Earlier this month was the birthday of the late, great Dave Cockrum, one of my favorite comic book artists. Cockrum was one of the greatest character designers of the Bronze Age, successfully creating or revamping dozens of characters for both Marvel and DC Comics during the 1970s and early 80s.
Over on the Dave Cockrum Art Appreciation Group, in a discussion about Cockrum’s greatest character designs, I mentioned that the Shi’ar Imperial Guard had some awesome designs, and I wished that more was done with them.
Who are the Imperial Guard? Simply put, they are thinly-veiled expies of the Legion of Super-Heroes. Drawing Superboy and the Legion of Super-Heroes in the early 1970s had been a dream assignment for Cockrum, and he had only reluctantly left DC Comics after they reneged on a promise to return original artwork to him. Going over to Marvel Comics, he co-created the all-new, all-different X-Men with Len Wein. After Wein departed X-Men, Cockrum was paired up with writer Chris Claremont, and in X-Men #107 (Oct 1977) they introduced the Imperial Guard, the elite super-powered soldiers of the alien Shi’ar Empire.
Now I’m not sure why Cockrum decided to toss in a veritable army modeled on the Legion into an already-crowded storyline, other than the fact that he really loved the Legion and he missed drawing them. But whatever the case, even if most of them were thinly-drawn on the characterization side of things, almost all of them had interesting visuals.
For most of their history the Imperial Guard were basically just blindly following the orders of whoever happened to be running the Shi’ar Empire, which typically put them into conflict with the X-Men or the Avengers or whoever. Other than their leader Gladiator the characters have only ever gotten the spotlight on a few rare occasions. The first of these was the three issue Imperial Guard miniseries which Marvel published in late 1996. It was written by Brian Augustyn, penciled by Chuck Wojtkiewicz, inked by Ray Snyder, colored by Brad Vancata, and lettered by Jon Babcock, Phil Hugh Felix & Janice Chiang.
And, yeah, I cannot believe that it’s been 25 years since this came out!
Thinking back, I don’t know if at the time I was aware that the Imperial Guard characters were a homage to the members of the Legion. I didn’t actually become a huge Legion fan until about four years later, when I started picking up the hardcover Archives collections and various back issues. But re-reading the Imperial Guard miniseries a quarter century later, the nods to the Legion now leap right out at me.
The creative team on the Imperial Guard miniseries is also noteworthy. Augustyn is a longtime writer & editor at DC Comics, and Wojtkiewicz had just come off of a year and a half stint penciling Justice League America. This miniseries makes up pretty much the entirety of either of their work for Marvel. So this was pretty much a case of Marvel bringing aboard a creative team from DC to work on a team of characters modeled after a DC property.
Imperial Guard came out at an odd time in Marvel’s publishing history. This was immediately after the “Onslaught” crossover in which the Avengers and Fantastic Four seemingly died so that they could be exported to an alternate reality for the “Heroes Reborn” event overseen by Rob Liefeld and Jim Lee. For the next year this led to some rather offbeat projects coming out from Marvel that perhaps might not otherwise have gotten published. The most notable of these was Thunderbolts by Kurt Busiek & Mark Bagley. We also got the much-underrated Heroes for Hire by John Ostrander & Pascual Ferry, as well as this odd little miniseries.
I’m FB friends with Wojtkiewicz, so I asked him how Imperial Guard came about. Here’s what he had to say:
“Once DC flipped the crew on Justice League, I floated around doing fill-ins and such for a while. Brian Augustyn decided to leave DC and asked me if I’d like to do the IG mini. We met in NYC and had lunch with Mark Gruenwald for lunch and launch. It seemed to be going so smoothly, but it turned out to Mark’s very last lunch, as he died the following morning. Somehow it kept going, and his assistant stepped in as editor. I forget his name – I’m terrible that way. I decided to do the series in with a cartoony vibe, and nobody stopped me. Also: sideburns. 😊
“I really enjoyed this assignment- doing the costume, environment and prop concepts was a blast.”
The miniseries was ultimately edited by Terry Kavanaugh, and was dedicated to the memory of Mark Gruenwald.
Following the apparent deaths of the Avengers and Fantastic Four, Lilandra the Majestrix of the Shi’ar feels partially responsible, as she was the one who way back when inadvertently awakened the dark side of Charles Xavier’s psyche (as seen in X-Men #106 or, if you were a teenager in the 1990s like me, “The Phoenix Saga Part 2: The Dark Shroud” on X-Men: The Animated Series) which ultimately led to the creation of Onslaught. Lilandra has covertly dispatched several members of the Imperial Guard to Earth see if they can provide assistance to our beleaguered world.
The members of the Guard featured in this miniseries are Gladiator (standing in for Superboy), Electron (Cosmic Boy), Sibyl (Saturn Girl), Flashfire (Lightning Lad), Nightside (Shadow Lass), Mentor (Brainiac 5), Earthquake (Blok) and the latest addition to the team, the Kree conscript Commando (Mon-El).
The introduction of Commando aka M-Nell (see what they did there?) ties in with another recent Marvel event, the Avengers storyline “Operation: Galactic Storm” which saw the Shi’ar apparently destroy the Kree Empire with the apocalyptic Nega Bomb. In fact the entire war between the Shi’ar and the Kree had been engineered by the Kree’s Machiavellian leader, the entity known as the Supreme Intelligence, who sought to jump-start his people’s stalled evolution with the Nega Bomb’s energies. At this point in time the Supreme Intelligence is quietly biding its time, waiting for its deadly experiment to begin showing results, and Commando, ignorant of all this, finds himself having to serve alongside the Shi’ar forces who he regards as his conquerors.
Augustyn is a great writer who did high-quality work over at DC, and on his sole foray into the Marvel Universe he also crafts a compelling story. He does a good job of creating M-Nell, and of developing the other Imperial Guard members, the majority of whom, up until this point in their nearly 20 year existence, were basically one-dimensional ciphers.
Wojtkiewicz’s pencils are fun. He was a very underrated artist over at DC Comics, working in an “animated” style alongside the late, great Mike Parobeck on the Impact Comics line in the early 1990s. I always thought Wojtkiewicz should have had a bigger career, so I enjoyed seeing his art on Imperial Guard. His wrap-around covers for this miniseries were also great.
Besides, I really love that Wojtkiewicz drew Imperial Guard with “a cartoony vibe” during the exact same time that Marvel farmed out their main characters to Extreme Studios and Wildstorm with their hyper-detailed art styles. Honestly, the comic book industry could have used more artists like Wojtkiewicz in the 1990s who had their own fun styles.
It was enjoyable revisiting this three issue miniseries, and it makes me regret that the Imperial Guard have subsequently very seldom been in the spotlight since. They did have a five issue miniseries during the Realm of Kings crossover about a decade ago. I never did get around to checking that out, so perhaps I’ll give it a try.
Anyway, if you haven’t read this miniseries, it’s worth tracking down.
Henry Martinez is a penciler whose work for Marvel Comics in the early to mid 1990s really stood out for me at the time as a teenager reader. Considering how many new artists there were bursting onto the scenes during that period, that really says something about Martinez’s art that it lodged itself in my mind so indelibly.
Earlier this year I learned that Martinez was once again working in comic books, and still producing great art. We became Facebook friends, and he kindly agreed to be interviewed for this blog. I am very grateful to him for providing such interesting, detailed answers to my questions.
This interview was conducted by e-mail between September and October 2021.
Henry Martinez will be at Table O-5 in Artist Alley at New York Comic Con from October 7 to 10. If you’re going, please stop by and say “Hello!”
BH: Hello, Mr. Martinez. Thank you for agreeing to this interview. Let’s start out with your background. When and where were you born? When you were growing up did you read comic books? What other interests did you have when you were young?
Henry Martinez: Hello Ben, and thanks for having me on. My parents fled Cuba in 1966 and I was lucky enough to be born here within a month of them arriving in New Jersey. We lived there for a few months then moved to Queens, NY where I spent most of my childhood. They were always very supportive of me, buying me comics and cheap art supplies at the local Woolworth’s (who have been out of business for years now). So I was always sketching, coloring and building things with Play-Doh. I remember the books I bought then were Spider-Man and Fantastic Four, I loved the rivalry between Spider-Man and the Human Torch as I recall.
The only other interests then were reading and all things Star Trek and Space: 1999. I loved Trek so much I actually wrote the paperback publisher a letter which they replied to! It was an embarrassing letter from a kid who asked about the phasers on the show. What the hell did a book publisher know about how phasers work? I don’t remember their response, but I was so excited to get that letter.
BH: What was your educational background? Did you major in an art-related field? Was the comic book industry something that you actively hoped to find work in?
Henry Martinez: I went to public school where I got to draw during art class. Like most pros will tell you, I was that one kid that could draw, and everyone would go to get drawings done. Later on in life as you move on to other schools you learn that you are not the only one! I learned that when I was lucky enough to get into the High School of Art & Design, whose alumni include Tony Bennet, Neal Adams, Larry Hama (who I later wind up working with) and others.
I’ve always wanted to be a comic book artist, and going back to my supportive parents, they bought me a cheap drafting table and the book How to Draw Comics the Marvel Way, which I still use today. It’s the comic book bible that I refer to as I always seem to learn something new every time I open it. I set up my room then as I imagined my art hero John Buscema had his.
BH: According to the Grand Comics Database, your earliest professional work was drawing the “Spider-Femme” parody in Spoof Comics Presents #1 published by Personality Comics in 1992. Is that correct? (Just double checking, since the GCD is sometimes inaccurate.) How did that job come about?
Henry Martinez: Yep, that’s right. That was a fun time. I was submitting to everyone while working a fulltime job at an ad agency and they responded first. They wanted to meet me in person and asked if I’d work in their studio for a day, which I thought was unusual, but what the hell it was a new experience. So I asked for the day off from work, went out to Long Island and worked in the studio with Kirk Lindo who would later become my boss when he formed Brainstorm, featuring his book Vamperotica. It was a fun series to work on and they gave me three books all with Adam Hughes covers. I also did a few covers for them. I didn’t realize those books still have a following until I found a group on Facebook. One of the publishers is trying to gather the art to do a Kick Starter of the covers, I think.
BH: A year later you were drawing Sparkplug and League of Champions for editor Dennis Mallonee at Heroic Publishing. How did you come to work for Heroic? Did you enjoy penciling those comics? Were they what you might call a good “foot in the door” for your career?
Henry Martinez: One of the publishers that got back to me was Heroic Publishing. To this day I am still very proud of the work I did for them. I saw the work as gateway books, a chance to prove my chops to the Big Two, as they involved long stories and in the case of League of Champions, a team book. I loved the story, written by Lou Mougin, who really should be getting more work, as he is a great writer who is well informed and researches everything. We’re trying to work together, but it’s been difficult. I still work for Heroic, but finances make it difficult. Otherwise I would work for them regularly, as I really like the characters; I’ve even designed a few.
BH: Later on in 1993 you did fill-in pencils on Morbius the Living Vampire #13 for Marvel Comics. How did you get that job? What was it like getting work from Marvel only a year into your professional career?
Henry Martinez: At that time, I was still working fulltime at an ad agency. The hours are insane, lots of late nights and weekends, and I was still sending out packages to the Big Two. One day I get a letter and a script from Bobbie Chase telling me I am being given the opportunity to do a fill-in on Morbius.
I flipped out! My dream of working for Marvel is coming true. I couldn’t leave my job on a fill in with no promise of future work, so I would work full days and OT, then go home and pencil until 3 AM, sleep 3 hours then go to work and do it all over again for a month. When I turned in the last pages, my pals took me to the Blarney Stone to celebrate. I had to pull an all-nighter to make the deadline though, so I was half-asleep during dinner, then slept for 2 days. Sacrifice kids!
At that point I was offered Ghost Rider/Blaze: Spirits of Vengeance with the promise of getting Blaze since SoV was being cancelled, along with a few other books. I then had a decision to make…do I try to keep this impossible schedule and turn in subpar work or take a chance on a dream that may only last a few months? Advertising offers security and good money, but Marvel! I took the plunge and have no regrets. I would’ve been very happy staying there on any book but that was when the industry bubble burst. So many books were cancelled, and so many people lost their jobs. For some this was all they knew and they spent alot of money thinking it would last forever, but all things come to an end. I was lucky, I had storyboards to fall back on, others weren’t so lucky.
BH: Towards the end of 1993 you became the regular penciler on Ghost Rider / Blaze: Spirits of Vengeance beginning with issue #16. The previous penciler on SoV had been Adam Kubert, with his father, the legendary Joe Kubert, even contributing to a couple of issues. Was it intimidating following in their footsteps?
Henry Martinez: Oh yes. Those were beautiful books that I appreciate even more now that I have been revisiting them. There is so much action, energy and the story is even better than I remember. I could only do my best and hope that the reader liked it. I’ve been fortunate in that the work was received well and I still get comments on how much readers enjoyed my run.
BH: On your first two issues of Spirits of Vengeance you were inked by Keith Williams, but for the remainder of your run, through the book’s end with issue #23, you were paired with inker Bud LaRosa. How did you find their inking? Any particular preference between the two of them?
Henry Martinez: Everyone contributes in a different way. So, when I say I liked them both I’m not trying to be polite, but I really do like them both. Keith’s inking is more organic than Bud’s if I were to differentiate between the two. At the risk of offending a friend, I prefer organic inking.
BH: Following on from Spirits of Vengeance, you penciled the first 8 issues of the Blaze solo title. How did working with writer Larry Hama on that compare to working with Howard Mackie and David Quinn on SoV? I do remember I was a bit disappointed that you didn’t stay on Blaze for the entire 12 issue run. Was there a specific reason why you left the series?
Henry Martinez: I loved penciling Blaze. Larry wrote in characters that hadn’t been seen in a very long time that I loved and I will always be grateful to him for that. Just working for Marvel was amazing, but to start a new book?
Howard, David and Larry are incredible writers, and have different styles as a writer should. I loved working with all of them. They are all great world builders who can tell large stories involving many characters while still getting very personal with individual characters. That’s a very specific toolset. I don’t have a preference since they all have a unique voice that I like. And since you mention David Quinn, I really enjoyed that issue, it was a break from the SoV storyline, a quiet break. Although this break involved vampires!
I reluctantly left Blaze frankly because I was burning out. My father was a hardworking man who put in long hours, rarely slept and never complained. I thought the same way and just kept working, barely sleeping and my work suffered as did my personal life. Comics are out there forever, so there is so much pressure to do the best you can, within reason. You still have to make that deadline after all.
What a lot of people may not understand is how much work is involved in creating a comic book. There are so many people involved who depend on each other to deliver on time. You are only as good as your last book, so if you miss a deadline or two, you may not get another issue from that editor and even develop a bad reputation. So when I read reviews or comments like “he/she sucks!” It hurts, knowing now hard so many creators work, how much they sacrifice to do the best they can under the restrictions of a deadline. So I decided to stop, take a break and go back to advertising, especially considering he industry was suffering. I do wish I could have finished the title, though.
Fortunately, right after Blaze, Malibu Comics offered me a fill-in issue of All New Exiles, where I got to draw the Juggernaut. That was followed by 3 issues of Mantra which I loved working on. It was looking like I was going to be the regular penciler on that book when Marvel (who had bought Malibu) shut them down, and those characters never saw the light of day again. In the meantime, I had 3 issues and a half-finished 4th when I was told the news. I had also designed some characters for a storyline they were developing. Thanks to Facebook, I’m still in touch with the Malibu folks today. I just finished a story with my editor then, Roland Mann. I also did a 6 page proposal with him to bring back his characters, Cat & Mouse.
BH: In 1996 you drew a few stories for Vamperotica for Brainstorm Comics. Any particular thoughts on those? I know in the years since a lot of 1990s “bad girl” comic books have been the subject of much ridicule. For myself, as a fan of sci-fi and horror B-movies, I find that sub-genre to be similar, entertainingly cheesy. I thought you did solid work on Vamperotica. Your aptitude for rendering beautiful women that you previously demonstrated at Heroic and Marvel certainly served you well here.
Henry Martinez: Thanks for the kind words. That’s another book I was very proud of, I did my best work (at that time) then, I always try to give you my best. As I mentioned earlier, I would be hired by Kirk Lindo the publisher of Brainstorm who was the studio artist at Personality Comics. That’s why it’s always good to maintain good relationships with people, you never know. I have never been opposed to doing any genre as long as I enjoy the work, and I had a good script to work from. I was looking forward to doing more wok for them, but I think they were struggling at the time and went under. It was a storyline that had great potential and could’ve gone on for a while.
BH: You left the comic book field in 1996. This was around the time when the industry unfortunately imploded, so I am going to guess that was the reason for your departure. What types of work did you do over the next decade?
Henry Martinez: As I mentioned I went back to adverting for security, but as a freelancer, so I had more control over my schedule and was able to tackle other things. I’ve been working for Heroic Publishing just to keep doing comics, I can never stop doing comics. I’ve also done some character design for them that never saw the light of day, and some editorial work for Muscle and Fitness magazines. There is also some commission here and there, you never know what people will ask for.
BH: In 2004 you returned to comic books, once again doing work for Heroic Publishing. What brought you back to the industry?
Henry Martinez: I wouldn’t say it “brought me back” as much as I pop in when I can. I approached Heroic because I always liked their characters and Dennis is easy to work with. I still get to draw superheroes, and as sophistified as I pretend to be, I really enjoy drawing superheroes, despite doing some serious stuff, here and there.
BH: Those covers and stories for Heroic gave you your first opportunities to ink your own work. What prompted you to switch from penciling to doing full artwork?
Henry Martinez: To be honest, it was finances. I always say I would never begrudge someone from earning a living, but I came to a realization that there are a handful of people whose inks I like over my work. And outside of those creators, I do like my inks, so I made the offer to Dennis which agreed. I can ink my own work and get extra income, so why not? There are still times that I want a certain someone to ink my pencils, so I always ask first. There are two people I would love to have ink my work, one is my friend from high school, Jose Marzan Jr., (for those that don’t know, Jose is known for inking a popular Flash run and Y The Last Man) and I am lucky that Dennis agreed to his rate, so Jose and I will be working together on League of Champions which I am currently penciling.
BH: As a fan of your work at Marvel in the mid 1990s it’s been good to see you back in the biz. I certainly enjoyed your variant cover for Tragedy #1, where you were once again inked by Keith Williams. What other projects have you been working on over the last few years?
Henry Martinez: I really loved Keith’s inks on that cover, and I hope we can collaborate again soon. I requested him and writer/publisher Phillip Russert made it happen. He’s a good guy, always looking out for the artists.
As for my most recent projects, I did the first two issues of Cult of Dracula which was well received, and as I mentioned before I am penciling a League of Champions story, wrapping up a storyline that will lead to a full-sized issue right after. The cover is already done. I am also working on a Kickstarter of my own and a book to submit to Ben Dunn @Antarctic Press.
BH: Finally, I know you’re available for commissions. How should people who want to get work done by you contact you?
Henry Martinez: Thanks, I’m always open to commissions. My social media links are:
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.
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.
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.”
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.
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.
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.
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.
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.
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.”
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 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.
Welcome to the ninth Comic Book Coffee collection. I’ve been posting these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.
41) Ramona Fradon & Mike Royer
We have selected panels from Plastic Man #14, penciled by Ramona Fradon, inked by Mike Royer, and written by Elliot S! Maggin, published by DC Comics with an Aug-Sept 1976 cover date.
It’s a late night at the headquarters of the National Bureau of Investigation, and the Chief tells his secretary Sundae to put on some coffee while he briefs his agents about a dangerous new threat to national security. The Chief details to Plastic Man, Woozy Winks and Gully Foyle the gruesome origins of the oozing menace known as “Meat By-Product… The Dump That Walks!” By the time the Chief is finished describing this monstrosity in excruciating detail, Plas and Co are so completely grossed out that when Sundae attempts to serve them coffee, donuts and cream-filled Danishes, they’re ready to toss their cookies.
I love Ramona Fradon’s artwork. She has such a distinctive, unconventional, cartoony style. She brought a very offbeat, fun, comedic sensibility to Metamorpho the Element Man, the character she co-created with writer Bob Haney and editor George Kashdan in 1965. That definitely made her very well-suited to draw Plastic Man a decade later. Fradon stated in interviews that he was one of her favorite characters to have worked on.
Fradon is inked here by Mike Royer. Fradon loved Royer’s inking of her pencils on this story, and has said she wishes they’d had other opportunities to work together. It’s certainly a great collaboration.
In the November 10, 2017 strip, Iris is having late night coffee with her boyfriend Zak. Iris and Zak had previously dated, but she wasn’t certain if they should be together, since she was several years older than Zak. However, following her break-up with Wilbur she decided to give her relationship with Zak another shot.
Paralleling this, in the December 5, 2017 strip, Wilbur has returned home from his travels abroad. Over morning coffee (complete with a Hello Kitty coffee mug) he is catching up with his daughter Dawn. Wilbur had a disastrous time in Bogota, where a woman attempted to scam him out of his money. This has left him wondering if he should try to get back together with Iris, not knowing she is now involved with Zak.
Jumping forward a year to the November 26, 2018 strip, Mary agrees to foster Libby, a one-eyed tabby cat. Libby is definitely a mischievous kitty, and when Mary tries to have her morning coffee the tabby knocks over her milk. Mary ultimately cannot keep Libby, because her boyfriend Jeff is allergic to cats. Fortunately Mary’s neighbor Estelle agrees to adopt Libby.
I liked the Libby storyline. Libby reminds me of Champ, one of my girlfriend Michele’s old cats. Champ was a one-eyed cat as well, the runt of the litter. She was a sweet & affectionate kitty, and we were sad when she passed away from old age.
I’ve been a fan of June Brigman’s work ever since she co-created Power Pack with Louise Simonson at Marvel Comics in 1984. Brigman has often worked with her husband Roy Richardson, an accomplished inker. June and Roy have been drawing Mary Worth since 2016. They both love cats, so I’m sure they enjoyed introducing Libby to the strip. Please check out their awesome cat-centric sci-fi series Captain Ginger written by Stuart Moore from Ahoy Comics.
43) Mark Bright & Bob Layton
Iron Man #228, layouts by Mark Bright, finishes & co-plot by Bob Layton, script & co-plot by David Michelinie, letters by Janice Chiang, and colors by Bob Sharen, published by Marvel Comics in March 1988.
One of the qualities of David Michelinie & Bob Layton’s runs on Iron Man that I have always appreciated has been their ability to write Tony Stark as a flawed, sometimes unsympathetic person while keeping his actions completely in character and believable. Unlike some of the writers who followed them, they never had Stark acting in a wildly implausible manner simply to advance the plot.
Witness the now-classic storyline “Armor Wars” which saw Stark desperately attempting to destroy the technology he developed that was now in the hands of others. As the story progressed, Stark became more and more obsessed, manipulative and ruthless, but the execution of this made it feel this progression was genuine.
Iron Man #228 sees Stark planning to attack the Vault, the federal penitentiary for incarcerating super-powered criminals, in order to destroy the Guardsmen armor that was developed from his technology. While planning their assault, Stark and his close friend Jim Rhodes stop at a nearby greasy spoon for some coffee. This scene by Layton, Michelinie and Mark Bright allows for a momentary pause in the action, enabling us to see the friendship and rapport that exists between Stark and Rhodes.
There’s very nice lettering by Janice Chiang on display here. I love her work, and can usually spot it in an instant.
I’m not quite sure what to make of Stark’s anecdote, though…
“Took me three weeks to get rid of the blueberry stain. Had to tell the guys at the gym it was a tattoo.”
Sounds like it could be the punchline to a dirty story. Whatever the set-up might have been, I doubt the Comics Code Authority would have approved!
44) Bob Oksner & Vince Colletta
This page is from the Lois Lane story “A Deadly Day in the Life” penciled by Bob Oksner, inked by Vince Colletta, written by Paul Levitz, lettered by John Costanza, and colored by Jerry Serpe. It appeared in Superman Family #212, published by DC Comics with a November 1981 cover date.
The relationship between Lois Lane and Superman in the Bronze Age was certainly somewhat of an improvement from how it was handled in the 1950s and 60s. Lois was at least somewhat less catty and scheming and manipulative than she had been previously depicted, and Superman appeared to genuinely care for her.
At the same time, looking at in from a 21st Century perspective, it becomes much more obvious that Lois is in a relationship with a man who is actively hiding a major part of his personal life from her, and who regularly gaslights her whenever she comes close to uncovering the truth.
Nevertheless, given that the Bronze Age writers were required to maintain the Lois Lane-Clark Kent-Superman love triangle, they did fairly good work. Paul Levitz writes Lois and Superman as two people who are comfortable with each other. Bob Oksner’s background drawing romance and humor stories made him well-suited to penciling scenes like this. Likewise, Vince Colletta’s own work in the romance genre results in an effective inking job.
Plus, I love the novelty of Superman using his heat vision to brew a cup of coffee for Lois. Jim Thompson sent this page my way. Yes, this IS from the same story he spotlighted where someone hurls a grenade into Lois’ bathroom while she’s taking a shower, and she tosses it back out the window before it explodes. Good thing she had that cup of coffee beforehand!
45) Stuart Immonen & Jose Marzan Jr
As a follow-up to our last entry, these pages are from Adventures of Superman #525, penciled by Stuart Immonen, inked by Jose Marzan Jr, written by Karl Kesel, lettered by Albert DeGuzman, and colored by Glenn Whitmore, published by DC Comics in July 1995.
Prior issues of the Superman titles had introduced to Clark Kent’s old high school rival Kenny Braverman, who gained superpowers and joined a covert government agency… you know, like pretty much everyone else in comic books eventually does. Braverman, who adopted the identity Conduit, learned that Clark was Superman and attempted to murder all of Clark’s friends and family. In a final battle with Superman, the hate-filled Conduit’s powers consumed his body, killing him.
In this issue Clark is reunited with Lois Lane, who he believed had been killed by Conduit. Clark explains to Lois that he is seriously considering giving up his secret identity to be Superman full-time, to prevent anyone else from being in danger due to their association with him.
Lois tells Clark she wants to go get a cup of coffee in the nearby town, but with one proviso: Clark needs to do it a Superman. Changing into the Man of Steel, he goes to a nearby diner to order a cup of coffee, only to discover that everyone is ill-at-ease around him. Some people are expecting a super-villain to attack any minute; others simply don’t know how to act around him.
Meeting up with Superman outside of town, Lois explains to him:
“You NEED a secret identity. It’s what protects you from people… and it’s what connects you to people. Under that costume you’re Clark Kent — you’ll always be Clark Kent. You can’t live without him… and neither can I!”
I feel that the post-Crisis continuity improved Lois Lane’s character a great deal. As I explained before, I was never overly fond of Lois. I couldn’t understand why Clark / Superman wanted to be with her. Even the efforts to make her less of a caricature in the 1970s were hampered by the need to maintain the Lois Lane-Superman-Clark Kent love triangle. I think a clean break was needed for Lois, and Crisis provided John Byrne with that opportunity.
Of course, having subsequently read some of the original Siegel & Shuster stories, I now realize Byrne was actually returning Lois to her original conception, the intelligent, assertive, tough-as-nails investigative reporter of the early Golden Age, and away from the catty, scheming version that existed in the 1950s.
I also like that Byrne had Clark wanting to win Lois as himself, not as Superman, because Clark Kent was his real self, and “Superman” was the secret identity.
Byrne’s work with Lois and Clark definitely set the stage for Jerry Ordway, Roger Stern, Dan Jurgens and others to write the characters in an interesting, adult relationship, and for Lois to finally learn that Clark was Superman.
In this issue Karl Kesel does really good work with the couple. The artwork by Stuart Immonen & Jose Marzan Jr expertly tells the story. And, wow, that coloring by Glenn Whitmore on page 19, with the sun setting in a dusky star-filled sky, is beautiful.
I know there are fans that are older than me who grew up on the Silver Age or Bronze Age comic books and did not like the changes made to these characters. I can understand that. I can only say that I read these stories when I was a teenager. So for me this will always be MY version of Lois and Clark.
Tonight is Super Bowl LIV (that’s 54 for you non-Roman types) between the San Francisco 49ers and the Kansas City Chiefs… and I’m not watching. Sorry, but football is not my thing. I’ve never been able to figure out the rules of the game, no matter how often I try to watch it. Besides, I have always found the Super Bowl a real test of endurance, given that it’s a 60 minute game stretched out to four hours by innumerable commercial breaks and a typically-vapid halftime shop.
Also, I am soooo not a fan of the NFL, who have continually tried their hardest to push aside Colin Kaepernick for protesting racial injustice & police brutality, but who are more than happy to make Michael Vick a Pro Bowl caption, in spite of his conviction for running a dog-fighting ring. Add to that the whole dealing with pot-smokers more harshly than wife-beaters, and the attempts to sweep traumatic brain injuries under the rug, and I have little use for the NFL. No wonder the rest of the world plays soccer instead!
And now that I have probably managed to get the entirety of football-loving America violently angry at me, let me welcome everyone to another installment of my occasional feature It Came From the 1990s. This is where I take a look back at various odd, unusual or noteworthy comic books that were published during that decade. Since today is Super Bowl Sunday, hey, I might as well cast my glance at NFL SuperPro #6. Published by Marvel Comics, it inadvertently became one of the most controversial comic books of the 1990s.
What was NFL SuperPro about? I’m a bit lazy, so I’m just going to quote Wikipedia here:
“NFL SuperPro was a short-lived comic book series published by Marvel Comics, centered on Phil Grayfield, an ex National Football League (NFL) player who survives a freak accident and wears a near-indestructible football uniform. Produced in collaboration with the NFL and written by Fabian Nicieza and artist Jose Delbo, the series started publication in 1991 and ended after 12 issues.”
The character made his debut in the NFL SuperPro Super Bowl Edition special released by Marvel in January 1991. Probably the most noteworthy aspect of this book is the painted cover by the incredible Joe Jusko, which can be seen above. I supposed it’s a toss-up over which was a career highlight for Jusko, painting this cover or the one he did for the Nightcat special.
(Okay, in all seriousness, this is a good reminder that when you are a freelance artist, even one as acclaimed as Jusko, you sometimes need to take on assignments that are a bit, um, unusual, because at the end of the day it’s money in the bank. Ditto for everyone else who worked on NFL SuperPro, and who were just trying to pay their bills.)
Several months after the Super Bowl Edition an ongoing NFL SuperPro series was launched which, as indicated above, lasted for a year. And that brings us to issue #6, cover-dated March 1992.
“The Kachinas Sing of Doom” was written by Buzz Dixon, penciled by Jose Delbo, inked by Mike DeCarlo, lettered by Janice Chiang and colored by Evelyn Stein. The cover was penciled by Rob Tokar & Ron Frenz, with inks by the legendary Joe Sinnott.
Phil Grayfield, in his role as a sports journalist, is doing a story about ice skating champion Laura Eagle when she is attacked by a trio costumed as Hopi kachina figures. The kachninas, who are armed with such ridiculous weapons as nunchucks and a chainsaw, are ostensibly after Laura because she has turned her back on the Hopi to become an athlete in the “white man’s world.” However, in a twist straight out of Scooby Doo, the kachinas are actually a group of non-Indians in the employ of corrupt businessman Tyler Gaunt. Gaunt has his thugs dress up as kachinas in an attempt to discredit a group of Hopi political activists led by Laura’s sister who are opposed to Gaunt opening a casino on their tribal lands.
When this issue was published the real-world Hopi tribe was reportedly very unhappy, and found it offensive. This almost certainly had to do with the villains dressing as kachinas, which are important figures in the Hopi’s faith. Even though in this story the kachinas were unmasked as Caucasian villains, it seems likely that, given how frequently Native Americans have been poorly depicted in American popular culture over the decades, the Hopi were just annoyed at elements of their culture & faith being appropriated. Or perhaps they didn’t like the idea of Laura having traumatic childhood memories of the kachina ceremonies.
As per both the Recalled Comics website and Comic Book Urban Legends Revealed on Comic Book Resources, Marvel responded to the Hopi’s complaints by pulling the comic from sale. However, by the time they made the decision the next issue had already shipped to stores, rendering the whole thing a bit meaningless.
By the way, one of the aspects of NFL SuperPro that was often derided by readers was that Phil Grayfield was, to quote Buzz Dixon, “certainly not the sharpest crayon in the box.” That can certainly be witnessed in this scene from issue #6…
*Shakes head sadly* Oh, Phil, what are we going to do with you… well, other than bring your comic book to a merciful end in another six issues?
At one point The Chicago Sports Review described NFL SuperPro as “perhaps the worst comic book ever created,” although I don’t think it’s nearly as deserving of such hyperbolic vitriol as some other comics which were more risible or embarrassing. All these years later I think most comic book fans look back upon it with a shrug of bemusement.
Still, if you were to choose one image to perfectly sum up NFL SuperPro, well, this panel from issue #10 certainly does the trick…
Believe me, Phil, we’re all asking exactly the same thing!
Writer James D. Hudnall passed away on April 9th. His earliest professional work was Espers for Eclipse Comics in 1986. Hudnall had numerous comic book credits, but I was most familiar with his nearly two year run on Alpha Flight from early 1989 to late 1990. He wrote issues #63 and #67-86.
Alpha Flight is a series that even its creator John Byrne admitted he didn’t really know quite what to do with it. He has been quite vocal about the fact that he only created the Canadian super-hero team to be able to survive a fight with the X-Men. Byrne was genuinely surprised when Alpha Flight became popular enough to receive their own series, and he took on the assignment with a certain reluctance.
Byrne wrote & penciled the first 28 issues of Alpha Flight. He did good work, but by the end he felt he had literally run out on things to do with the characters. After he left, the series somehow managed to last nearly another decade, experiencing a lot of ups & downs.
Byrne’s successor on Alpha Flight was writer Bill Mantlo, who worked with several artists during his three year stint on the series. Mantlo’s run started off showing potential, and a number of the issues from his first couple years were enjoyable. However towards the end things had definitely petered out. At the time, when Hudnall came on in early 1989, it really was a breath of fresh air. Although somewhat uneven, I regard Hudnall’s stint on Alpha Flight as one of the better post-Byrne periods. (Of course, as I always like to say, your mileage may vary.)
Hudnall’s first few issues of Alpha Flight had him wrapping up a some dangling subplots from Bill Mantlo’s run, including bringing to a close the team’s conflict with the Dreamqueen. With that out of the way, with issue #71 Hudnall embarked on a lengthy story arc involving an incredibly powerful, seemingly-unstoppable mystical villain, Llan the Sorcerer.
According to Hudnall the Sorcerer storyline was initially planned to run all the way to issue #100, with Llan as an overarching behind-the-scenes adversary dispatching such villains as the Master of the World and Zeitgeist against the team to distract them while his ambitious master plan came together. However, a lukewarm reception and conflicts with editorial resulted in Hudnall being replaced as writer on the book. This necessitated him giving his story a somewhat quick wrap-up in issue #86, with Doctor Strange being brought in to aid Talisman in defeating Llan.
Hudnall was probably overly ambitious with his plans for Alpha Flight. I don’t know if the Sorcerer storyline really would have had enough substance to it to continue running for another year in order to make it to issue #100. However, I cannot fault Hudnall for attempting to at least try to do something spectacular and long-ranging in a book that had recently been lacking in a solid, interesting direction.
Hudnall explained his plans an interview conducted in the early 2000s by the website AlphaFlight.net:
“I wanted to make the book more in line with Byrne’s vision, which I felt was generally a good one. I liked Byrne’s run except he was kind of unfocused direction-wise. Probably because he was bored. So one of the things I did was try to give Alpha Flight more of a purpose. And try to make them unique in the Marvel Universe, not just by virtue of their nationality. I also wanted to show off Canada, so I did tons of research.”
It had been a number of years since I have read those issues, but from glancing over them again this week I did like how Hudnall worked to develop the character of Talisman. It had been one of Talisman’s predecessors who had fought Llan the Sorcerer when he had last attacked Earth’s dimension 10,000 years earlier. It now fell to the current Talisman, who was fairly young & inexperienced, to lead the battle against this incredibly formidable, cunning foe.
I am not certain exactly how successful Hudnall was in his execution of Talisman’s character development. At times she came across less as focused & determined, and more as bossy & arrogant. But I do appreciate that Hudnall at least attempted to make her the focus of his overall storyline. I think Byrne came up with a fantastic design for the character, and it was nice to see her in the spotlight here.
Another highlight of Hudnall’s run was having former Alpha Flight foe Diamond Lil join the team. Lil had been involved in the events that had led to the death of Alpha’s original leader James Hudson, aka Guardian, which put her at odds with the team’s current leader, the widowed Heather Hudson, aka Vindicator. Complicating matters even further, Lil was the ex-girlfriend of Madison Jeffries, aka Box, who was now engaged to Heather. It was apparent that there was still an attraction between Lil and Madison, and the resulting love triangle was present throughout the background of the Sorcerer storyline.
I also think having Lil join the cast offered an outsider’s perspective on some of the events. It was interesting to see her gradual development from a one-time enemy who was regarded with suspicion to a trusted member of the team. Plus, during the “Acts of Vengeance” crossover we got to see go toe-to-toe with longtime Spider-Man villain the Scorpion, which was cool.
With the benefit of hindsight, Hudnall was doing on Alpha Flight what is now referred to as “writing for the trades,” i.e. writing a lengthy, complex storyline serialized in a monthly series that would later work as a complete novel when collected together in trade paperbacks. I think that if I was to go back and read Hudnall’s entire Alpha Flight run in one go, rather than broken up into monthly installments, it would work much better now.
For the majority of Hudnall’s time on Alpha Flight he was paired with penciler John Calimee. I personally think Calimee was a fairly good, solid artist, albeit one who was not particularly flashy or dynamic. In other words, he got the job done, but perhaps that was not seen as sufficient enough at that point in time, when several red-hot artists were exploding in other Marvel titles. Most of the issues Calimee penciled were inked by Mike Manley, a very talented artist whose work I have always enjoyed.
Other artists who worked on Alpha Flight during this time were Hugh Haynes, the great Filipino illustrator Gerry Talaoc and a fairly young up-and-coming Mark Bagley. The incredibly talented James Sherman turned in one of his all-too-rare rare comic book jobs, providing full artwork for Alpha Flight #73. That issue flashed back to the conflict between the original Talisman and the Sorcerer in prehistoric times.
John Byrne himself unexpectedly returned to the series to draw a couple of covers. Jim Lee, who did some of his earliest work on Alpha Flight, also contributed to a few covers during Hudnall’s run.
Regrettably, except for Haynes, there did not exist a good rapport between the writer and the various artists. Subsequently Hudnall would express his opinion that Calimee in particular had been unable to effectively execute the visuals contained in the plots. Hudnall also experienced a number of disagreements with his editors. Whether all of this was due to Hudnall wanting to remain faithful to his ambitious vision, or an indication that he was a difficult person to collaborate with, is up to the individual to decide.
Whatever the difficulties between Hudnall and his colleagues, as I said before, at the end of the day I personally do think that his run on Alpha Flight was pretty good. Possibly it is my teenage nostalgia talking, but all these years later it remains memorable for me.
As for the artwork by Calimee & Manley, looking at it in 2019 with a fresh perspective, I find that I still like it. Calimee is, as I said, a solid artist who knows how to lay out a page and tell a story. Manley’s inking here provided a polished finish to the pencils. One of his artistic influences was the legendary Al Williamson, and that shows in the inking on these issues.
The lettering on all of these issues was by Janice Chiang. I’ve always liked her work. Looking at these issues for the first time in years, I can immediately identify that it’s her lettering. She’s one of the best letterers in the biz.
In addition to Alpha Flight, Hudnall worked on Strikeforce: Morituri and the graphic novel The Agent for Marvel. Over at DC Comics he wrote the very dark graphic novel Lex Luthor: The Unauthorized Biography. In the 1990s Hudnall worked on Malibu Comics’ well-regarded Ultraverse imprint, writing the series Hardcase and The Solution. With artist Andrew Paquette he created Harsh Realm, a six issue miniseries published by Harris Comics that was later loosely adapted into a short-lived TV series.
About a decade ago Hudnall began writing for the ultra-conservative website Breitbart, and espousing views I found very disagreeable. Nevertheless, despite how I felt about his politics, I was sorry to hear that in the last few years he was experiencing serious health problems. It’s unfortunate that he died at a relatively young age, a day before his 62nd birthday. He leaves behind a small but interesting and imaginative body of work.
This week longtime comic book artist Joe Sinnott announced his retirement, bringing an official end to a career that spanned nearly seven decades, from 1950 to 2019.
With the recent passing of Marvel Comics writer & editor Stan Lee, the decision was made to bring down the curtain on the Amazing Spider-Man newspaper comic strip that he had been scripting since 1977. The 92 year old Sinnott, who has been inking the Sunday installments of the newspaper strip since 1992, decided this would be an appropriate time to formally retire.
Here is the Sunday March 17th installment of the newspaper strip. As I understand it, this was written by Roy Thomas, penciled by Alex Saviuk, inked by Joe Sinnott, and lettered by Janice Chiang. It’s a pleasant coda to the comic strip continuity with Peter and Mary-Jane Parker departing for a vacation in Australia. Since this is the wrap-up of the strip, I think we can safely assume that for once Peter and MJ will actually have a nice, relaxing time, and no super-villains will be following them Down Under.
Y’know, it’s funny… when the news broke that Sinnott was at long last calling it a day, the very first thing that popped into my mind was that he actually began the process of retiring back in 1991.
Sinnott’s last monthly assignment for Marvel Comics was Thor, inking / finishing the pencils of Ron Frenz for two and a half years, from issues #400 to #429. A few months after Sinnott’s final Thor issue, in the letters page of #433 (cover-dated June 1991), Frenz wrote a heartfelt tribute to his collaborator. Frenz explained that Sinnott was taking “his first steps towards a well-won and laurelled retirement.”
Well, it appears that Sinnott really enjoyed drawing, and possessed a genuine love for comic books, because it took him until now to finally retire. During the past 27 years, in addition to inking the Sunday installments of the Spider-Man strip, Sinnott contributed to several projects, among them the Marvel: Heroes & Legends special, the Fantastic Four: World’s Greatest Comic Magazine miniseries, a pair of Untold Tales of Spider-Man annuals, and Fantastic Four: The Lost Adventure.
Fantastic Four: The Lost Adventure was published in 2008. It reconstructed & completed the long-lost “final” FF story that Kirby plotted & penciled way back in 1970 right before he departed Marvel for DC Comics. Nearly four decades later Stan Lee finally wrote the script for this story. Joe Sinnott’s embellishments had been an absolutely perfect match for the Fantastic Four stories Kirby penciled in the mid-1960s, so of course he was the first and only choice to ink this special.
It was always a pleasure to see Sinnott’s occasional returns to the comic book biz over the past two and a half decades. I regard him as one of the all-time greatest inkers / finishers in the history of the medium. His stellar work inking Kirby was just one part of his career. Over the decades Sinnott did superb work over numerous other pencilers, among them John Buscema, Rich Bucker, George Perez, Ron Wilson, John Byrne, and Ron Frenz.
Over the past decade Sinnott has also been very involved in Bob Almond’s Inkwell Awards. The “hall of fame” award the Inkwells give out is named, appropriately enough, the Sinnott.
I have been fortunate enough to meet Joe Sinnott at comic book conventions several times over the years. I can definitely tell you that his talent is matched by his kindness. Each time I met him he came across as polite, enthusiastic and gracious.
Above is a photo I took in 2011 of Joe Sinnott with another great creator, Walter Simonson, at the Hawthorne NJ comic con. It’s always awesome when you meet creators whose work you enjoy and you discover that they are also genuinely nice people.
Congratulations to Joe Sinnott on bringing to a close a long and distinguished career. I hope he enjoys his retirement, because he definitely deserves it.
In my June 6th blog post, I talked about how I was tracking down David Quinn’s run on Doctor Strange: Sorcerer Supreme. Having finally done that, I’m going to take an in-depth look at Quinn’s innovative, offbeat, and downright bizarre run.
Unlike many creators who come in to take a series in a brand-new direction, David Quinn did not simply sweep under the rug everything that came before him. Rather, he built upon what had gone before. To wit, in the months preceding, in stories by Len Kaminski, Roy Thomas & Geof Isherwood, Doctor Strange’s mystic patrons the Vishanti had called upon him to fight on their behalf in the War of the Seven Spheres. Believing this conflict would last for several millennia, and not wanting to leave Earth unprotected from other supernatural threats, Strange refused. As a result, the Vishanti stripped him of the title of Sorcerer Supreme.
So, when Quinn came onboard, his protagonist was vastly reduced in power & ability. And Quinn totally ran with that, showing just what drastic measures the Master of the Mystic Arts would take to continue in his role of protector of the Earth.
Y’know, in certain respects, I have to think that Quinn didn’t have the most ideal of circumstances under which to begin his stint on Doctor Strange. Here he is, ready to kick off a brand-new storyline with sweeping changes in issue #60 and, by the way, it just so happens that that issue is going to be part 7 of a multi-title Midnight Sons crossover titled “Siege of Darkness.” Indeed, Quinn does get off to a bit of a bumpy start. I mean, Doctor Strange is competing for page space with Ghost Rider, John Blaze, Vengeance, Morbius, the Nightstalkers, and the Darkhold Redeemers, all fighting off an assault on Strange’s Bleecker Street home by the demon sorceress Lilith, and her children the Lilin.
(Having said that, I’m sure that being part of a huge crossover centered on Ghost Rider was a really great way to hook new readers!)
Quinn manages to squeeze in a couple of key plot points in #60. First, Doctor Strange has a brief premonition of the future. Second, one of the Lilin, Sister Nil, penetrates Strange’s house and attacks the Midnight Sons. The de-powered Strange is unable to fight Nil himself, and is forced to make a terrible choice. He uses his remaining power to summon Morbius to save them, but as a result is unable to prevent Nil from using her cancerous touch to murder Imei, the fiancé of his longtime ally Wong. And, as the issue concludes, the Doctor’s house is destroyed in a mystic explosion.
Anyway, long story short, the Lilin get banished, but their ally Zarathos is still hanging around. And he immediately finds another group of supernatural baddies, the Fallen, who take up the battle against the Midnight Sons.
Quinn actually introduces a major player in his own overarching storyline in between Doctor Strange #s 60 and 61. Marvel Comics Presents #146 was part 14 of “Siege of Darkness,” and in an eight page tale illustrated by Isherwood, Strange finds himself in a bizarre dream along with his ancient foe Nightmare. However, this time the lord of the dream dimension isn’t Strange’s true enemy. Rather, he comes face to face with the mysterious and lethal Salome, a vampire-like being who feeds on dark emotions.
This leads right into part 15 of “Siege” in Doctor Strange #61. Salome, who is one of the Fallen, finally returns to Earth after thousands of years of exile in another dimension. This is an altogether more focused issue, as Quinn has the other Fallen, uncertain of how Salome is going to affect their plans, decide that they are better off waiting things out on the sidelines. That enables Quinn to focus on the conflict between Doctor Strange and Salome, the latter of whom makes a beeline to the Midnight Sons, who are gathered at the ruins of Strange’s house.
(For the nitty-gritty, click on the above images to enlarge!)
Engaging Doctor Strange and his allies in battle, Salome declares that she was “Sorceress Supreme” of Earth millennia before, and that she is now ready to reclaim her title. Strange, already depowered and weakened from the battles with the Lilith and the Fallen, is obviously in no shape to fight off this lethal contender. Ceding the title to her, he vanishes in a vortex of mystic energy, all his arcane possessions disappearing along with him. The furious Salome is ready to vent her anger on the remaining Midnight Sons, when suddenly a bizarre figure appears. His face covered in a mask, his costume superficially resembling that of the Master of the Mystic Arts, this being known only as “Strange” drives off Salome with a berserker fury.
It is in issue #s 62 and 63, freed from dealing with the whole “Siege” crossover, Quinn really begins to advance his story arc. Skipping forward four months, we see that the masked being “Strange” has been crisscrossing the globe, collecting various mystic artifacts with a ruthless efficiency. Meanwhile, back in Manhattan, a man named Vincent Stevens, who bears a striking resemblance to a somewhat younger Doctor Strange, has been using his powers of hypnosis to both manipulate the financial market and establish ties with organized crime. Constructing a towering skyscraper known as the Tempo, Stevens leads a hedonistic lifestyle, throwing lavish erotic parties for the wealthy.
Neither of these individuals is the genuine article, though. The true, original Doctor Stephen Strange is dwelling in his new Sanctum Sanctorum located in a “null space” in a vast cavern a mile beneath Trinity Church on Wall Street. Gaunt, haggard, and decidedly short of temper, the former Sorcerer Supreme is clearly in trouble.
Quinn takes a detour in Midnight Sons Unlimited #5, bringing the sixth century sorcerer Modred the Mystic into the proceedings. Modred’s philosophy can be summed up with the saying “you can’t make an omelet without breaking a few eggs.” He firmly believes that the key to protecting the Earth from the forces of darkness is to master those very forces to use against his foes. In past stories this has predictably backfired, and on at least one occasion he ended up a pawn of the elder god Chthon. Obviously not having learned from his mistakes, Modred, along with his new disciple Wildpride, manipulate several members of the Midnight Sons into attacking Salome. The whole affair is merely a ruse, an attempt to make Salome his servant so she can aid him in killing Doctor Strange, enabling Modred to become the new Sorcerer Supreme. Of course this spectacularly blows up in Modred’s face, and as the story closes we see the sullen, humiliated Mystic being mocked by Wildpride. (Not to worry, though, those two will pop up again soon!)
Obviously Quinn set up a lot of mysteries in these first several stories. Once again, unlike many of his contemporaries on other 1990s Marvel titles, having set up these subplots, Quinn quickly followed through, delivering a number of unusual answers in the four part “Strangers Among Us” arc that ran in Doctor Strange #s 64-66 and Annual #4. As editor Evan Skolnick quite reasonable explained in the letters page of #66…
“When a writer presents his readers with a mystery, it behooves him or her to eventually reveal the previously-hidden facts. We’ve been leaking them slowly over the past six months, giving you enough hints for you to guess… but it’s a fatal error to raise a question and then wait too long to answer it.”
Quinn reveals that the mystic treasure hunt by “Strange” has been conducted on behalf of the real Doctor Strange. The sorcerer is amassing these objects in his new Sanctum. There, he is also keeping Sister Nil as a prisoner, a constant reminder to himself of Imei’s death so that he will not fail again. After the Doctor is unable to convince his one-time ally Namor the Sub-Mariner to give up an ancient Atlantean artifact, the Coral Crab, “Strange” takes it upon himself to retrieve the object from the ocean floor. This brings him into conflict with not only Namor, but also a mystic sea serpent and, upon returning to New York City, former ally Vengeance.
All of this attracts the attention of Salome. A necromancer, the Sorceress Supreme divines events by peering into mystic skins literally made from the flesh of her followers. She observes “Strange” referring to “the Other,” and learns this is Vincent Stevens, who she mistakes for Stephen Strange. Salome has brought the disenchanted Wong into her service by convincing him that she has resurrected Imei, although in fact it is actually a winged skeletal demon named Xaos. Wong and Xaos abduct Stevens and transport him to Salome’s sanctuary in Iraq. Salome quickly realizes that Stevens is not Doctor Strange. And then “Strange” appears, ready to once again battle Salome. It is at this point that the Sorceress Supreme finally deduces what has been going on. In an effort to convince both “Strange” and Stevens to ally with her, Salome offers up explanations.
During the events of issue #61, in the midst of Doctor Strange’s explosive disappearance, he created a “stasis spiral,” stopping time. In that frozen moment, he literally created “Strange” and Vincent Stevens via “aetheric discharges.” Because Doctor Strange could not generate life from nothing, he derived their personalities from aspects of his own. “Strange” was the savagery and violence he had long repressed. Vincent Stevens embodied the selfishness and materialism of his former life as a wealthy surgeon which he overcame many years before when he studied under the Ancient One. Doctor Strange had to create these twin beings to act as his agents in the outside world. Because he had been infected by the energies of “Salome’s Dance,” if he left the null space of his new Sanctum, he would instantly disintegrate.
From within his Sanctum, the Doctor manages to take psychic control of Vincent Stevens and, through his form, engages Salome in battle. But even with the help of “Strange,” the Doctor cannot best Salome. He is forced to channel the energy of Salome’s Dance in his body and use it against her. This finally drives her off, but the Doctor knows that it is only a temporary victory. And he wonders if his use of her dark powers has corrupted him.
There is also a back-up story in Annual #4 written by Tom Brevoort & Mike Kanterovich. “Desperate Needs” brings us up to date with Clea, the lover and student of Doctor Strange. The War of the Seven Spheres has touched upon her native Dark Dimension, causing horrific carnage. Clea, unaware of her former partner’s own dire circumstances, sets out to journey back to Earth’s dimension and recruit Doctor Strange’s assistance in saving her world. Brevoort & Kanterovich’s story works as both a nice stand-alone character piece and as a lead-in to issue #67. But I’ll be looking at that in the next installment.
Sooooooo, what do I think of David Quinn’s work on Doctor Strange? In this first arc he does very good work. After an understandably rocky start during “Siege of Darkness,” the writing really takes off. I realize, reading through the letters pages of these issues, that at the time these drastic changes were met with very mixed reactions. But, in hindsight, I think that the series did need shaking up. Roy Thomas did some decent writing, and he worked well with both Jackson Guice and Geof Isherwood. But after more than four years, Doctor Strange was due for a change.
In his editorial in issue #60, Skolnick stated that he was trying to recapture “the original, defining aspects” of the Steve Ditko & Stan Lee stories from Strange Tales. If you look at those original Ditko & Lee tales (go out and get Essential Doctor Strange Vol. 1) you will see that it did take several issues for them to really hit their groove. I think the exact moment when that occurred can be pinned down: Strange Tales #126, the introduction of the dread Dormammu. This kicked off a more or less uninterrupted storyline that lasted until #146, Ditko’s final issue. And during this 21 issue arc, there really was no status quo. Doctor Strange spent most of the time on the run from Baron Mordo and his myriad disciples who had been empowered by Dormammu, searching across the Earth and through various dimensions for the means to overcome his awesomely powerful adversaries.
David Quinn’s writing on Doctor Strange definitely contains the same sort of tension and unpredictability as that classic storyline, the suspense and mystery inherent in waiting to see how the Master of the Mystic Arts would outwit his enemies. Quinn puts his own unique spin on it, via the moral ambiguity of the Stephen Strange’s actions, the mystery of the two “Strangers,” the alienation of his allies, and the introduction of a brand-new arch-villainess, Salome.
As I mentioned in my earlier blog post, I really did enjoy the work of Mel Rubi and Fred Harper, who were the art team on the first several issues of Quinn’s run. I believe that this was Rubi’s very first published work. He starts off a bit shaky, but you can see him grow from issue to issue. As for Fred Harper, I’m probably biased since I’m friends with him, but his inking is great. It really gives the art a tangible mood and atmosphere. He is another artist who has really grown, consistently getting better & better. If you look at his current painting & illustration work, it is absolutely fantastic.
The artwork on the Annual was courtesy of Kyle Hotz. He reminds me a bit of Kelly Jones. There is this sort of twisted, intricate detail to Hotz’s art that really suits the final chapter of “Strangers Among Us.” And his layouts & storytelling are extremely dramatic. He really gives the battle between the Strangers and Salome a hell of a punch.
And, of course, Mark Buckingham contributes several excellent covers for the “Strangers Among Us” arc. We’ll be seeing more from him in upcoming issues.
One last thing: the lettering on the Annual is courtesy of Janice Chiang. She has always been one of my favorite comic book letterers. Every time I see her work, I can spot it almost instantly. There is an element of calligraphy incorporated into Chiang’s fonts. It works wonderfully well, and feels very organic. The role of letterers is usually overlooked, so I wanted to make sure to highlight her efforts here.
Okay, this post went on much longer than I intended. In part two, when I cover Doctor Strange #s 67-71 and Midnight Sons Unlimited #6, I promise I won’t ramble on so much!