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.

Joe Sinnott: 1926 to 2020

Legendary comic book artist Joe Sinnott passed away on June 25th at the age of 93.  Sinnott had such a long and distinguished career as an artist that I really could not do him justice in a short blog post.  I will touch upon a few highlights, but for a much more detailed examination of his career I strongly urge everyone to get a copy of Brush Strokes With Greatness: The Life & Art of Joe Sinnott written by Tim Lasiuta from TwoMorrows Publishing.

Fantastic Four #57 (Dec 1966) cover artwork by Jack Kirby & Joe Sinnott

Joe Sinnott was born in Saugerties, NY on October 16, 1926, and he lived in that area for almost his entire life.  Following service in the U.S Navy during World War II, Sinnott attended the Cartoonists and Illustrators School (now known as the School of Visual Arts). 

One of his instructors was artist Tom Gill, who asked Sinnott to work as his assistant. Sinnott assisted Gil for nine months in 1949.

In 1950 Sinnott decided to find work on his own, and he was soon receiving regular assignments from Atlas Comics, the precursor to Marvel.  Atlas editor Stan Lee assigned numerous stories for Sinnott to illustrate which saw print in the company’s war, horror, science fiction and Western anthologies.

“Invasion From Outer Space!” from Journey Into Mystery #52 (May 1959) penciled & inked by Joe Sinnott

In 1957 Atlas experienced a severe contraction due to its distributor American News Company being shut down by the federal government in an anti-trust case.  Sinnott was one of the many freelancers let go by Atlas, and so he had to find work elsewhere.  He worked for a number of clients, including Treasure Chest of Fun & Fact, an educational, Catholic-oriented comic book published by George A. Pflaum that was distributed to parochial schools in North America.

Stan Lee asked Sinnott to return to Atlas in 1959.  Within two years the company had transformed into Marvel and begun its successful superhero revival.  During this period Lee first had Sinnott work as an inker over Jack Kirby, initially on stories for Atlas war and monster anthologies, and then on some of the early Marvel superhero books, such as Fantastic Four #5 (July 1962) the first appearance of Doctor Doom, and Journey Into Mystery #83 (Aug 1962) the first appearance of Thor.  Sinnott also contributed the full artwork for some of the early Thor stories that appeared in Journey Into Mystery in 1963.

Artwork from The Beatles published by Dell Comics (Sept 1964) penciled & inked by Joe Sinnott

Lee had actually wanted Sinnott to become the regular inker over Kirby on Fantastic Four following issue #5.  However at this time Treasure Chest assigned Sinnott to draw the 65 page biography “The Story Of Pope John XXIII, Who Won Our Hearts,” which was serialized in nine issues between September 1962 and January 1963. 

Treasure Chest vol 25 #16 (May 14, 1970) cover artwork by Joe Sinnott

Soon another ambitious project was assigned to Sinnott, a biography of the British rock band the Beatles published by Dell Comics in 1964.  Sinnott was given a mere month within which to illustrate the entire 64 page book.  It speaks highly of both his talent and professionalism that he turned in the job on time while doing quality work. And, as I’ve observed before, drawing likenesses can be very tricky. All things considered, I think Sinnott did a fair job capturing the appearances of the Fab Four.

Following the completion of these two biographies, Sinnott began to work for Marvel almost exclusively.  He also continued to illustrate stories and covers for Treasure Chest up until the title came to an end in 1972.

Sinnott did finally became the regular inker over Jack Kirby on Fantastic Four beginning with issue #44 (Nov 1965).  The art team of Kirby & Sinnott on FF in the second half of the 1960s is highly acclaimed.  As historian Mark Alexander stated in his book Lee & Kirby: The Wonder Years (TwoMorrows, 2011)…

“In an uncanny stroke of luck and perfect timing, just when Kirby gained the time to improve his artwork, Joe Sinnott became the FF’s regular inker. Sinnott was a master craftsman, fiercely proud of the effort and meticulous detail he put into his work. … That slick, stylized layer of India ink that Sinnott painted over Kirby’s pencils finished Jack’s work in a way that no other inker ever would. Comic fans had never witnessed art this strange and powerful in its scope and strength.”

A scan of the original artwork for Fantastic Four #81 page 1 (Dec 1968) penciled by Jack Kirby and inked by Joe Sinnott. I think this is a really good example of Sinnott’s polished inking over Kirby. Image courtesy of Heritage Auctions.

Following a falling-out with Marvel, Kirby departed Fantastic Four with issue #102 (Sept 1970).  Sinnott, however, remained on as the FF inker / finisher for 15 years, until issue #231 (June 1981).  In the post-Kirby decade Sinnott inked pencilers John Buscema, Rich Buckler, George Perez, Keith Pollard, Bill Sienkiewicz and John Byrne on Fantastic Four.  It’s generally regarded that Sinnott helped maintain artistic consistency on the title during the Bronze Age.

Sinnott became a much in-demand inker / finisher at Marvel from the mid 1960s thru the early 1990s.  He was paired with numerous pencilers during this 27 year period.  As longtime Marvel editor Tom Brevoort explained on his blog:

“Joe Sinnott defined the look of the Marvel art style as much as anybody this side of John Romita, and more than any other inker in the business. His smooth linework and clean finish gave a pristine, sleek, modernistic flavor to any assignment he worked his brush over, regardless of the penciler. He’s absolutely my favorite inker of all time, a guy who improved the quality of any series he was working on. Additionally, Joe is an absolute professional, and a hell of a nice guy.”

Thor #407 (Sept 1989) penciled by Ron Frenz & inked by Joe Sinnott

Sinnott’s last regular assignment for Marvel was Thor, paired with penciler Ron Frenz from 1989 to 1991, another wonderful collaboration.  In 1991 Sinnott made the decision to retire from monthly comic books, although over the next 28 years he continued to contribute to various miniseries, special editions, pin-ups and other projects, and to ink the Sunday installment of the Spider-Man newspaper strip.  In March 2019, at the age of 92, he FINALLY made the decision to completely retire as a professional artist, although he continued to draw for pleasure until nearly the end of his life.

The news of Sinnott’s passing this week was met with sadness.  This was not only because he was an incredibly talented artist who worked on hundreds of great comic book stories, but because he was also a genuinely good person, beloved by friends, colleagues and fans alike.  As comic book writer & historian Mark Evanier opined on his blog this week:

“If you were in a crowd of folks who worked in the comic book industry and announced, “Joe Sinnott was the best inker who ever worked in comics,” you wouldn’t get a lot of argument. If you said, “Joe Sinnott was the nicest guy who ever worked in comics,” you’d get even less.”

Fantastic Four #181 (April 1977) autographed by Joe Sinnott

I was one of the many fans who was fortunate enough to meet Joe Sinnott when he was a guest at comic book conventions.  He always came across to me as friendly, warm and down to Earth.

Sinnott was one of those people whose work I enjoyed before I met him, but afterwards I became even more of a fan by virtue of the fact that he was such a good guy.

Joe Sinnott leaves behind a rich, creative legacy, and he will definitely be missed.  I wish to offer my condolences to his family and friends for their loss.