A brief look back at comic book artist Ernie Colon

Comic book artist Ernie Colon passed away on August 8th.  Colon was a versatile artist.  Among the numerous projects he worked on over the decades were Casper the Friendly Ghost and Richie Rich for Harvey Comics, the fantasy series Amethyst, Princess of Gemworld with writers Dan Mishkin and Gary Cohn at DC Comics, and in collaboration with Sid Jacobson a graphic novel version of the 9/11 Commission Report titled The 9/11 Report: A Graphic Adaptation.  I cannot imagine a more diverse range of projects than that!

While I certainly cannot say that I was a huge fan of Colon’s work, I certainly enjoyed it whenever I saw it.  I have fond memories of several projects that he illustrated on, so I felt it would be nice to offer a brief look at his work on those books.

Damage Control 1 cover

Colon and writer Dwayne McDuffie co-created the superhero comedy book Damage Control for Marvel Comics.  Damage Control offered a humorous look at a construction company that specialized in repairing the buildings that have gotten wrecked in superhero battles.  The very odd & colorful staff of the Damage Control organization made their debut in Marvel Comics Presents #19, and soon after were featured in a trio of 4 issue miniseries published between 1989 and 1991.  Colon worked on all but one of the issues.

At a time when superhero comic books were very steadily heading into “grim & gritty” territory, Damage Control was certainly a breath of fresh air.  McDuffie’s scripts were clever & humorous, and the offbeat artwork by Colon was a perfect fit.

For a number of years I owned a page of original artwork from the first miniseries, which had Bob Wiacek’s inking over Colon’s pencils.  Regrettably I had to sell it a while back, but fortunately it went to a good home.

Magnus Robot Fighter 14 pg 18

In the early 1990s Colon worked on several issues of Magnus Robot Fighter for Valiant Comics.  In addition to penciling & inking, Colon also provided the coloring on several issues, resulting in some very striking and unusual artwork.  This definitely gave Jim Shooter’s stories an unsettling feeling, bringing to life a world that was more than slightly askew.

The work by Colon really suited the 41st Century setting of the series, a seeming hi-tech utopia of gleaming steel possessed of a dark underbelly.  The two part “Asylum” story by Shooter & Colon that ran in Magnus Robot Fighter #13-14 certainly contained a very palpable atmosphere.

Dreadstar miniseries 3 pg 4

In 1994 Colon teamed with writer Peter David on a revival of Jim Starlin’s incredible space opera Dreadstar.  Published under the Bravura imprint of Malibu Comics, this six issue miniseries leaped forward a number of years from the end of the previous series.  It featured Vanth Dreadstar’s teenage daughter Kalla, who has been raised from infancy by none other than her father’s arch-enemy, the genocidal Lord Papal.

The Dreadstar miniseries was very dark & serious… except when it was not.  David has always proven adept at deftly blending drama and comedy in his scripts, and his work on Dreadstar was no exception.  Colon adaptability as an artist was very well suited to illustrate such material.  He powerfully rendered scenes of grim violence.  He also ably illustrated some genuinely wacky characters and ridiculous laugh-out-loud moments.

Dreadstar miniseries 5 cover

Looking over the artwork from just these three series amply demonstrates the versatility of which I previously spoke.  Colon was a very talented artist who was at home in a variety of genres.

Colon was 88 years old when he passed away.  I had no idea he was that old, and that he’d actually begun working in comic books back in the late 1950s.  Colon certainly had a long and prolific career.  He leaves behind an impressive body or work featuring some stunningly beautiful art.

 

 

Robert L. Washington III: 1964 – 2012

The comic book biz is one of those fields that, to outside fans, often appears to be a glamorous occupation.  But sometimes a case will occur that serves as a reminder that, like any other industry or occupation, it is filled with its share of hardship & tragedy.  Such is the case of Robert L. Washington III, who passed away on June 7 at the age of 47.

Washington was not an especially prolific writer, and his career in the comic book field was confined to the 1990s.  But during that brief time period, he made a significant impact.  With co-writer Dwayne McDuffie and artist John Paul Leon, he created Static for Milestone Media, which was published through DC Comics.  Washington would write 18 issues of Static.  Among his other credits were The Batman Chronicles and Extreme Justice for DC, as well as Ninjak for Valiant Comics.

Static Shock: Rebirth of the Cool trade paperback

I first became familiar with Static when it was adapted into the very enjoyable animated series Static Shock, which debuted in 2000 and ran for four seasons.  Several years later, the first four issues of Static (along with a later miniseries) were collected in a trade paperback, Static Shock: Rebirth of the Cool.  I bought that, and found it a great read.  It is a real shame that DC did not publish any subsequent volumes.  I’ve been meaning for some time to track down the back issues of Static, but it is something I never got around to.

Washington also wrote a two part tale in 1995 for Valiant Comics’ entertaining Timewalker series.  Timewalker featured the immortal Ivar Anni-Pada, a millennia-old being who traveled back and forth in time via portals called “time arcs,” having all manner of adventures.  Washington’s story “Ashes of the Past” appeared in Timewalker #12-13.  Ivar arrives in Tulsa, Oklahoma in 1921, where he attempts to prevent the lynching of an African American teenager who has been accused of assaulting a white woman.  In contrast to many of the stories in the Timewalker series, it was a very serious, somber tale.  Ivar, despite all his powers, is unable to stop a great tragedy from unfolding.

timewalker 12

The story by Washington that has really stood out in my mind all these years was an emotional two part Firestorm piece “Storm’s Clearing” that appeared in the DC anthology series Showcase ’96.  “Storm’s Clearing” addressed the alcoholism of Ronnie Raymond, as he enters a treatment center to deal with his addiction.  It was a very serious and adult look at the problems of substance abuse.  The unconventional artwork by Randy DuBurke added to the story’s impact.  Years later there were elements to it that I would look back on and identify with when dealing with certain of my own personal problems.

Following the severe downturn of the comic book industry in the late-1990s, Washington found himself out of work.  According to Comic Book Resources, he was able to obtain employment in such odd jobs as a call center and a warehouse.  Tragically, Washington found himself homeless on several occasions, and was forced to rely on financial assistance from the charitable Hero Initiative.  Washington was taken to Mount Sinai Hospital in Queens after suffering a heart attack on June 6, and passed away the next day.

For me, the story of Robert L. Washington III serves as a cautionary tale of the comic book industry.  Despite being a talented writer who had co-created Static, a groundbreaking character who went on to star in a very successful animated series, Washington was reduced to very dire circumstances before passing away at much too young an age.  And there just seem to be too many stories like Washington’s, of creators who worked for DC or Marvel or Archie, only to then be left bereft, their creations taken out of their hands, the profits they generated falling into the pockets of corporate owners.  In a better, more just & fair world, Washington would still be alive, and writing a new Static Shock series for DC.  But that was not to be.

Showase 96 7 pg 24

After Washington’s death, I could not help but bitterly muse that all too often the mainstream comic book industry has taken its best & brightest creators, chewed them up, and spit them out.  Although an extreme example, Washington is just the latest occurrence of a comic book professional falling by the wayside while the corporate machinery of the big companies continues to chug onward.

Other individuals wiser than myself have looked at Washington’s unfortunate plight and taken from it the lesson that those who would enter the comic book biz should have a back-up plan, some other career or occupation to fall back on.  I certainly hope the young creators of today will take this advice to heart.  Perhaps then in the future we will have fewer tragedies such as that which befell Robert L. Washington III.