Recurring themes of the Legion of Super-Heroes part 3: Yeah, that’s gonna be a “No” from me, dawg!

This is the third installment of my look at recurring plots, imagery and character-types in the Legion of Super-Heroes stories published by DC Comics during the Silver Age… and beyond.

This time we are looking at homages to one of the most iconic Legion images, the cover to the team’s first appearance in Adventure Comics #247.

Initially these homages were quite infrequent. By the 1990s, though, fandom had, for better or for worse, become a decades-spawning passion with a significant awareness of the medium’s past. This has resulted in the proliferation of homages to and parodies of Golden and Silver Age imagery, among these the cover to Adventure Comics #247.

The first Legion of Super-Heroes story in Adventure Comics #247 (April 1958) was written by Otto Binder, drawn by Al Plastino and edited by Mort Weisinger. The now-legendary cover was drawn by penciler Curt Swan & inker Stan Kaye, who regularly contributed the cover artwork to the Superman family of comics in the late 1950s.

“The Legion of Super-Heroes” saw a group of super-powered teens from 1000 years in the future offer Superboy the chance to join their club. Originally intended as a one-off tale, within a few years it would become a beloved, long-running series. Likewise, the cover image to Adventure Comics #247, with a shocked Superboy being rejected for membership in the team, would go on to be  a recurring motif over the series’ history, as well as inspiring numerous parodies throughout the medium.

The earliest homage to the Adventure Comics #247 cover that I’ve located is Superman #147 (August 1961) also drawn by Curt Swan & Stan Kaye. Here we see the now-adult Man of Steel being threatened not with rejection but with death by the Legion of Super-Villains.

It’s interesting to note that this issue was published just a little over three years later, in an era when overt nods to past were rare in the comic book biz. Audience turnover was fairly rapid in the 1950s and 60s, and it would normally not be expected that current readers would be familiar with material published several years earlier. The fact that Swan & Kaye drew this cover, presumably at the direction of editor Weisinger, appears to confirm awareness by DC that the Legion was already developing an avid, long-term readership.

The cover to Adventure Comics #322 (July 1964) is again penciled by Curt Swan, now paired with inker George Klein. Although not a straight-up homage of #247, it nevertheless evokes the former’s audition format, but with the Legion of Super-Pets taking the place of Cosmic Boy, Lightning Lad & Saturn Girl, and the shape-changing Proty II standing in for Superboy.

L.E.G.I.O.N. was a semi-prequel to Legion of Super-Heroes. It featured an interplanetary law-enforcement team organized by the original Brainiac’s son, the Machiavellian genius Vril Dox, in the present day. The tone of L.E.G.I.O.N. was often bleakly humorous (as any series co-starring the ultra-violent Lobo would inevitably be) but the comedic tone reached ridiculous proportions in L.E.G.I.O.N. ’94 Annual #5 (September 1994). This “Elseworlds” tie-in had the team appearing in various pop culture parodies, including this segment lampooning the Silver Age Legion.

One can only guess what Curt Swan was thinking when he was asked to draw this bizarre send-up of his earlier work! He is paired here with inker Josef Rubinstein. The script is by Tom Peyer, with letters by John Costanza and colors by Gene D’Angelo.

The cover to Legion of Super-Heroes #88 (January 1997) has Impulse, the super-fast grandson of the Flash / Barry Allen and Iris West Allen auditioning to join the Legion. Of course the hyperactive, mischievous Impulse tries to rig things in his favor! Cover pencils are by Alan Davis, inks by Mark Farmer, letters by Todd Klein and colors by Patrick Martin.

Acclaimed painter Alex Ross has done numerous reimaginings of classic comic book covers. Here is his take on Adventure Comics #247. This painting was used for one of the two covers for the Overstreet Comic Book Price Guide, 29th Edition (May 1999) from Gemstone Publishing. This is actually a scan of the original artwork, courtesy of Heritage Auctions. The painting was unfortunately too dark & blurry when published.

Legion of Super Heroes was an animated series that ran on WB for two seasons from September 2006 to April 2008. DC published a comic book that tied in with the animated series’ continuity. Legion of Super-Heroes in the 31st Century lasted for 20 issues. The cover to issue #16 (September 2008) has infamous Legion reject Arm-Fall-Off-Boy attempting to join the animated incarnation of the team, with equally unsuccessful results. Cover artwork is by Alexander Serra.

When DC briefly revived Adventure Comics starring the Legion of Super-Heroes in 2009, they published a zero issue that reprinted the team’s first story. The brand new cover to issue #0 (April 2009) is drawn by Aaron Lopresti and colored by Brian Miller.

Looks like somebody took one heck of a wrong turn at Albuquerque! The very much tongue-in-cheek Legion of Super-Heroes / Bugs Bunny Special (August 2017) was part of a series of crossovers between DC Comics and Looney Tunes. “The Imposter Superboy” sees Bugs accidentally transported to the 31st Century, where he finds himself in the cross hairs (or should that be cross hares?) of the very angst-ridden Legion. Cover pencils are by Tom Grimmett, inks by Karl Kesel, and colors by Steve Buccellato.

The cover of Adventure Comics #247 is such an iconic part of Legion lore that comic con cosplayers have even taken to recreating it! I have no idea when or where this was taken, or who this clever quartet are in real life, but they definitely deserve a round of applause.

Recurring themes of the Legion of Super-Heroes part 2: Super-Babies and Mystery Legionnaires

This is the second installment of my look at recurring plots, imagery and character-types in the Superboy and the Legion of Super-Heroes stories published by DC Comics during the Silver Age.

As I explained in the first part, Mort Weisinger, the editor of the Superman family of titles throughout the 1950s and 60s, often encouraged his writers & artists to reuse old elements.  This was due to the fairly regular turnover in the young readership during those two decades. Looking back at these stories it’s interesting to see these patterns.

This time around we are looking at super-babies and mystery Legionnaires!

As acclaimed comic book writer Roger Stern observed in his introduction to Legion of Super-Heroes Archives Volume 6:

“stories in which heroes are turned into infants were one of [editor Mort] Weisinger’s strange fascinations.”

These three issues of Adventure Comics are only just the “heroes transformed to babies” stories featuring the Legion. Quite a few others appeared periodically throughout the other Superman-related series during Weisinger’s editorial tenure.

Each of these covers was penciled by Curt Swan, inked by George Klein & lettered by Ira Schnapp.

Adventure Comics #317 (February 1964) written by Edmund Hamilton and drawn by John Forte. This is the introduction of the prophetic Dream Girl, who is seemingly plotting to destroy the Legion from within, although of course there’s a twist ending revealing her true motive. Among Dream Girl’s methods of sabotaging the Legion, she transforms several of the team into infants.

Adventure Comics #338 (November 1965) written by Jerry Siegel and drawn by John Forte. The villainous Time Trapper attempt to de-age the Legion members into nothingness. When they instead get stuck as infants, the Trapper tricks them into committing various crimes.

Adventure Comics #356 (May 1967) written by E. Nelson Bridwell and drawn by Curt Swan & George Klein. The five members of the Legion who are orphans regressed to toddlers. It’s all part of a screwy scheme by the inhabitants of a planet whose own children were wiped out by a plague.

Another plot device that editor Mort Weisinger directed his writers to utilize on several occasions was having mysterious or disguised individuals joining the Legion under suspicious circumstances.

Adventure Comics #307 (April 1963) cover by Curt Swan & George Klein, written by Edmund Hamilton and drawn by John Forte. Mystery Lad is soon revealed to be Element Lad, who goes on to become a longtime member of the team.

Adventure Comics #330 (March 1965) written by Jerry Siegel and drawn by Jim Mooney. The Mystery Legionnaire, aka Dynamo Boy, is actually Vorn, a member of a gang of space pirates who infiltrates the team in order to destroy it; unlike Dream Girl from a year earlier, Dynamo Boy really intends to go through with this dastardly plan.

Adventure Comics #334 (July 1965) cover by Curt Swan & George Klein, written by Edmund Hamilton and drawn by John Forte & Sheldon Moldoff. Who is the Unknown Legionnaire? Who? WHO??? Okay, okay, I’ll tell you… it’s Supergirl, who after exposure to Red Kryptonite loses her memory and assumes a new masked identity.

Adventure Comics #350 (Nov 1966) written by E. Nelson Bridwell and drawn by Curt Swan & George Klein. When a cloud of Green Kryptonite encircles the Earth in the 30th Century, both Superboy and Supergirl are forced to resign from the Legion and return to the present day. But before leaving they chose their own replacements: the masked, armored Sir Prize and Miss Terious! The next issue reveals them to be former members Star Boy and Dream Girl, who rejoin the team.

Adventure Comics #355 (April 1967) written by Jim Shooter and drawn by Curt Swan & George Klein. When the adult members of the Legion face off against their opposite numbers in the Legion of Super-Villains, two masked, armored figures leap into the fray. But whose side are they on? It turns out they’re the 30th Century descendants of Lex Luthor and Mr. Mxyzptlk, who have become heroes to atone for the crimes of their ancestors.

There are also at least a couple of other Legion stories utilizing the Mysterious Unknown Masked Legionnaire trope in the Bronze Age. It seems to be a popular idea to return to again and again.

Next time I’ll be looking at one of the most iconic images in the history of the Legion, and some of the numerous homages, swipes & parodies of it that have appeared throughout the decades. I really hope you’ll vote “Yes” to checking out our next installment!

Recurring themes of the Legion of Super-Heroes part one: Welcome to the 30th Century

In the last couple months I’ve been reading the Legion of Super-Heroes stories of the Silver Age from the very beginning, via the reprints in the hardcover Legion of Super-Heroes Archives from DC Comics. I recently hit a speed bump, namely Legion Archives Volume 8, which is out of print and typically goes for $150 and up on Ebay! Hopefully I’ll find an affordable copy soon.

In any case, while reading all of the Legion stories from the first decade of the team’s existence, I noticed quite a few recurring images, plots and types of characters. Mort Weisinger, the original editor of the feature in Adventure Comics and the other Superman titles of the Silver Age, often encouraged his writers & artists to reuse old elements.  This was due to the fairly regular turnover in the young readership during the 1950s and 60s. (Fans continuously reading superhero comic books for decades into adulthood is something that was not yet a phenomenon.) Looking at these stories in the present day it’s interesting to see these patterns. I thought it would be both fun and informative to examine some of these.

First up: the Legion of Super-Heroes sitting around the table in their clubhouse with signs identifying their names & powers while Cosmic Boy is running the meeting. Several artists utilized this same layout throughout the late 1950s and early 60s. It is a useful way to introduce your various characters without having to work all of that information into the dialogue…

The first time this was drawn was by Al Plastino in the Superboy story in Adventure Comics #247 (April 1958) which was the first appearance of the Legion of Super-Heroes.

This same layout was then used by Jim Mooney in the Supergirl story in Action Comics #267 (August 1960) which has the Maid of Might attempting to join the Legion.

George Papp then utilizes this layout in Adventure Comics #282 (March 1961) when Star Boy joins the Legion.

Jim Mooney again utilizes this set-up in Action Comics #276 (May 1961) as Supergirl auditions a second time to join the Legion.

Finally, John Forte, the first artist to draw the Legion of Super-Heroes regularly, uses this setup in Adventure Comics #300 (September 1962) when the team became an ongoing feature in that series.

There are a number of other parallels to be found in Adventure Comics #247 (April 1958) written by Otto Binder & drawn by Al Plastino and Action Comics #267 (August 1960) written by Jerry Siegel & drawn by Jim Mooney.

Adventure Comics #247 shows the Legion founders Cosmic Boy, Saturn Girl and Lightning Lad bringing Superboy 1000 years into the future where he is shown a sprawling super-advanced hi-tech version of Smallville.

Action Comics #267 shows the Legion founders bringing Supergirl 1000 years into the future, with a very similar shot being used to represent a sprawling super-advanced hi-tech version of Metropolis.

Also, in both stories Superboy and Supergirl respectively go with the Legion members to futuristic ice cream parlors and have some Martian Ice Cream, with nearly-identical narration & dialogue. The only difference in the later one is that instead of a human behind the counter serving ice cream there’s a robot. (Darn dirty robots are stealing our jobs!)

I initially posted these on Facebook. Occasionally this would engender comments that reusing the same layouts over and over again was “unimaginative.”

It should be observed that in the 1950s and 60s comic books were not regarded as a prestigious field in which to work. The majority of writers and artists toiled in anonymity, working under tight deadlines for low pay. Comic books were seen as disposable entertainment. Between that and the aforementioned frequent turnover of readers, it made sense to reuse plots and artwork from time to time as a way of saving time. No one involved in the creation of these comic books could possibly conceive that decades later their work would be reprinted and enjoyed by succeeding generations. It was genuinely a different industry.

I will soon be taking a look at some other popular recurring stories, artwork and themes from the Legion’s early years.

Even more Comic Book Cats highlights

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

John Paul Leon

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

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

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

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

Marcio Takara

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

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

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

Irv Novick & Joe Giella

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

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

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

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

George Herriman

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

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

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

Inaki Miranda

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

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

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

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

Sam Glanzman

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

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

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

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

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

Val Semeiks & Denis Rodier

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

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

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

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

Jim Aparo

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

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

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

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

Christopher Weyant

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

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

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

Jim Davis

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

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

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

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

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

The 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.

Steve Lightle: 1959 to 2021

I was very sorry to hear that comic book artist Steve Lightle had passed away on January 8th. I have been a fan of his work for many years.

Legion of Super-Heroes vol 3 #37 (Aug 1987) cover drawn by Steve Lightle and colored by Anthony Tollin

Steve Lightle was born on November 19, 1959 in the state of Kansas. Growing up he was a huge fan of DC Comics, especially Legion of Super-Heroes. As he recounted in a 2003 interview published in the excellent book The Legion Companion by Glen Cadigan from TwoMorrows Publishing:

“One of the oldest drawings that I’ve got was done in second grade, and it was a massive Legion fight scene that I probably did sitting at my desk when I should’ve been doing my work.”

In the early 1980s Lightle was in DC’s new talent program. His first published work was actually for Bill Black’s Americomics / AC Comics line in 1984, where he drew a handful of covers. Right from the start on these early pieces Lightle was already doing impressive work.

Lightle’s work soon after appeared in DC’s New Talent Showcase anthology, and in fill-in issues of Batman and the Outsiders and World’s Finest.

Less than a year into his professional career Lightle was asked by editor Karen Berger to take over as penciler on Legion of Super-Heroes from the outgoing co-plotter & penciler Keith Giffen, who after a stellar run felt burned out drawing the title, with its cast of thousands and myriad futuristic alien worlds. A surprised Lightle was happy to accept the assignment. His first issue was Legion of Super-Heroes volume 3 #3, cover-dated October 1984, which was co-plotted by Paul Levitz & Keith Giffen and scripted by Levitz. Lightle was inked by Larry Mahlstedt, who he would be paired with on most of his mid-1980s run.

Legion of Super-Heroes vol 3 #8 (March 1985) cover pencils by Steve Lightle, inks by Larry Mahlstedt and colors by Anthony Tollin

In only his second issue Lightle has to draw the death of Karate Kid, one of his favorite members of the team. He did a superb job rendering this tragic event, as well as in the next issue where Princess Projecta executed Nemesis Kid for the murder of her husband. The storytelling on these sequences was stunning, really bringing to life the tragedy of Levitz & Giffen’s plots.

Lightle only penciled Legion for about a year, from #3 to #16, with a couple of other artists providing fill-ins during that time. Lightle, with his highly-detailed art style, was not an especially fast penciler, and that played a role in his departure.

As he explained in The Legion Companion:

“[T]he fact is, I took myself off the Legion…  I had convinced myself that my inability to do everything I wanted in every issue was somehow meaning that I was delivering less than a hundred percent, and therefore I shouldn’t be on the book…. So the funny thing is, looking back, I can’t even understand my thinking on this.”

Legion of Super-Heroes vol 3 #14 (Sept 1985) written by Paul Levitz, penciled by Steve Lightle, inked by Larry Mahlstedt, lettered by John Costanza and colored by Carl Gafford

Although his run on Legion was relatively short, Lightle nevertheless had a huge influence on the series. He created the Legion’s first two totally non-humanoid members, Tellus and Quislet, and designed new costumes for several established characters.

Lightle also remained on as the cover-artist for Legion, drawing nearly every cover for volume 3 until it ended in 1989 with issue #63, as well as several covers of the reprint series Tales of the Legion and for the four issue Legion spin-off Cosmic Boy. Lightle also co-plotted and penciled “Back Home in Hell” in issue #23, a story which saw a traumatized Mon-El forced to return to the Phantom Zone when the serum that protects his Daxamite physiology from lead poisoning wears off.

Lightle is regarded by many Legion fans, myself included as one of the series’ definitive artists.

Legion of Super-Heroes vol 3 #23 (June 1986) written by Paul Levitz, co-plotted & penciled by Steve Lightle, inked by Mike DeCarlo, lettered by John Costanza and colored by Carl Gafford

Following his departure from Legion of Super-Heroes, Lightle penciled the first five issues of the Doom Patrol reboot in 1987 and covers for various DC titles, plus several entries in their Who’s Who series.

In 1988 Lightle also began working for Marvel Comics, drawing a fill-in issue of X-Factor and becoming the cover artist for the reprint series Classic X-Men, an assignment that lasted from #30 (Feb 1989) to #56 (Feb 1991).

Yesterday I was attempting to recall when I first saw Steve’s work. I *think* it was when I bought Classic X-Men #39 in the Fall of 1989. Classic X-Men was in the middle of reprinting the epic “The Dark Phoenix Saga” by Claremont, Byrne & Austin from a decade earlier. I was 13 years old, and the dynamic Wolverine cover by Lightle immediately grabbed me. I missed the next issue, but a couple months later my parents got me #41, which had another amazing Lightle cover. I immediately became a fan of his work.

Classic X-Men (Nov 1989) cover by Steve Lightle

Soon after I saw Lightle’s cover artwork on Avengers Spotlight and Excalibur.  He also drew a number of Marvel Universe trading cards.

In the early 1990s I was beginning to get into DC Comics, and one of the invaluable sources of information on the oft-confusing post-Crisis universe was the 16 issue loose leaf edition of Who’s Who in the DC Universe edited by Michael Eury.

Lightle illustrated several profile pics for Who’s Who, including a dramatic rendition of Ayla Ranzz, the former Lightning Lass, in the “Five Years Later” era of the Legion. I don’t know if Lightle ever drew any other Legion-related artwork set during this period, but now I wish he had. It’s a very striking image. He rendered Ayla as a beautiful, athletic figure in dynamic motion.

Who’s Who in the DC Universe #6 (Jan 1991) Ayla Ranzz profile drawn by Steve Lightle and colored by Tom McCraw

In 1992 Lightle’s work began appearing regularly in the bi-weekly anthology series Marvel Comics Presents. He drew an eight part Wolverine and Typhoid Mary serial written by Ann Nocenti, which was followed by a Ghost Rider and Typhoid Mary serial by the same team. The storyline culminated in the intriguing and thought-provoking “Bloody Mary: A Battle of the Sexes” by Nocenti, Lightle and co-artist Fred Harper in MCP #150-151 (March 1994).

Lightle’s artwork, with his innovative and unconventional layouts, and its sense of atmosphere, was incredibly well suited to depicting the ongoing story of Typhoid Mary and her fractured psyche. On several chapters coloring was provided by Steve’s wife Marianne Lightle.

Marvel Comics Presents #123 (Feb 1993) written by Ann Nocenti, drawn & colored Steve Lightle and lettered by Janice Chiang

Lightle was also the regular cover artist on Flash for DC between 1997 and 2000. He produced a series of very dramatic images during that three year run.

In the late 1990s I *finally* discovered, via back issues, Lightle’s work on Legion of Super-Heroes from the mid 1980s. I immediately recognized he was one of the all-time great artists on that series. Around this time I was fortunate enough to get to know both Steve and Marianne on social media.

I enjoyed the behind-the-scenes looks the Lightles gave of their incredible work for the all too short-lived Cross Plains Comics, which adapted and was inspired by the works of writer Robert E. Howard.

Red Sonja: A Death in Scarlet (Dec 1999) written by Roy Thomas, co-written & drawn by Steve Lightle, lettered by Dave Sharpe and colored by Marianne Lightle

Among the projects Steve and Marianne worked on for Cross Plains was Red Sonja: A Death in Scarlet. Steve co-wrote the story with veteran Conan the Barbarian and Red Sonja writer Roy Thomas, and penciled & inked the issue. Marianne Lightle colored it under the pen name Tayreza.

Red Sonja: A Death In Scarlet was intended to be a three issue miniseries, but unfortunately only the first issue ever came out. Nevertheless, it worked well as a stand-alone story.  The artwork by Lightle was magnificent. I definitely wish he had been given more opportunities to draw Red Sonja.

It’s been observed by Legion of Super-Heroes fans that a number of the creators associated with the series have found themselves repeatedly drawn back to working on it throughout the years. At one point someone might have even jokingly referred to it as “Legionnaire’s Disease.”

Legion of Super-Heroes #8 (June 2012) written by Paul Levitz, drawn by Steve Lightle, lettered by Pat Brosseau and colored by Javier Mena

Whatever the case, Lightle was one of those creators who found himself often returning to the teen heroes from 1000 years in the future. He drew the covers for the four issue miniseries Legends of the Legion in 1998, an Umbra solo story in The Legion #24 (Nov 2003), a cover for the Star Trek / Legion crossover (Nov 2011) and several covers for the New 52 reboot of Legion of Super-Heroes, along with an Invisible Kid solo story in issue #8 (June 2012), plus a few other Legion-related items.

Over the last two decades Lightle was working on several creator-owned web comic book series, issued under the umbrella of Lunatik Press. Among the series Lightle created was the space opera Justin Zane, the martial arts adventure Peking Tom, and the sexy funny animal series Catrina Fellina.

Steve Lightle’s Lunatik Press

Steve and Marianne Lightle lived in the Kansas City region most of their lives, where they raised their children, and where their grandchildren now live. Throughout my interactions with Steve and Marianna on various social media platforms over the past two decades they always impressed me as genuinely good people.  Steve’s death at the age of 61 from cardiac arrest brought on by Covid-19 is a tragedy. My thoughts go out to Marianne and her family in this difficult time.

There is currently a fundraiser on Go Fund Me to help the Lightle family with Steve’s medical bills and other expenses. If you are able, please contribute. Thank you.

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

Earth Shattering Disasters: the perfect comic book for 2020

I went over to JHU Comic Books in Manhattan on Tuesday to buy the latest issue of Alter Ego magazine from TwoMorrows Publishing, and to look for a few other things. Due to Covid-19, this was only the fourth time since March that I’ve set foot in a comic book store, so I decided to spend some time browsing. Skimming though the back issue bins, I came across this:

Yes, I could not think of a more appropriate comic book to read in the year 2020 than one entitled Earth Shattering Disasters! Sadly there were no pandemics, economic meltdowns or murder hornets within these pages, but still plenty of interest to the comic book aficionado.

DC Special was an anthology series published by DC Comics from 1968 to 1971 and then from 1975 to 1977, running for 29 issues. Most issues of DC Special were reprints that centered around themes such as Wanted! The World’s Most Dangerous Villains, Strangest Sports Stories Ever Told or Super-Heroes Battle Super-Gorillas, or that spotlighted the work of specific creators, namely Carmine Infantino and Joe Kubert.

The final three issues of DC Special contained brand-new material. DC Special #28 (cover dated June-July 1977) seems to be a thematic sequel to the all-reprint issue #18, which was sub-titled Earth Shaking Stories. This time, though, Earth Shattering Disasters contained three brand new stories.

The dynamic cover to DC Special #18 is drawn by Al Milgrom, then only 27 years old, who at the time was working as an editor and artist for DC Comics. Having grown up seeing Milgrom’s work for Marvel in the 1980s, it’s interesting to now see an earlier example of his work featuring DC mainstays Batman and Aquaman. If you squint, you can also make out a trio of Legion of Super-Heroes members in the background.

Opening this issue, we come to a table of contents page drawn by the great Jim Aparo. It took me a bit of time when I was younger to develop an appreciation for Aparo, but since then I’ve come to regard him as one of the very best artists DC had in their employ during the Bronze Age.

By 1977 Aparo was already well-regarded for his depictions of both Batman and Aquaman, having drawn numerous stories featuring those two characters over the previous decade. This is, however, one of the very few times Aparo drew anything involving the Legion of Super-Heroes. It’s nice to see his depictions of Timber Wolf, Phantom Girl and Brainiac-5, even if it’s only a single image.

The first story, “And the Town Came Tumbling Down,” has Batman facing Quakemaster, a disgruntled architect who threatens to destroy Gotham City with man-made earthquakes. This tale is interesting in hindsight since a little over two decades later in 1998 DC Comics would do a massive year-long storyline involving Gotham City being devastated by an earthquake. Of course, back in 1977 comic book stories were much more self-contained, and this is very much a one-off tale. Nevertheless, it’s nice to see Batman face off against a brand new villain rather than encountering one of his regular foes like the Joker or Penguin for the umpteenth time.

“And the Town Came Tumbling Down” is written by Bob Rozakis, who did a fair amount of writing for DC between 1975 and 1989, although nowadays he better known for his nearly two decade stint running DC’s production department.

Pencils are by John Calnan, an artist who is probably not too well known nowadays. Most of his work for DC was on their anthology titles, but he also drew a number of Batman issues in the late 1970s.

Calnan is inked by Tex Blaisdell, an artist who spent most of his career working on syndicated comic strips. Blaisdell was often paired with penciler Curt Swan on the Superman titles during the Bronze Age, which was unfortunate, as I really don’t think their styles meshed well. Blaisdell’s inking definitely feels like a much better fit over Calnan’s pencils. The two of them turn in a good, solid job on this story.

“A Creature of Death and Darkness” opens with Aquaman facing off against modern day pirates, but the action soon shifts to a battle with a humongous blob-like creature that threatens to consume the Hawaiian Islands.  The story is written by Gerry Conway, a prolific creator at both Marvel and DC during the 1970s and 80s.

This story is notable for being the very first DC Comics work by Don Newton. As with a number of his Bronze Age contemporaries, Newton got his start at Charlton Comics.  Having honed his craft on Charlton’s horror anthologies and The Phantom, Newton then moved into the “big leagues,” so to speak, becoming a regular artistic presence at DC Comics until his untimely death at the age of 49 in August 1984.

Newton is inked here by his friend and neighbor Dan Adkins. Starting out as an assistant to Wallace Wood in the mid 1960s, Adkins went on to do some superb inking over a variety of pencilers such as Gil Kane, Paul Gulacy, P. Craig Russell, Curt Swan and Jose Luis Garcia-Lopez. Adkins also occasional did full artwork, both in comic books and on magazine covers & illustrations. The collaboration of Newton and Adkins certainly works well on this story.

The final entry in this issue, “The City That Stopped Dead,” is the primary reason I picked this up. I’m a huge fan of the pre-Crisis Legion of Super-Heroes.

I’d never read this story before. The only time it’s been reprinted was in Legion Archives Volume 13, which had a low print run and currently goes for between $300 and $600 from various online retailers! Um, no thank you! It’s much cheaper to just search out the original issues, which is exactly what I did.

This is an early Legion story by Paul Levitz, who would later go on to write some of the team’s all-time greatest adventures in the 1980s. Levitz is often upfront about the fact that his later Legion of Super-Heroes work was better. Nevertheless, considering he was only 21 years old when he wrote “The City That Stopped Dead,” it’s a pretty good effort.  The Legion’s five on-call members leap into action to save 30th Century Metropolis when the city’s Fusion Powersphere is sabotaged, causing a catastrophic blackout.

Penciling this one is Arvell Jones, one of the members of Detroit comic book fandom who entered the comic book biz in the 1970s. Jones drew a number of series for DC and Marvel, most notably a two and a half year run penciling All-Star Squadron in the mid 1980s and the first six issues of Kobalt from Milestone / DC in 1994.  He did a nice job on this, so it’s a shame that he only drew a couple of other Legion issues after this.

Inks are by future Iron Man and Valiant Comics superstar Bob Layton. At the time Layton was only 24 and, as with several of the other creators on DC Special #28, early in his career. Nevertheless, Layton’s inking here is already polished, displaying the artistic flair that he has consistently demonstrated in the decades since.

DC Special #28: Earth Shattering Disasters is the sort of comic book that if I had been old enough to buy it when it had come out I would have enjoyed it. It has some of DC’s best characters in a trio of exciting stories written & drawn by a line-up of talented creators. Plus you got 34 pages for 60 cents! Adjusted for inflation, that’s $2.58 in 2020 money. That’s a great value, considering nowadays you can’t find a 20 page comic book for less than four bucks!

So, yeah, if I had been ten years old when this was released in the Spring of 1977 (as opposed to ten months old, which is how old I actually was back then) I’m sure I would have eagerly snatched this off the newsstand. As a 44 year old reading it in 20202, I can still enjoy it. It’s a product of a slightly less complicated era, a time when comic books already featured a high degree of craft, yet were still more accessible.

I realize the industry has changed a great deal in the last 40 plus years and that the market now usually requires stories that are decompressed and “written for the trade,” as the saying goes. Nevertheless, I miss these types of “one and done” tales.

Of course, that’s the great thing about back issues (and, consequently, collected editions of vintage comic books): there are literally decades of older material out there for us to enjoy.

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.