the corrupt Cyberdata.  He was then captured by the high tech terrorist organization the Covenant of the Sword, who brainwashed him and sent him to attack the Pentagon.  Youngblood agent Die-Hard confronted him and was able to break through this mind control, and for the first time in months Superpatriot was in control of his own will.

In the final two page scene of the miniseries we see a brooding, contemplative Johnny having a cup of coffee at a Chicago diner.  The current incarnation of his old teammate Mighty Man arrives to provide a sympathetic shoulder, and to offer him a spot on the newly-formed Freak Force team.

Superpatriot 4 pg 23

I was a fan of Superpatriot from the moment Larsen introduced him in Savage Dragon.  I thought the design of the character was really striking and dynamic.  I was definitely thrilled that the character received his own miniseries and then joined Freak Force.

Dave Johnson is one of the top cover artists in the comic book biz.  He’s drawn covers for numerous series, among them 100 Bullets, Deadpool, Detective Comics, James Bond, Punisher Max and Unknown Soldier.  Early on in his career he did do some interior work, including the first two Superpatriot miniseries.  Johnson’s work on these was incredible, containing a tremendous amount of detail.  Apparently he decided he wasn’t fast enough to draw monthly comic books, and so transitioned to working as a cover artist in the mid 1990s.

Keith Giffen’s is credited on Superpatriot as both plotter and storyteller.  He probably provided some kind of layouts for Johnson to work from, although I have no idea how detailed they were.  Whatever the case, the storytelling on the miniseries was well done.

I like how this quiet epilogue is laid out, with the first page dialogue-free until the final panel.  Then on the next page the perspective shifts from one panel to the next, including a shot of Superpatriot’s face reflected in the coffee cup.  I don’t know who was responsible for planning out this scene, Giffen or Johnson, but it’s very effective.

Superpatriot 4 pg 24

29) Mike Dringenberg & Malcolm Jones III

Today’s coffee-drinking artwork is from what Entertainment Weekly referred to as “the scariest horror comic of all time.” Sandman #6 is penciled by Mike Dringenberg, inked by Malcolm Jones III, written by Neil Gaiman, lettered by Todd Klein, and colored by Robbie Busch, published by DC Comics with a June 1989 cover date.

Sandman was the story of Dream, aka Morpheus, and his siblings, the immortal Endless.  The first story arc Preludes and Nocturnes sees Dream, who has spent 70 years as the prisoner of an occult society, finally breaking free.  Dream must then search out his various lost objects of power.

Among these artifacts is a mystical ruby, which has fallen into the hands of John Dee, the super-villain Doctor Destiny.  “24 Hours” sees Dee using the ruby’s powers to slowly drive insane the patrons of a diner, torture them, and finally force them to murder each other.  It is definitely one of the most disturbing comic book stories I have ever read.

The story grew out of Gaiman’s idea of doing a 24 hour long story within 24 pages.  As he explained to EW in 2017:

“Suddenly I went, ‘Hang on. I’ll stay in one location, and awful things are going to happen in this one location over 24 hours.’ And it came into focus suddenly and beautifully. I knew roughly what had to happen in each hour and just brought a bunch of people onto the stage and destroyed them. And it was an awful thing. It was like, ‘Okay, where does my imagination go? What would I do to these people?’ And then going, ‘This needs to be relentless. It needs to be horrible. And it can never be torture porn. You can never enjoy what is happening to these people.’”

Dringenberg & Jones superbly illustrate Gaiman’s unsettling tale, suffusing it with menace.  Both the plot and the artwork begin very low key, with the diner patrons having their morning coffee, unaware that John Dee is crouched in a corner booth, waiting.  As the issue progresses the tension and horror of Gaiman’s writing and Dringenberg’s storytelling gradually escalate, eventually becoming almost unbearable.

The lettering by Klein and the coloring by Busch also play key roles in generating the mood of the story.  Especially the coloring. Busch’s color work is definitely a vital part of creating the unnerving atmosphere of “24 Hours.”

Sandman 6 pg 6

30) Arn Saba

The previous entry was from a very dark story, so this time I’m going with much lighter fare.  “Neil the Horse Meets Mr Coffee Nerves” is written & drawn by Arn Saba, from Neil the Horse Comics and Stories #3, published by Aardvark-Vanaheim with a June 1983 cover date.

Here is another series and artist that I was previously unaware of that I was introduced to by Comic Book Historians group moderator Jim Thompson.  I guess this is our second 1000 Horses / Comic Book Coffee crossover.  Regular contributor Cheryl Spoehr is a fan of Neil the Horse, as well.

What is Neil the Horse about?  As described by Quill and Quire:

“Saba spent more than 15 years combining his love of cartooning with his love of music to produce the adventures of Neil and his friends: Soapy, a feline grifter, and Mam’selle Poupée, a living doll in search of true love.”

Saba wrote & illustrated the adventures of Neil and friends from 1975 to 1989, first in a newspaper strip and then in comic books.  Saba also wrote a Neil the Horse musical comedy, Neil the Horse and the Big Banana, broadcast in 1982 on CBC Radio in Canada.  In 1993 Saba began transitioning into a woman, and is now known as Katherine Collins.

Conundrum Press published The Collected Neil the Horse in April 2017.  I may add this to my already-lengthy list of books to buy.  It looks like fun.

Neil the Horse 3 pg 1 coffee

“Neil the Horse Meets Mr Coffee Nerves” sees Neil, curious about everyone’s love for coffee, discovering both the joys and the dangers of hot caffeinated beverages.  I would undoubtedly be one of the people in that crowd enthusiastically declaring “Coffee time!”  Hopefully not that guy crawling on the sidewalk desperately searching for coffee!