Comic book artist Tom Palmer passed away at the age of 81 on August 18th.
Palmer started in comic books in 1968 at Marvel Comics, at the tail end of what fans generally refer to as the Silver Age. Although he initially worked as a penciler, Palmer soon transitioned into inking. He quickly established himself as one of the great inkers in the industry. In addition to his work as an inker / embellisher, Palmer was a colorist & painter. Palmer had runs on X-Men inking Neal Adams, Doctor Strange and Tomb of Dracula inking Gene Colan, Star Wars inking Walter Simonson and Ron Frenz, X-Men: The Hidden Years inking John Byrne, and Incredible Hulk inking John Romita Jr and Lee Weeks.
However, the title which I most personally associate Palmer with is Avengers. He initially inked & colored several issues in the early 1970s, first over John Buscema and then Neal Adams. Palmer returned to Avengers with issue #255 in 1985, and he remained on the book thru to issue #402 in 1996, doing inks / finishes for nearly every issue during that 12 year period. Just as Joe Sinnott had previously played a key role in defining the look of Fantastic Four for over a decade and a half via his strong, characteristic inking, so too did Palmer do the same for Avengers.
Here are some highlights from Palmer’s work on Earth’s Mightiest Heroes:
Palmer really hit the ground running on Avengers #255 (May 1985). In addition to once again doing a great job inking John Buscema, who also returned to the series with this issue, Palmer produced a stunning painted cover that spotlighted the then-current Captain Marvel, Monica Rambeau.
Another striking Avengers cover by Palmer is issue #273. The comics released by Marvel with a November 1985 cover-date marked the 25th anniversary of the debut of the Fantastic Four, and each cover had a portrait of its main character, or for the team books, one of the prominent members, surrounded by border artwork by John Romita. Avengers #273 had a portrait of the Black Knight by Palmer, who rendered the character in rich textures.
More often than not Buscema was doing loose pencil breakdowns on Avengers during the second half of the 1980s. It was Palmer’s job to produce the finished artwork, a task he did with incredible skill, rendering some very stylish, detailed pages.
This pages is from Avengers #277, the final chapter of the now-classic “Under Siege” storyline written by Roger Stern, which saw Baron Zemo form a new Masters of Evil to try to destroy the Avengers. Buscema & Palmer did great work on the final battle between Captain America and Zemo.
Buscema left Avengers with issue #300. Following a short stint by Rich Buckler, the new penciler on the series was Paul Ryan, with Palmer remaining on inks.
This amazing poster featuring most of the Avengers members up to that point in time was drawn by Ryan & Palmer. It was released in 1989, and was probably done by them around the same time as when they were working on Avengers #305 (July 1989) which contained a very similar scene.
Larry Hama had a short, underrated stint writing Avengers in the early 1990s, during which he shook up the team’s line-up and introduced some offbeat villains. Chief among these was the strange other-dimensional entities the Tetrarchs of Entropy. Ryan & Palmer certainly did an excellent job depicting those bizarre entities, as seen in issue #329 (February 1991).
Bob Harras became writer on Avengers with issue #334, and the next issue he was joined by penciler Steve Epting. Palmer remained on as inker, and for the next several years they were the creative team on the title, bringing some much-welcome stability to the book.
Palmer once again also began coloring Avengers with issue #343. He would hold the dual roles of inker and colorist on the series for the next three years. Here’s the splash page to Avengers #345 (March 1992), part of the “Operation: Galactic Storm” crossover, featuring Palmer’s inks & colors over Epting’s pencils. Left to right we have Quasar, the Eric Masterson version of Thor, the Vision and Sersi of the Eternals.
Palmer’s coloring was also on display on several Avengers covers such as this one, issue #375 (June 1994), the finale to Harras’ long-running Gatherers storyline. This great wrap-around cover, penciled by Epting and inked by Palmer, is definitely enhanced by Palmer’s vibrant coloring. I always felt Epting & Palmer did a fine job rendering the Black Knight and Sersi on Avengers, and that’s certainly on display here.
This is definitely one of my favorite Avengers covers from the 1990s. Click on the image to see the cover in all its full-sized glory!
Mike Deodato began penciling Avengers with issue #380 (November 1994). It’s interesting to see the very slick work of Deodato embellished by palmer’s highly textured inking, but I think it worked, really making the art stand out from the various other jobs the very popular Deodato was doing at that time. Palmer also does the coloring. The two of them definitely did good work on this dynamic double page spread featuring Quicksilver and Crystal.
Avengers #384 (March 1995) is another rare example of Palmer’s full artwork. Harras wrapped up a long-running plotline involving the ruthless machinations of the Greek gods in a genuinely heart-wrenching finale that left Hercules devastated. Palmer’s cover really captured the tragedy of Harras’ story.
All good things must come to an end. So it was with Avengers volume one, which concluded with issue #402 (September 1996) as the “Onslaught” crossover send both the Avengers and Fantastic Four over to an alternate reality for the year-long “Heroes Reborn” event. Palmer departed in style via an incredible painted cover.
I think it really speaks to Palmer’s skill as an illustrator that he does such a good job with this particular odd team line-up which had, among other things, the Wasp transformed into a humanoid insect and Thor wearing an overly-complex costume that just screamed “grim & gritty.”
This marked the end of Palmer’s regular association with the team, although he would return to the team from time to time, such as inking Will Rosado on the eight issue Avengers: Earth’s Mightiest Heroes II miniseries in 2007 and inking John Romita on several Avengers issues in 2011.
I was fortunate enough to meet Palmer on a few occasions at comic cons and store signings. He always came across as a good, polite person who made time for the fans.
The news of Tom Palmer’s death is sad. We’ve lost way too many incredible talents in such a very short time.
When I first got into comic books in the second half of the 1980s, and continued reading them as a teenager in the 1990s, one of the names I would frequently see in the credits was Keith Williams. He worked on numerous series: Alpha Flight, Transformers, Action Comics, Web of Spider-Man, Quasar, Robocop, Sensational She-Hulk, U.S.Agent, Ravage 2099, The Mask, Star Wars, and so on.
Keith is one of the various comic book creators who I have been fortunate enough to get to know on social media. He has always come across as a genuinely good person. Given Keith’s lengthy career, I felt it would be interesting to speak with him about his work in the medium.
This interview was conducted by e-mail between April and May 2021.
BH: Hello, Mr. Williams. Thank you for agreeing to this interview. Let’s start with the basics. 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?
Keith Williams: Thank you for asking, Ben. I was born in Brooklyn, New York on September 16, 1957. My grandma gave me my first comic. It was Batman issue 184. I must have been 9 years old at the time. I always loved comics after that. I enjoyed watching astronauts fly into space, and for a while I wanted to be one.
BH: You attended the School of Visual Arts in Manhattan from 1976 to 1980. How did you find that educational experience?
Keith Williams: It was wonderful! The main reason I went SVA was because Will Eisner, the creator of The Spirit, was teaching there. My major was in Cartooning and Will brought fun and a lot of knowledge about the art and business sides of comic books. The other classes were fine and rounded out my art experience. I still have great friends that I talk to from my time there.
BH: I understand you entered the comic book field as a background inker in the early 1980s. How did that come about, and which artists did you assist?
Keith Williams: I knew Howard Perlin from high school, working on school shows together. He introduced me to his father Don Perlin. At the time he was the artist on Ghost Rider. I had shown him my inking samples. He saw that I had potential and took me under his wing. He mentioned my name up at Marvel when they were looking for a background inker for Mike Esposito. I was hired and have been working in comics ever since. Besides Mike Esposito there was Joe Sinnott, Bob Wiacek, Andy Mushinsky, Al Milgrom, Terry Austin, Vince Colletta, John Byrne, Bob Hall and a few more.
BH: Why did you decide to focus on inking?
Keith Williams: I focused on inking because I learned that I was better at it. I had great people to learn the skills of inking from. Inking became my foot in the door.
BH: At Marvel Comics, you were also the first person to join Romita’s Raiders, the art apprentice program initiated by editor-in-chief Jim Shooter and run by art director John Romita. What specific sort of work did you find yourself doing as one of the Raiders? How do you feel it helped you in terms of honing your skills and preparing you for a career as an artist in the comic book industry?
Keith Williams: As a Romita Raider, I, and the other Raiders were art correctors. We would fix storytelling if the panels didn’t flow correctly. If a character was wearing the wrong costume we would correct it. Assist John sometimes in cover design. John Romita was the Art Director at Marvel [and] everything would go through him meaning pages of art and he would assign us to fix things that needed fixing. While we were there as Raiders, we received a master class on how to create a comic.
BH: What was your first credited work in comic books, and how did you get assigned that job?
Keith Williams: My first credited work [was] Sectaurs for Marvel, 1985. I inked over Steve Geiger, another Raider. I think I started on issue 4. Mark Texeira moved on and they needed a new art team. It was a mini-series which ended on issue 7. I got the job because I was lucky enough to be in the office at the time.
BH: In late 1984 you became John Byrne’s background inker beginning with Alpha Flight #19. You provided background inks on several issues of Alpha Flight, and when Byrne moved to Incredible Hulk for his all-too-short run you accompanied him. After Byrne left Marvel for DC Comics where he oversaw the successful post-Crisis revamp of Superman, you were his background inker on Action Comics in 1987. How did you come to do background inking for Byrne? What was the experience like?
Keith Williams: Mark Gruenwald, one of the editors at Marvel, came up to me and asked if I was interested in working with John Byrne on Alpha Flight as a background artist. Of course, I said yes. It was a great experience.
BH: It’s noteworthy that Byrne saw that you were credited on all of those stories as the background inker, something that at the time was not expected, much less required. Do you find that this helped your career? Certainly as a young reader it was probably the first time I noticed your name.
Keith Williams: John put my name on the cover of the books and my name was right beside his in the credits. I would also get pages from the books we did. No other inker had ever done that for a background artist or would expect that to be done for them. I will always be grateful to him for doing it. He helped my career because of it.
BH: Later on you had the opportunity to do full inking over Byrne’s pencils on Avengers West Coast #53 in late 1989 and on several issues of Sensational She-Hulk in 1991. How did you like that experience? As a reader, I felt you did a good job. Looking at that Avengers West Coast, in particular I was very impressed by the detailed, intricate inking you did on the sequence with Immortus in an alternate timeline where Queen Elizabeth I was executed instead of Mary, Queen of Scots. The storyline in She-Hulk where she ends up in the Mole Man’s subterranean kingdom and fights Spragg the Living Hill also had a lot of interesting, detailed work by Byrne. You did a fine job embellishing all those caves and rocky textures.
Keith Williams: Actually, working fully on John’s pencils, scared the daylights out of me. As an artist, you always feel there is still so much to learn. Am I ready? I guess I was. All of the background inking got me ready to do full inks with John and I loved making his lines come to life.
BH: Jumping back a bit, you and penciler Alex Saviuk became the regular art team on Web of Spider-Man with issue #35, cover-dated March 1988. How did you get that assignment, and how did you find it working with Saviuk? You stayed on Web of Spider-Man through issue #85 in early 1992, so I’m guessing it was a good experience. Of course, as you were a freelancer, I’m sure you were also grateful to have a regular monthly assignment.
Keith Williams: Jim Salicrup was the editor on the Spider-Man books at the time. He must have seen my work here and there in the office and tried me out. I worked over Steve Gieger on an issue of Web of Spider-Man and then worked with Alex. I guess he saw something in us working together and we stay together for almost five years.
BH: Speaking for myself, I find Saviuk very underrated. I feel he was overshadowed by Todd McFarlane on Amazing Spider-Man, which at the time was in the spotlight. I think that was a shame, because you and Saviuk were doing good, solid work month after month on Web.
Keith Williams: Alex is a great artist. I feel he’s up there with Romita in style. It was very enjoyable working with him.
BH: You worked on a wide variety of titles throughout the 1990s, inking a diverse selection of pencilers. I wanted to briefly touch upon the work you did for Dark Horse. You inked Doug Mahnke on The Mask Strikes Back and Bill Hughes on Star Wars: Droids, both of those coming out in 1995. Any particular thoughts on those two jobs? Mannke and Hughes both seem to have detailed penciling styles, so I wondered how you approached inking them.
Keith Williams: Doug Mahnke’s style on The Mask was different than any I‘ve encountered. It was zaniness stuffed into reality. Bill Hughes had more of a cartoon style which fit into the loony situation the Droids were put in. I try to go with the flow of the penciller. With Doug it would be more of a hard edge, using crow quill Hunt 102 pen point nibs. With Bill it more of a softer look. I used a Winsor Newton Series 7 No. 3 brush and a Gillotte 290 flexible pen nib.
BH: In 1994 you became the regular inker of The Phantom newspaper strip written by Lee Falk, inking George Olesen’s pencils. You were on the strip until 2005, when Olesen retired. Had you previously been a fan of The Phantom? Although it isn’t especially popular here in the States, it has an absolutely huge following in other parts of the world such as Sweden and Australia.
Keith Williams: I wasn’t really a fan of The Phantom. That was because it wasn’t in any of the newspapers in New York. I did learn to like it. The Phantom has a great cast of characters.
BH: I’ve heard working on a daily newspaper strip described as a grueling, endless treadmill run. What did you think of the work? How was it different from monthly comic books?
Keith Williams: I really had no idea what it was like to put out a six day strip every week. There was no time for a real vacation. So, even when I would go away on a trip, the Phantom would be with me. I’m not really complaining, because it was always better to have work than not. It was different than a comic book because, working on dailies, you only had as much as three panels to work on for a strip.
BH: Finally, what have you been working on in the last decade and a half? Do you have any new projects coming out soon?
Keith Williams: Actually, I got to work for Marvel again with the help of Ron Frenz in 2019. It was a 10 page story in Thor the Worthy. Other than that, it’s been conventions and commissions for me.
BH: If people are interested in hiring you for commissions, what is the best way to get in touch with you?
Keith Williams: You can DM me on Instagram or Facebook: keithwilliamscomicbookart. You can also email me at firstname.lastname@example.org.
The challenge by Comic Book Historians group moderator Jim Thompson: Pick a subject and find a different artist every day for that subject.
I chose “coffee” for my subject. From the work of how many different artists can I find examples of people drinking coffee? I guess we will just have to see. I posted these daily on Facebook, and now I’m collecting them together here. (Please click on the “coffee” tag to read the previous parts of the series.)
21) John Buscema & John Romita
The art team of penciler John Buscema and inker John Romita join with scripter Stan Lee to tug on those heartstrings in “I Love Him – But He’s Hers!” This tale of torrid passions appeared in Our Love Story #2, published by Marvel Comics with a December 1969 cover date.
With her father having died unexpectedly and her brother serving in Vietnam, young Anne must work as a waitress to pay for college. Anne’s difficult circumstances are constantly rubbed in her face by her rich snob doom roommate Cynthia. Soon cruel Cynthia ups her taunts by showing off her handsome boyfriend at every opportunity. “This is Art Nelson, little woman – and he’s all mine! So you may look — but don’t touch!” Anne is, of course, instantly attracted to Art, but she dares not make a move, fearful of Cynthia’s temper. Cynthia’s taunts eventually back fire on her as Art, realizing what a horrid person she actually is, dumps her for the sweet, down-to-Earth Anne.
John Buscema has been referred to as “the Michelangelo of comics.” He was incredibly talented, one of the top artists at Marvel Comics for three decades, from the late 1960s to the late 1990s. Buscema was, however, not actually fond of drawing super-heroes, something he admitted to on several occasions throughout the years. He much preferred drawing Conan the Barbarian to any of Marvel’s spandex-clad crimefighters.
Given his dislike for super-heroes, perhaps he saw romance stories as a refreshing change of pace. It definitely drew on one of Buscema’s strengths, namely his ability to render beautiful women. He certainly does a damn fine job on this splash page, drawing Anne waitressing in a coffeehouse populated by a colorful crowd of hip java-drinkers.
Of course, Buscema was also vocal about his dislike for most of the inkers / finishers he was paired with, as he felt most of them overwhelmed his work with their own styles. So we can only guess how he felt about being inked by John Romita on Marvel’s romance stories, especially as the later’s style is very much in evidence.
Having acknowledged all that, from my perspective as a reader, this really looks stunning. I feel the combination of the two Johns results in a deft, effective blending of their signature styles.
A big “thank you” to colorist supreme José Villarrubia, who spotlighted this page on his FB feed.
22) Ron Frenz & Sal Buscema
Amazing Spider-Girl #15, penciled by Ron Frenz, inked by Sal Buscema, written by Tom DeFalco & Ron Frenz, lettered by Dave Sharpe, and colored by Bruno Hang, published by Marvel Comics, cover-dated February 2008.
Her name is May “Mayday” Parker, and she is the daughter of Spider-Man.
Yes, it’s a “Mayday” post, which would have been absolutely perfect for May 1st. Instead I posted this on FB on May 2nd. Oops. As the man used to say, “Missed it by THAT much!”
AHEM! Spider-Girl is the daughter of Peter Parker and Mary Jane Watson, from a reality where their newborn baby was rescued from the clutches of the diabolical Norman Osborn. Now a teenager, Mayday has inherited both her father’s powers and sense of responsibility. Assuming the identity of Spider-Girl, Mayday attempts to fight crime and save innocent lives while juggling high school classes, an active social life, and a pair of parents who are understandably very concerned that their daughter is following in her father’s web-swinging footsteps.
Spider-Girl is the little comic book that could. Originally making her debut in a one-off story by DeFalco & Frenz in What If #105 (Feb 1998), Mayday graduated to her own ongoing series just a few months later. DeFalco, first paired with penciler Pat Olliffe, and later reunited with Frenz, did a great job developing Mayday and her supporting cast. Spider-Girl gained a relative small but very enthusiastic fanbase and ran for 100 issues, followed by Amazing Spider-Girl, which lasted another 30 issues. Mayday then migrated to several issues of Spider-Man Family and Web of Spider-Man, and then a Spectacular Spider-Girl miniseries, with DeFalco & Frenz bringing her story to a close with the Spider-Girl: The End special in October 2010. Of course, that was still not the curtain for Mayday, who has continued to pop up here and there. You can’t keep a good Spider-Girl down!
Mayday and her friends often hung out at Café Indigo, a coffee shop in Forest Hills, Queens. As per Ron Frenz:
“Café Indigo was introduced by Pat Olliffe, as a tribute to his wife’s architectural design business at the time.”
In Amazing Spider-Girl #15 the gang gathers at Café Indigo to welcome back their pal Moose, who had to move away for several months due to his father’s illness. Frenz does a great job with this sequence, giving it moments of both characterization and comedy. I love the facial expressions. Frenz is such a strong storyteller, as this page demonstrates.
Inking is provided by the legendary Sal Buscema, who has been working with Frenz regularly since 2003. They make a great art team.
23) Bill Sienkiewicz & Klaus Janson
May 3rd was artist Bill Sienkiewicz’s birthday. To celebrate the occasion, I took a look at two coffee-themed pages of artwork by Sienkiewicz featuring Moon Knight.
The first page is from the Moon Knight back-up story in the The Hulk magazine #17, penciled by Sienkiewicz, inked by Klaus Janson, written by Doug Moench, and colored by Olyoptics, published by Marvel Comics with an October 1979 cover date. The second page is from Moon Knight #23, drawn by Sienkiewicz, written by Moench, lettered by Joe Rosen, and colored by Christie Scheele, with a September 1982 cover date.
On the first page we have Moon Knight stopping in at Gena’s Diner, the Manhattan coffee shop he frequents while sniffing out info on illegal activities in his guise of cabbie Jake Lockley. Sienkiewicz was only 21 years old when he drew this story. His work here definitely brings to mind Neal Adams, who Sienkiewicz has cited as a major influence.
Even with the obvious stylistic similarities, we can see that Sienkiewicz was already starting to utilize some interesting layouts in his storytelling. Janson’s inking goes well with Sienkiewicz’s style here, giving it a grittier edge that suits Moench’s writing.
On the second page we have Moon Knight, Frenchie, Marlene and her brother Peter having fled to Maine in the dead of winter, hiding out in an isolated house in the woods Moon Knight owns in his Steven Grant persona. They are fleeing from Moon Knight’s old foe Morpheus, the so-called “Dream Demon” who has the ability to possess people in their sleep, and to create horrifying nightmares. In order to stay awake and prevent Mopheus from controlling them Moon Knight and the others are gulping down copious amounts of black coffee.
Morpheus utilizes his psychic connection to Peter to learn their location. He invades the house and seizes control of both Marlene and Peter. Moon Knight and Frenchie are unaware of any of this, as they are busy trying to rig up a generator in the basement as a defense against Morpheus. Marlene comes down to join them, ostensibly to bring them some much-needed coffee. Too late they realize that Marlene is now in Morpheus’ thrall. Eyes ablaze with madness, Marlene strikes a match and tosses it onto the generator, with explosive results.
This issue of Moon Knight was drawn by Sienkiewicz only three years after that story in The Hulk magazine and, WHOA, what a difference! Sienkiewicz’s work grew by absolute leaps and bounds in that short period of time. This page is a really good illustration of how much he developed. His work has become very stylized and atmospheric. His layouts are striking, and he utilizes inking and zip-a-tone to superb effect. You can see here that Sienkiewicz has begun his evolution to the stunning abstract artwork that he would soon be creating in the mid 1980s.
Credit must also go to the coloring by Christie Scheele on this story. Her work complements Sienkiewicz’s art so very well.
24) Wallace Wood
This artwork is from the story “The Probers” in Weird Science #8, drawn by Wallace Wood, written by Al Feldstein & Bill Gaines, lettered by Jim Wroten, and colored by Marie Severin, published by EC Comics with a July-August 1951 cover date. I scanned this from the hardcover The EC Archives: Weird Science Volume Two, issued in 2007 by Russ Cochran and Gemstone Publishing.
Growing up in the early 1980s, I discovered the classic EC Comics via reprints. I was never overly fond of EC’s horror titles, since I found the pun-slinging hosts sort of cheesy. But I was absolutely enthralled by the sci-fi stories in Weird Science and Weird Fantasy, with their insightful examinations of the human condition, their grimly ironic twist endings, and their realistic, detailed artwork. Looking back on these, I realize that many of the EC stories that made the biggest impression on my young self were those drawn by Wallace Wood.
Wood, known to his friends as “Woody” (reportedly he disliked being called “Wally”), was an absolutely incredible artist, with his intricately detailed spaceships & technology, bizarre aliens, and stunningly beautiful women. Wood is rightfully remembered for his brilliant work, and the word “classic” is deservedly used to describe the stories he drew for EC.
“The Probers” is a typical EC tale of cosmic karma. Interestingly the story takes nearly a page detour to showcase young Lawrence Cavips’s futile attempt to drink coffee in outer space. Captain Scott provides us with a demonstration of the correct way do things, using a straw to sip up the free-floating bubbles of coffee. Scott guesses this must be Cavip’s first mission, which the young man confirms, telling him “Right! I just graduated two months ago!”
What? Just graduated? Cavip went to Astronaut Academy (or whatever they call it) and no one there bothered to explain to him the behavior of liquids in zero gravity? What are they teaching kids these days? Ehh, the young punk was probably slacking off, too busy hanging out with girls and listening to that newfangled rock & roll. Why in my day…
25) Gilbert Shelton
“I Led Nine Lives!” written & drawn by Gilbert Shelton, appeared in the underground comic The Fabulous Furry Freak Brothers #3 published by Rip Off Press in 1973. It was reprinted in Fat Freddy’s Cat #1, released by Rip Off Press in 1988.
The Fabulous Furry Freak Brothers are a trio of San Francisco potheads: Freewheelin’ Franklin Freek, Phineas T. Phreak and Fat Freddy Freekowtski. Fat Freddy has an orange tabby cat, the so-called “Fat Freddy’s Cat,” although the cat is (unsurprisingly) much smarter than his human, and often poops on Freddy’s possessions, especially if he’s late getting fed.
Fat Freddy’s Cat occasionally recounts his supposed adventures to his three nephews, and “I Led Nine Lives!” he regales them with his time as F. Frederick Skitty, federal agent. Skitty is assigned by “the Chief” to stop a nefarious plot to poison the nation’s water supply with a drug nicknamed “Hee Hee Hee.” When asked what exactly “Hee Hee Hee” does, the Chief gravely replies “It turns you queer!”
Skitty parachutes into to the mountain headquarters of the “Hee Hee Hee” manufacturers. After accidentally shooting up the nudist colony next door, Skitty confronts the flamboyant terrorists, who inform them that he is too late, because “We already mixed the drug in the nation’s coffee supply!” Skitty guns down the terrorists and races back to Washington DC to warn everyone, only to find the Chief already drinking his morning coffee and softly giggling “Hee Hee Hee” to himself. Skitty shoots the Chief, reasoning “It was my patriotic duty.” He then realizes that by now everyone else in the country has probably also had coffee. “So I shot myself, too” he tells his nephews. However he quickly assures them that everything turned out fine because “I still had eight more lives.”
Of course that extra-long nose we see Fat Freddy’s Cat sporting in the last panel hints that perhaps his thrilling account might not have been entirely accurate, to say the least!
I scanned this from my girlfriend Michele Witchipoo’s copy of Fat Freddy’s Cat #1. She was probably my intro to Gilbert Shelton. Michele is very much into independent and underground comics, and she’s broadened my knowledge & interests considerably.
The challenge by Comic Book Historians group moderator Jim Thompson: Pick a subject and find a different artist every day for that subject until May 1st (if not longer).
I chose “coffee” for my subject. From the work of how many different artists can I find examples of people drinking coffee? I guess we will just have to see. I posted these daily on Facebook, and I’m now collecting them together here on my blog. Click here to read Part One.
6) Jaime Hernandez
Day Six’s superbly-illustrated page comes from Love and Rockets volume 2 #9 by Jaime Hernandez, published by Fantagraphics, cover-dated Fall 2003.
Brothers Jaime & Gilbert Hernandez have been writing & drawing their creator-owned series Love and Rockets since 1981, taking only a short break from 1996 to 2001. Jaime and Gilbert both introduced interesting, well-developed, genuinely compelling casts of characters in their portions of the series.
One of Jaime Hernendez’s lead characters is Margarita Luisa “Maggie” Chascarrillo, a woman of Mexican American heritage who grew up in southern California. Love and Rockets takes place in real time, and over the past four decades readers have seen Maggie progress from a teenager to adulthood to middle age. “The Ghost of Hoppers” ran through the first 10 issues of volume two. Maggie, at this point now in her late 30s, is an apartment manager in San Fernando. A visit from her old friend Izzy is followed by Maggie experiencing strange, eerie visions. In this chapter Maggie (who is nicknamed “Perla” by her relatives) pays a visit to the old neighborhood to see her sister Esther’s family. Over after-dinner coffee Maggie hears the latest gossip about Izzy’s spooky old house, which naturally worries her, given recent occurrences.
Love and Rockets is a soap opera, but both Jaime and Gilbert have regularly ventured into magical realism with their stories. The events in “The Ghost of Hoppers” are framed in such a manner that the reader can to decide if all of this weirdness is genuinely occurring, or if Maggie is merely imagining it all.
Whatever the case, “The Ghost of Hoppers” was another intriguing, moving installment in Jaime Hernandez’s long-running storyline.
7) Paul Pelletier & Romeo Tanghal
Green Lantern #66 by penciler Paul Pelletier & inker Romeo Tanghal, from DC Comics, cover-dated September 1995.
So, as someone who read these issues when they were coming out, I’ll put my cards on the table: No, I did NOT like that Hal Jordan went insane and destroyed the Green Lantern Corps, and no, I did NOT like that the new Green Lantern’s girlfriend Alex DeWitt was murdered and stuffed in a refrigerator. Those two admittedly major things aside, I actually liked Kyle Rayner, and I felt that writer Ron Marz did a good job developing the character over several years.
After Alex’s death, Kyle moved from Los Angeles to New York City, renting an apartment in Greenwich Village, presumably pre-gentrification. Kyle’s landlord Radu had a coffee shop on the ground floor, and Kyle was a frequent customer, since in addition to the super-hero thing he was a freelance artist, and between those two jobs he definitely needed his regular caffeine fix!
Kyle soon became involved with the former Wonder Girl herself, Donna Troy. Nevertheless, being young and a bit immature, Kyle unfortunately still had a bit of a wandering eye, as we see here when he meets his neighbor, a model named Allison.
I’m not sure which one is stronger, Radu’s cappuccino or Allison’s approach to chatting up guys. “You should invite me up sometime. Love to see what you do… you know, your etchings and things.” Oh, man, that’s right up there with “It’s the plumber. I’ve come to clean your pipes.” 🤣
Pelletier is a good penciler. I’ve always enjoyed his work, and thought he should be a bigger name in comic books. As we see here, he certainly knows how to lay out a “talking heads” scene in an interesting manner. Of course, it does help when one of your characters is a sexy gal.
8) Michael Lark
Gotham Central #6 by Michael Lark, from DC Comics, cover-dated June 2003.
Gotham Central, which was co-written by Ed Brubaker & Greg Rucka, successfully walked the line of being a serious police procedural in the vein of Ed McBain’s 87th Precinct novels and the TV series Homicide: Life on the Street while being set in a city where a vigilante who dresses as a bat regularly fights a rogues gallery of insane costumed criminals. I admired Brubaker & Rucka for deftly straddling genres during Gotham Central’s 40 issue run as it chronicled the saga of the Major Crimes Unit’s detectives having to deal with Gotham City’s myriad super-villains, the police department’s own rampant corruption, and the interpersonal problems that resulted from having such a stressful, dangerous job.
Issue #6 is the first chapter of the five part “Half A Life” arc written by Rucka and drawn by Lark, which sees Detective Renee Montoya’s life severely upended by the duality-obsessed villain Two-Face. On this page we see Montoya, as well as Captain Maggie Sawyer, Detective Crispus Allen and Detective Marcus Driver. That’s Maggie Sawyer with the coffee pot in hand, with Driver also having a cup of java. After all, if you’re putting your life on the line in a crime-infested hellhole like Gotham, of course you’re going to rely on caffeine to get you through the day.
This is a nice page by Lark, with solid storytelling & characterization. He did superb work on this series. The dialogue by Rucka is really sharp, as well.
Hey, hey, the gangs all here… here being Day Nine’s artwork by John Romita & Mike Esposito from Amazing Spider-Man #53, published by Marvel Comics, cover-dated October 1967.
After co-creator Steve Ditko’s departure from Amazing Spider-Man a year earlier, scripter & editor Stan Lee took the series even more in the direction of soap opera. This was a good fit for the book’s new artist John Romita, who had recently come off of an eight year stint illustrating romance stories for DC Comics. Lee & Romita revealed the previously-unseen Mary Jane Watson, and began setting up a love triangle between Mary Jane, Gwen Stacy and Peter Parker. In the 1960s there was undoubtedly many a teenage boy reading Amazing Spider-Man who fell head-over-heels in love with Romita’s gorgeous depictions of Gwen and Mary Jane.
Effectively inking Romita on this issue is Mike Esposito, using the pen name of “Mickey Demeo” as he was still working for DC at this time. Lettering is courtesy of longtime Marvel staffer Artie Simek.
Following a battle with Doctor Octopus at the science exposition, Spider-Man changes back into his civvies and heads over to The Coffee Bean with Gwen for a cup of coffee. Peter and Gwen arrive to find MJ, Flash Thompson, and Harry Osborn already present, with even Aunt May and Anna Watson popping by to say hello.
You just gotta love that sign with the skull & crossbones-ish beatnik coffee bean with beret, sunglasses & paintbrushes, accompanied by the warning “Abandon hope all ye who enter here.” Sounds ominous… their espresso must be extra-strong.
10) Charles Nicholas & Vince Alascia
Break out your violins and hankies, because our next entry is from Just Married #113 from Charlton Comics, cover-dated October 1976. “A Sacred Vow” is illustrated by “Nicholas Alascia,” the pen name for the long-time team of penciler Charles Nicholas and inker Vince Alascia, who drew numerous stories for Charlton. Their style was well-suited to the romance genre, and they also worked on Charlton’s horror, war and Western titles.
Young, beautiful Anne is trying to make her marriage to Gordie Barton work, but doubts are beginning to creep in…
“When we were first married, Gordie planned to take night courses at community college. Why does Gordie have to be a bookkeeper? Kevin O’Shay, upstairs, is a commercial artist… he’s interesting.”
We can tell that Kevin is an “interesting artist” because he wears a foulard & black turtleneck, and has a mustache & long-ish hair. Kevin must also be thinking about Ann, as one day when Gordie’s at work our resident artist is asking Anne if she’d like for him to pick her up something at the bakery, because there’s something he’d like to discuss with her. Anne invites Kevin back to her apartment for coffee, where the artist, spotting her coffee pot, elatedly exclaims…
“Aahh… real coffee! I always use instant coffee and I hate the stuff.”
No, Anne, don’t do it! Any man who’s too lazy to brew his own coffee is just not worth it! Especially when he comes right out and admits instant coffee is awful!
Kevin asks Anne if she will model for him, offering to pay her $20 an hour. Anne agrees, but keeps it a secret from Gordie, who she knows dislikes the artist because he feeds the stray cats outside. A week later Anne models again for Kevin. This time the artist begins putting the moves on her, declaring “You’re the most beautiful model I’ve ever had, Anne.” And with that he grabs Ann in his arms and kisses her. A shocked Ann pushes him away and flees.
Flash forward hours later and Gordie returns home to find Ann sobbing on the couch. A distraught Ann confesses her activities, and Gordie admits “Oh? I knew you’d been in his apartment. I feel like sneezing… I am allergic to cats, remember?” Anne realizes that, though she is attracted to Kevin, it is Gordie she wants to be with. Realizing that she needs to voice her earlier doubts, she tells her husband “Darling, I’d like to go back to my old job… and then we’d both take courses at night.” Gordie thinks this is a great idea.
As the story closes, Gordie casually mentions “If it’ll make any difference… I’ve seen O’Shay with at least three different girls this week! One woman will never be enough for him!”
So… Kevin O’Shay is a smooth-talking lothario who attempts to seduce married women and who is too lazy to make his own coffee. On the other hand, he does feed the local stray cats. Well, even Hitler loved animals, but we all know he was a huge @$$hole.
In all seriousness, it needs to be said that several decades ago romance comic books were a pretty big deal, and that a lot of young girls read them. This is borne out by Just Married, which Charlton had been publishing since 1958. However by 1976 the demographics of the readership had changed. Super-heroes had come to dominate the medium, and the audience was now primarily boys in their early teens. Just Married was a casualty of these changes, being cancelled just one issue after this one.
We can look back on these stories and mock them for their overwrought, melodramatic plots. Nevertheless, at least back then there was an effort by publishers to appeal to more than just adolescent males. Besides, if we’re going to be honest, if we look back on the superhero comics of our childhood years, we have to admit, a lot of those were overwrought and melodramatic, as well.
So the next time some idiot complains about female readers, just remember that for a long time girls and women did read comic books, and at long last they’ve returned to the medium. That’s a positive, because we need a growing audience, especially with the comic book industry’s current financial crisis.
By the way, I bought Just Married #113 and a few other Charlton romance comics about a decade ago for my girlfriend Michele Witchipoo because she likes the artwork on those old books. She’s also a huge Love and Rockets fan, which resulted in my somewhat casual interest in Los Bros Hernandez turning into following the series regularly.
This year Marvel Comics is celebrating their 80th anniversary with the release of Marvel Comics #1000 and a number of specials reuniting older creative teams. The occasion prompted me to take a look back at 1986 in general, and at Fantastic Four #296 in particular, when Marvel celebrated their 25th anniversary.
I’m sure at least a few people are wondering “How in the name of Irving Forbush could Marvel have celebrated their 25th anniversary in 1986 and then only 33 years later be celebrating their 80th?!?”
The fact is Marvel Comics actually has two anniversaries. The first is for late August 1939 when Timely Comics, the company that would one day be known as Marvel, released their very first comic book, Marvel Comics #1 (with an October cover date). The second is for early August 1961 when the first issue of Fantastic Four was published (with a November cover date) ushering in what is now known as the “Marvel era” or the “modern Marvel universe” that has been in continuous publication to the present day.
This, of course, is very convenient for Marvel Comics, as it gives them not one but two historic anniversaries to celebrate every few years with high-profile specials and reprints, as well as the accompanying publicity.
In any case, back in 1986 it was the 25th anniversary of the debut of Fantastic Four #1 by Stan Lee & Jack Kirby. Marvel made a fairly big deal of it, with Marvel Saga and The Official Handbook of the Marvel Universe Deluxe Edition offering in-depth explorations of the characters’ histories (in the days before trade paperbacks and the internet both of these titles were invaluable resources to young fans such as myself). Marvel’s then editor-in-chief Jim Shooter also launched the New Universe with much fanfare, but due to various behind-the-scenes events that line ultimately did not last long.
Another part of the celebration was that all of Marvel’s comics released in August 1986 featured cover portraits of their lead characters, surrounded by a border of character illustrations, the latter of which were drawn by longtime Marvel artist John Romita. A gallery of these covers can be viewed on Sean Kleefeld’s blog.
This finally brings us to the main subject of this post, namely Fantastic Four #296, the big 25th anniversary issue commemorating the birth of the Marvel era. This 64 page story was plotted by Jim Shooter, scripted by Stan Lee, lettered by John Workman, colored by Glynis Oliver, and edited by Mike Carlin. It was drawn by a very impressive roster of artists: Barry Windsor-Smith, Kerry Gammill, Vince Colletta, Ron Frenz, Bob Wiacek, Al Milgrom, Klaus Janson, John Buscema, Steve Leialoha, Marc Silvestri, Josef Rubinstein, Jerry Ordway & Joe Sinnott.
The set-up for “Homecoming” is a bit on the convoluted side. A couple of years earlier, during the lengthy run by John Byrne that immediately preceded it, Ben Grimm aka the Thing had been written out of the book, and She-Hulk had come onboard the fill his spot. In recent issues the Thing had been lurking at the periphery, as Byrne was setting the stage for him to finally return to the team in their 25th anniversary story. But then Byrne abruptly departed Marvel, going over to DC Comics to do a high-profile reboot of Superman. This left Shooter and Lee sort of scrambling to pick up the pieces, to tell a story that makes sense with what Byrne had recently been doing.
As FF #296 opens, the Thing is despondent. His ex-girlfriend Alicia Masters is now dating Johnny Storm, the Human Torch. The Thing, who resembles a large pile of orange rocks, feels more disconnected from humanity than ever. After brooding in the rain at the site where Reed Richards’ rocket ship crashed years before, and the team all first gained their powers, Ben decides to exile himself to Monster Isle, home to the FF’s very first foe, the Mole Man, who himself has been ostracized by humanity.
Days later the rest of the team learn from pilot Hopper Hertnecky where their friend & teammate has gotten off to. Hopper reiterates to them the Thing’s longtime frustration that while Reed, Sue and Johnny all gained amazing powers from the cosmic rays that bombarded their spaceflight, Ben was horrifically mutated. Reed once again begins to beat himself up over his role in his best friend Ben becoming a monster. However this time Sue bluntly states that this time Ben is unfairly taking out his frustrations on Reed, that whatever Reed did or did not do, he has attempted on numerous occasions over the years to help Ben, to find a permanent cure for him.
Motivated by Sue’s words, Reed decides he needs to see Ben one last time, to settle their argument once and for all. Sue and Johnny insist on accompanying him. She-Hulk and Wyatt Wingfoot, however, choose to remain behind, realizing that this is a family matter, and as close to the team as both of them are, they haven’t been there since the very beginning.
Mister Fantastic, the Invisible Woman and the Human Torch journey to Monster Isle. They are quickly attacked by the Mole Man’s army of strange monsters. They are brought before the Thing, who has taken to dressing like the Mole Man. Ben tells the others they shouldn’t have come, this is his home now. He tells them that he is going to help the Mole Man create a safe haven for outcasts of society.
Ben is convinced of the Mole Man’s altruism, but he begins to experience doubts when Alicia unexpectedly arrives. The blind woman coerced Hopper into flying her to Monster Isle, so that she can make her peace with Ben. Learning that Alicia has broken up with Ben, and that Ben has been showing the rest of the team around the subterranean domain, the Mole Man’s bitterness & paranoia inflame. He has his servants kidnap & disfigure the Human Torch as punishment for Johnny “stealing” Alicia from Ben.
As upset as Ben is about Alicia being with Johnny, this nevertheless shocks & disturbs the Thing’s confidence in the Mole Man. Ben’s faith is further shaken when Reed explains that the earth-moving device the Mole Man intends to use to create an island refuge for humanity’s freaks & outsiders will cause devastation to the mainland.
At long last Ben realizes that no matter how noble Mole Man’s motives might be, he is nevertheless a disturbed, dangerous fanatic. The Thing joins with the others to wreck the Mole Man’s machines, and to restore Johnny to normal. As the subterranean headquarters beneath Monster Isle crumble, they make a break for it. The issue ends as they are rescued by Hopper in a rubber raft. A grumbling Ben reluctantly admits that his place is with the team, and at long last the Fantastic Four are reunited.
The plot by Jim Shooter is a solid one, in that it achieves two primary goals: It commemorates the anniversary & history of the Fantastic Four, and it gets the original line-up back together for the first time in two and a half years. Perhaps it’s not the best FF issue I’ve ever read, or the most imaginative, but it’s entertaining.
The script by Fantastic Four co-creator Stan Lee is also good. In later decades Lee sometimes became almost a parody of himself, with his whole “Face front, true believers!” bombastic, tongue-in-cheek style of prose and promotion. Some of that is certainly on display here. However, as the editor and the main writer / scripter at Marvel throughout the 1960s, Lee was largely responsible for giving most of the company’s characters their distinctive voices & personalities. Looking at this story it is apparent that he had remained capable of poignant, dramatic writing, especially if paired up with a talented artist / collaborator. Lee’s opening narration and dialogue for FF #296 is very effective and combined with the art by Barry Windsor-Smith results in a genuinely moody, atmospheric scene.
Speaking of the artists, there are some distinctive choices on display in FF #296. The aforementioned work by Windsor-Smith immediately set the tone. On several pages the story cuts back & forth between his art and a flashback of the FF’s origin drawn by Kerry Gammill & Vince Colletta. It definitely offers an interesting contrast.
In general I am not overly fond of Colletta’s inking. Nevertheless, back in the mid 1960s he did ink several of the Lee & Kirby FF issues, and his work on this story in conjunction with Gammill’s pencils evokes a Silver Age feel that is very well suited to a retelling of the events of the team’s first story.
There are several pages by the team of Ron Frenz & Bob Wiacek. Frenz is a very solid, effective storyteller, so he is certainly well-suited to dramatically render scenes that feature a significant amount of exposition and character moments. Wiacek is one of the best inkers in the biz, and his finishes complement Frenz’s pencils.
I also enjoyed the pages by Al Milgrom & Klaus Janson. They are two artists with very different styles, yet the combination works very well. Milgrom’s super-hero oriented penciling is very effective for rendering the team fighting the Mole Man’s weird, wacky monsters, and Janson’s inking gives it a darker, gritty feel.
The next pairing, John Buscema inked by Steve Leialoha, is a bit odd. Both are incredibly talented artists, to be certain. In addition, Buscema was the first regular penciler on FF after Kirby left the title, doing really good work during the early 1970s, so he’s an appropriate choice to contribute to this issue. Nevertheless, I do feel Leialoha’s inks sort of subsume Buscema’s characteristic style. Of course, it is possible that Big John was only contributing layouts, something that became more prevalent for him in the 1980s, leaving it up to Leialoha to do the lion’s share, and resulting in more of his style coming through.
I think that under any other circumstances the team of Buscema & Leialoha would have been very effective. It’s just that here, on this particular story, a somewhat more traditional inker might have been a better fit for Big John. But that’s purely an emotional, sentimental judgment on my part. At the very least, this does demonstrate once again just how significant an impact the inker can have on the finished artwork.
The next segment is by then up-and-coming penciler Marc Silvestri and established inker Josef Rubinstein. This was a year before Silvestri would begin his well-received run on Uncanny X-Men, but there’s definitely a lot of potential on display, with solid action & effective storytelling, and it’s apparent why he soon became a hot artist. Rubinstein’s inking ably supports the young penciler.
Rounding out the issue is Jerry Ordway on pencils and Bob Wiacek & Joe Sinnott on inks. It was certainly very appropriate to have Sinnott involved in this issue. He had a long, acclaimed association with the Fantastic Four series. Sinnott inked the second half of Lee & Kirby’s long FF run, and is generally regarded as one of the best inkers ever paired with Kirby. After Kirby left Marvel, Sinnott continued as the book’s inker for over a decade, working over John Buscema and several other pencilers, right up until the beginning of Byrne’s run.
That said, in my mind Ordway inked by Sinnott was another unusual choice. Sinnott is an inker whose work is almost always recognizable, no matter who he inks. Ordway, however, is one of those pencilers whose style is so strong & distinctive that, no matter who inks his pencils, the finished artwork basically looks the same. To my untrained eyes Ordway inked by Sinnott does not look much different that Ordway inking himself, or Ordway inked by Wiacek or Al Gordon or Dennis Janke or anyone else.
Oh, well… I’m probably quibbling. The pages by Ordway, Wiacek & Sinnott look great, and that’s the important thing. Ordway has stated that growing up in the 1960s he was a huge Marvel fan, so it must have been a thrill for him to work on several issues of Fantastic Four around this time, especially this anniversary story.
In any case, the back cover artwork is by John Buscema & Joe Sinnott. It’s a really nice image that showcases both artists’ styles, and really evokes the early Bronze Age era of the title. So that gives us a really good example of “traditional” FF artwork.
However, there are two individuals who were not involved with Fantastic Four #296. The first is Jack Kirby. The second is John Byrne.
Kirby is, of course, the co-creator of Fantastic Four. He co-plotted & penciled the first 102 regular issues of the series, as well as the first six annuals. Kirby’s role in the creation & development of the Marvel universe cannot possible be overstated.
As for Byrne, he is often credited with the revitalization of the Fantastic Four title. The writing on FF throughout the 1970s is generally regarded as uneven. Byrne came onboard as writer & artist with issue #232 in 1981, and very quickly made the FF into an exciting, popular series. His time on the book is frequently compared to the original Lee & Kirby run.
However, once again real-world events intruded. By 1986 Byrne and Shooter were not on good terms and, as previously mentioned, this led to Byrne abruptly leaving Fantastic Four. His last full issue was #293, released just three months earlier.
I doubt that back in late 1986 any of this impacted on my reading of Fantastic Four #296 in the slightest way. As I said before, this was pre-internet, so I had no way of easily finding out about all of these events.
Nowadays, though, I have a much greater knowledge of the history of the Fantastic Four series, and an awareness of what was going on at Marvel in the mid 1980s. So when I re-read this issue a couple of weeks ago, the absences of Jack Kirby, who co-created the first decade of the book, and John Byrne, who had just come off a five year run that saw a creative renaissance, felt especially conspicuous, as well as exceedingly unfortunate.
Not to jump on an anti-Marvel bandwagon, but I certainly understand why over the past three decades so many artists & writers have chosen to go the creator-owned route. After all, if Marvel can screw over Kirby, the guy who created many of their characters, well, they’re certainly not going to hesitate to kick anyone else to the curb, either. Far better to retain ownership of your characters and benefit fully from their success, no matter how modest, than to create a runaway hit for Marvel (or DC Comics, for that matter) and see other people make millions of dollars off your creativity.
Having said all that, I do still enjoy a few Marvel and DC books, such as Fantastic Four (the current run written by Dan Slott is the best the book has been in a long time). I just believe that it’s absolutely crucial for anyone who wants to work for the Big Two to go in with their eyes open, to know exactly what their rights are, and to be fully aware of the history of the industry, so that they do not find themselves in the same position that Kirby and so many others unfortunately did.
One other note: Back in 1986, I was 10 years old, and the idea that Marvel was celebrating its 25th anniversary was a little difficult to comprehend. To me 1961 seemed so incredibly far in the past.
Contrast this to a couple of years ago, when Image Comics celebrated their 25th anniversary. My first reaction was that there was absolutely no way Image could be 25 years old, and it was impossible for 1992 to have been a quarter of a century ago.
I guess it’s just one of those matters of personal perspective. Anything that happened before you were born is automatically ancient history, and anything that happened during your lifetime, even if it was decades ago, still feels like the recent past because you were there and experienced it firsthand.
One of my favorite comic book characters is Mantis. I wrote about her once before. Created by writer Steve Englehart, she made her debut within the pages of Avengers #112 (June 1973). Mantis was initially designed by the much underrated Don Heck, who penciled that issue. Two months later, in Avengers #114, her distinctive costume, designed by John Romita, made its debut.
Mantis was the central focus of the story arc “The Celestial Madonna,” which ran through Avengers #128 to #135 and the quarterly Giant-Size Avengers #2 to #4. Englehart explored both Mantis’ mysterious past and the cosmic history of the Marvel Comics universe. Englehart did excellent work developing Mantis during his time on Avengers. The character experienced a fascinating arc of change and growth.
This past Saturday, I got a tattoo done on my right leg. I’ve been thinking about getting this piece for several years. After selling a couple of pages of original comic art from my collection I finally had the funds to have it done. It is a tattoo of Mantis based on Dave Cockrum’s stunning artwork for Giant-Size Avengers #2 (Nov 1974).
I had originally hoped to have this done by Becca Roach, the artist who did my Beautiful Dreamer and Watchmen tattoos. Last week I contacted Becca on Facebook… and learned that she’d moved to Hawaii a couple of months ago. Oops!
I sent Becca another message, asking if there were any other tattoo artists in NYC who she would recommend. She suggested Daniel Cotte, with whom she had recently worked with at SenaSpace Art + Tattoo, located at at 229 Centre Street in the East Village.
Daniel was a really cool guy. It turns out that he is also a comic book fan. He mentioned that he really liked Joe Kubert’s work on Enemy Ace. Daniel appeared interested in tattooing this particular piece, which was good to know.
Daniel finished the tattoo in a little less than two hours, which was a relief to me because, yipes, was it painful! This was by far the most detailed piece that I’ve ever gotten. It was especially uncomfortable when Daniel was tattooing all of the details of Mantis’ feet & ankles, because that was on my ankle, where there’s a lot less muscle under the skin. But I just gritted my teeth and tolerated it, telling myself to hold still because in the end I would have a really nice piece. And, yes, it does look fantastic. Thanks again, Daniel!
After I got home Saturday night, I e-mailed a photo of the Mantis tattoo to Steve Englehart. He really liked it, stating that it was “gorgeous!” I also sent the photo to Dave Cockrum’s widow Paty, who responded with “Wow! Totally awesome tat, kiddo!”
I am a huge fan of artist Dave Cockrum. He is well regarded for his work on X-Men. But shortly before he revamped Marvel’s mutants, Cockrum briefly worked on Avengers. He inked several issues of the monthly title, providing wonderful embellishments for the pencils of Rich Buckler, Don Heck, John Buscema and Bob Brown. Cockrum did the full artwork for the second issue of Giant-Size Avengers, and then penciled the third one, with Joe Giella inking him there.
In my assessment, Cockrum’s work on Giant-Size Avengers #2 is dynamic, some of the best of his career. Especially striking is the beautiful, haunting page which contains the figure of Mantis that I had tattooed. Here is a scan of it from the Celestial Madonna trade paperback.
I think that this is it for tattoos, both because I can’t think of anything else I’d want done, and I’m running out of areas where I can get them that can be covered up when I go to work. But you never know what will come to mind in the future.
If you have never read it, I recommend the Steve Englehart era of Avengers, which contains some groundbreaking stories and quality artwork. Most of the issues which contain the Mantis storyline are reprinted in black & white in Essential Avengers Volume 6.
By the way, rumor has it that Mantis will be appearing in the second Guardians of the Galaxy movie. So keep an eye out for her.
Longtime comic book artist Herb Trimpe passed away unexpectedly on April 13th at the age of 75. I was a big fan of Trimpe’s work and I’ve written about him a few times previously on this blog.
Trimpe may not have been the most flashy, dynamic artist. But he was definitely a great storyteller, drawing effective interior layouts and striking covers that grabbed your attention. Like many others of his generation, Trimpe had an amazing work ethic, keeping a monthly schedule on numerous titles during his career.
In his early 20s Trimpe briefly worked as an inker for Dell and Gold Key. After a four year stint in the Air Force from 1962 to 1966, he began to get work at Marvel Comics. Among his earliest assignments at Marvel were such Western characters such as Kid Colt and Rawhide Kid. He also inked Marie Severin’s pencils on the Hulk feature in Tales to Astonish in 1967.
In 1968 Tales to Astonish was retitled The Incredible Hulk beginning with issue #102. Four months later Trimpe became the book’s penciler with issue #106. This was a start of a mammoth run on the series that would last until issue #193 in late 1975. During that seven and a half year run, Trimpe missed a mere two issues. His work on Incredible Hulk resulted in his depiction of the Jade Giant becoming one of the most identifiable, iconic renditions of the character.
While on Incredible Hulk, Trimpe sometimes inked his own pencils, and he was also paired with inkers John Severin, Dan Adkins, Sal Buscema, Sam Grainger, Sal Trapani, Jack Abel and Joe Staton. He illustrated stories written by some of Marvel’s most talented writers, namely Stan Lee, Roy Thomas, Archie Goodwin, Steve Englehart and Len Wein.
One of the most memorable Hulk stories that Trimpe penciled was “The Brute That Shouted Love at the Heart of the Atom” from issue #140. Plotted by science fiction author Harlan Ellison, scripted by Thomas, and inked by Grainger, this was the introduction of Jarella, the green-skinned princess of a sub-atomic world. Jarella is undoubtedly one of the Hulk’s true loves. All these decades later this bittersweet tale is fondly remembered. Trimpe’s layouts on the final few pages are extremely impactful, driving home the tragedy of the ending.
Trimpe also became the very first artist to draw the now-popular mutant Wolverine in print. Wolverine’s look was actually designed by John Romita. But it was Trimpe who penciled his first three published appearances in Incredible Hulk #s 180-182, which were written by Wein, with inking by Abel.
In later years Trimpe would be commissioned on numerous occasions to draw re-creations and re-interpretations of that first historic battle between the Hulk and Wolverine. One of those pieces, with a background illustration by Gerhard, was used last year as the cover for Back Issue #70 from TwoMorrows Publishing, the theme of which was “Incredible Hulk in the Bronze Age.”
During his lengthy stint at Marvel Trimpe drew many of the company’s characters. His credits include Iron Man, Nick Fury Agent of S.H.I.E.L.D., Captain Britain, Ant-Man in Marvel Feature, Killraven in Amazing Adventures, Captain America, Avengers, Son of Satan in Marvel Spotlight, Defenders, Spider-Man in Marvel Team-Up, Machine Man, and several stories in What If.
Trimpe and writer Gary Friedrich created the World War I flying ace Phantom Eagle, who made his debut in Marvel Super-Heroes #16 (Sept 1968). The character obviously tapped into Trimpe’s longtime love for airplanes, and his artwork for this story was very dynamic. Although the character of the Phantom Eagle never really took off (so to speak) he did make a few subsequent appearances over the years, including in Incredible Hulk #135 once again drawn by Trimpe.
Beginning in the late 1970s Trimpe drew a number of Marvel titles featuring licensed characters. He penciled nearly the entire two year run of Godzilla. This was a wacky and offbeat series written by Doug Moench that integrated Toho’s famous monster into the Marvel universe. Trimpe illustrated Godzilla’s encounters with Dum Dum Dugan and the Agents of S.H.I.E.L.D., the Champions, Devil Dinosaur, the Fantastic Four and the Avengers. In issue #17 Moench, Trimpe and inker Dan Green even showed Godzilla getting shrunk down in size by Hank Pym, a condition that persisted for the next few issues!
Trimpe also drew Shogun Warriors, Transformers, and The Further Adventures of Indiana Jones. He was the first artist on the successful G.I. Joe comic launched in 1982. He penciled the first several issues, and also plotted a few of them, with G.I. Joe writer Larry Hama scripting. On issue #8 Trimpe even flew solo, plotting, penciling, inking and scripting “Code Name: Sea-Strike!”
Interviewed in 2001 for issue #53 of the Godzilla magazine G-Fan, Trimpe reflected upon his work on these various licensed titles:
“It’s funny, because you have a point about that. I never realized it before, but I have worked on a lot of licensed projects… I believe that it was probably because all of those titles involved the military, big vehicles and machines. [Marvel] knew I enjoyed drawing that stuff. Even the Hulk fought the army a lot. So, that’s no coincidence. I’m a big airplane freak. That’s really the connection there. I loved airplanes as a kid. I used to build models. I eventually got my pilot’s license, and even owned my own airplane for a number of years.”
Trimpe soon departed from G.I. Joe as he was not fond of drawing its (literal) army of characters. Five years later he returned to work on the spin-off series G.I. Joe Special Missions which was also written by Hama. With its smaller casts and self-contained stories, the book was more appealing to Trimpe. “I actually liked doing the Special Missions better than the regular one,” he stated in Back Issue #16.
Plus, within the pages of Special Missions, Trimpe got to draw airplanes… lots of them! On his Facebook page Hama fondly reminisced “Fave way to make Herbie happy was to give him a script with lots of airplanes in it.” Trimpe drew nearly the entirety of the 28 issue run of Special Missions.
The 1990s was a major decade of transition for Trimpe. He began drawing in a manner reminiscent of the then super-popular Image Comics founders, particularly Rob Liefeld. This new style was most notably on display within the pages of the giant-sized quarterly title Fantastic Four Unlimited which was written by longtime Marvel scribe, and Trimpe’s former Incredible Hulk collaborator, Roy Thomas. Mike DeCarlo and Steve Montano inked the first few issues, with Trimpe himself embellishing his pencils on the later stories.
“Truth was, it was a lark–but a lark with a purpose, all devised by myself. No one at Marvel suggested I change the way I draw or ink. I looked at the new guys’ stuff, and thought, hey, this is great. Very exciting. You can always learn from somebody else, no matter how long you’ve been doing a thing.
“I did, however, think the style might lead to new work at a time when Marvel was already in trouble, and it did. FF Unlimited was my last series at Marvel, and contrary to what a lot of fans think, I think it was the best work I’d done–and, I had a whole lot of fun doing it. Very expressive. I think the newer influences in comic book art brought out a better me. Like I said, most of the fans of the earlier stuff would not agree. On one occasion, I inked a whole story with a brush, which is what I was raised on, and the editor objected asking me not to do that anymore. But in general, no one pressured me into a change.”
Looking over Trimpe’s artwork on FF Unlimited, it is undoubtedly offbeat. The anatomy of his figures is wonky. Trimpe may have enjoyed this particular stylistic experiment, but as a reader I do not think it was entirely successful. Having said that, his layouts and storytelling on those issues are dramatic and imaginative. Despite the odder aspects of Trimpe’s early 1990s art, I enjoyed the stories he and Thomas told in FF Unlimited.
Unfortunately, with the comic book industry experiencing a huge downturn due to the collapse of the speculator market in the mid-1990s and Marvel declaring bankruptcy, Trimpe found himself out of work. It was an extremely difficult period of time for him. Trimpe would document his feelings on being unemployed in a journal. His writings would later be published as “Old Superheroes Never Die, They Join the Real World” by the New York Times in 2000. They can be read on Jim Keefe’s website.
Reading Trimpe’s journal entries, I have some identification. I was laid off in late 2009, and since then have worked a series of temp positions, with periods of unemployment in-between. I have yet to find a new permanent job. If this is stressful for someone in their 30s, I can only imagine how much more so it was for Trimpe, who was two decades older, and who had been at the same job for over a quarter of a century. Eventually he was able to make the difficult transition into a new career, working as a high school art teacher.
I regard Trimpe’s experiences in the 1990s as yet another reminder that, for all its excitement, a career in the comic book industry is also one that is fraught with uncertainty. Trimpe’s story is sadly not unique. Many others older creators have had similar experiences. I am just glad that eventually, after much hard work, he was able to land on his feet.
In 1992 Trimpe had been ordained a deacon in the Episcopal Diocese of New York. A decade later, in the months following the September 11th terrorist attacks, he performed volunteer work as a chaplain in lower Manhattan.
Within the last several years Trimpe began working in comic books again. A number of creators who were fans of his work when they were growing up started to hire him to draw various covers, fill-in issues and short stories. In 2008 Trimpe drew the first issue of the BPRD: War on Frogs miniseries published by Dark Horse and a back-up story in the King-Sized Hulk special.
In 2010 IDW began publishing G.I. Joe: A Real American Hero which continued the continuity, as well as the numbering, of the original Marvel series. Larry Hama was once again writing the series. A few issues into this revival Trimpe began contributing covers for the series based on layout sketches from Hama. Trimpe’s covers were featured on the series for nearly two years. He was also one of the pencilers on the 2012 annual.
Savage Dragon creator and Image Comics co-founder Erik Larsen is a longtime fan of Trimpe’s work. As he recently explained, “The first comic book I ever bought with my own money was The Incredible Hulk #156.” In 2010, when Savage Dragon was approaching its own 156th issue, Larsen approached Trimpe to draw a variant cover paying homage to that Incredible Hulk issue. Working from Larsen’s rough layout, Trimpe illustrated a great cover featuring two versions of the Dragon facing off against one another.
Four years later, for Savage Dragon #200, Larsen asked Trimpe to contribute to two of the back-up stories. On the first one Larsen inked Trimpe’s pencils; on the second Trimpe inked Larsen. I really enjoyed how those came out.
Within the last decade Trimpe became a regular guest at comic book conventions, especially in the Tri-State area. This was when he started to realize just how much his work, which he had always been somewhat critical of, meant to people. In his 2008 foreword to Marvel Masterworks: The Incredible Hulk Vol. 5, Trimpe wrote:
“…what finally sunk into my thick skull, was that hundreds, if not thousands, of comic book fans loved the stories I drew. And worse than that, they loved the style I had grown to dislike (I won’t use the word hate). Many a dear comic-book folk described emotionally to me how meaningful those stories had been to them. I’m sure many artists and writers in this crazy business have heard these same sentiments, but when you experience it for yourself, it is mind-blowing. One fellow described to me how a particular issue I had drawn had saved his life! How does a guy who worked to make deadlines and get the paychecks respond to that? I was flabbergasted, and I continue to be flabbergasted by the many thanks I have received for the work that I have done.”
I was fortunate enough to meet Trimpe at several conventions over the years. He always impressed me as a genuinely nice person. It was always a pleasure to see him. I was able to obtain a few pieces of artwork by him over the years, and they are a much-treasured part of my collection. They can be viewed at Comic Art Fans…
Given the tremendous, widespread responses to Herb Trimpe’s passing that have been seen on the Internet within the past week, both from fans and former colleagues, it is readily apparent that he was both a talented creator and a good person. He will certainly be missed by me and by many others.
Here are some previous pieces where I’ve written about Trimpe:
Here’s wishing a very happy 85th birthday to legendary comic book artist John Romita, who was born on January 24, 1930. The prolific Romita has had a long association with Marvel Comics over the decades, at one time or another drawing many of the company’s major characters, as well as having a hand in designing a number of them.
Romita’s first regular assignment at Marvel was Daredevil. He worked on issue #s 12-19 (cover dates Jan to Aug 1966). It was while on Daredevil that Romita first drew the character of Spider-Man in a two-part guest appearance in #s 16-17. This actually led to Romita becoming only the second artist to draw Amazing Spider-Man, after co-creator Steve Ditko departed from Marvel. Romita’s first issue was #39 (Aug 1966), teamed up with writer & editor Stan Lee.
During his time working on Amazing Spider-Man Romita designed several new villains, most prominently the Rhino, the Shocker, and the Kingpin. Romita also made his mark as an artist who was talented at rendering beautiful women. He revealed what Mary Jane Watson actually looked like, and he gradually transformed Gwen Stacy from Ditko’s ice queen into more of a sweet girl-next-door type. He also completely redesigned the look of the Black Widow, giving Natasha her now-iconic long red hair, leather jumpsuit and wrist-blasters in issue #86 (July 1970).
Before his time at Marvel, Romita had spent nearly a decade at DC Comics working on their romance titles. This definitely made him very well-suited to working on Amazing Spider-Man. During this time Stan Lee’s stories were as much soap opera as super-heroes. Romita was the perfect artist to illustrate Peter Parker’s personal life and rocky romances with Mary Jane and Gwen.
Confession time: I am not an especially huge fan of Spider-Man, although there are certain runs and storylines featuring the web-slinger that I have enjoyed. Consequently, I do not have all that many issues of his various comic titles and most of those that I do own are from the 1980s onward. So sadly I don’t actually have many of the issues Romita worked on. I really need to pick up some trade paperbacks!
One of the Spider-Man books by Romita that I do have, though, is from much later in his career. Published in 1997, the Spider-Man/Kingpin: To the Death special was a reunion Romita in more than one way. It was his first full-length Spider-Man story in a number of years. It also saw him once again drawing the Kingpin and Daredevil. The book also reunited him with Stan Lee, who scripted over a plot by another long-time Spider-Man writer, Tom DeFalco. Romita’s pencils were effectively inked by Dan Green. I thought it was a nice collaboration. Green’s embellishment seemed to bring out the Milton Caniff influence in Romita’s style.
Although certainly not nearly as prominent as his association with Spider-Man, Romita also contributed a small but impressive body of work featuring another of Marvel’s iconic characters, Captain America. Actually some of Romita’s earliest professional work was on the very short-lived revival of the Captain America title in 1954.
After Romita became firmly established at Marvel in the mid-1960s, he illustrated Captain America on a few occasions. He drew the Cap stories in Tales of Suspense #76-77 (April-May 1966). The second of those tales, on which Romita penciled over Jack Kirby’s layouts, introduced Cap’s wartime love interest & ally Peggy Carter, the older sister (later retconned into the aunt) of his current girlfriend, S.H.I.E.L.D. agent Sharon Carter.
Tales of Suspense was re-titled Captain America with issue #100. Romita guest-penciled issue #114 (June 1969) and a couple of years later briefly became the book’s regular artist, working on #s 138-145 (June 1971 to Jan 1972). Although the writing on some of these issues was a bit underwhelming, particularly the ones featuring the Grey Gargoyle, the art by Romita was nevertheless very good.
Towards the end of this brief run, under writer Gary Friedrich, the stories got a bit better. Africa-American social activist Leila Taylor was introduced as a love interest for the Falcon who would frequently challenge his political views. Cap’s arch-foe the racist Red Skull was unmasked as an agent provocateur who was attempting to discredit Leila’s militant civil rights group by inciting them to violence. Romita’s final issue of Captain America was the first chapter of an exciting story arc that saw Cap, Sharon Carter and the forces of S.H.I.E.L.D. pitted against the hordes of Hydra. His cover to #145 was incredibly striking, with a rage-filled Cap standing over the fallen Sharon, swearing vengeance against Hydra. He worked on a number of additional covers for Captain America throughout the 1970s.
I mentioned before how adept John Romita is at drawing beautiful women. This was very well encapsulated on the cover to Marvel Age #111. Romita drew himself day-dreaming, surrounded by a bevy of the lovely ladies he had rendered over the decades, among them Gwen Stacy, Mary Jane Watson, and the Black Widow. In a humorous, self-deprecating touch, in the upper right hand corner Romita draws his wife Virginia popping in to his studio to ask him if he’s finished drawing the cover yet!
Romita’s son John Romita Jr also went into the comic book biz, himself becoming an equally prolific artist who worked on numerous titles. There are similarities between the styles of father and son, although I would describe John Jr’s work as more gritty. The two have worked together on occasion, with Romita inking his son’s pencils.
I’ve been fortunate enough to meet Romita on a couple of times at comic book conventions, where I was able to get a few of the books he worked on autographed. I didn’t have much of an opportunity to speak with him, but he seemed to be a polite, pleasant individual.
Although mostly retired nowadays, Romita does from time-to-time dip his toe back into the waters of the biz, drawing the occasional cover here and there. It’s always nice to see new work from such a talented legend.
In previous editions of Strange Comic Books, I’ve looked at certain comics that had varying degrees of oddness. However, this latest entry really is an especially bizarre item. Published by Marvel Comics, the Captain America: The Drug Wars special is mind-bogglingly weird.
A little background first: if you went to school in the 1980s and early 90s, you might remember that Marvel and DC used to work with various government agencies and private companies to publish what were the comic book equivalent of Public Service Announcements or After School Specials. These were distributed to schools around the country, and featured popular superheroes in stories educating students about drug addiction, teen pregnancy, child abuse, asthma and, um, tooth decay… yeah, what can I say, not all childhood dangers are created equal. As you can imagine, none of these comic book PSAs offered what could be regarded as particularly subtle or nuanced examinations of complex societal problems.
Captain America was one of the characters to appear in these. There were not one but two specials entitled Captain America Goes To War Against Drugs that were created by Marvel in the early 1990s. I was reminded of these recently when someone mentioned them as part of a discussion on Comic Book Resources about the “Streets of Poison” story arc. Cap is perhaps not the most judicious of choices to use as a spokesperson to convince kids not to use drugs, considering he gained all his physical abilities via the Super Soldier Serum. Though, to be fair, Steve Rogers volunteered for Operation Rebirth because he selflessly wanted to help protect the world from Fascism rather than, say, break the record for most home runs in a season of baseball. I’m sure you can see the difference between Cap and Barry Bonds.
Oddly enough, the first of these specials was sponsored by Guardian Life Insurance, who less than a decade before had been depicted in Captain America #291 as an evil corporation scheming to rip off supervillains in a massive life insurance scam. I guess Guardian wasn’t one to hold a grudge.
These two specials were, unsurprisingly, about as heavy-handed as you can get in terms of depicting drug use in a negative light, and in hammering home, over and over, the “just say no” message. But obviously that was their point. In the end they were well-intentioned propaganda devices that clumsily but earnestly were hoping to protect teenagers from turning into dope fiends, or something like that.
No, where things get odd is when Marvel decided to reprint the two Captain America Goes To War Against Drugs stories as Captain America: The Drug Wars in 1994 and sell it in comic book shops. They even had a brand-new cover for it, courtesy of S. Clarke Hawbaker. (Whatever happened to S. Clarke Hawbaker, anyway? I always enjoyed his work.)
And then we get to the actual material within Captain America: The Drug Wars. The first story is more or less straightforward, with Cap trying to help out a teenage athlete named Mitch who has become addicted to drugs. Yes, straightforward, except for the fact that Mitch gets his supply from an alien drug dealer. Really!
However, these extraterrestrial narcotics smugglers are more or less a side issue in this tale. As Cap astutely points out to Mitch, it doesn’t really matter who he got the drugs from, but rather what the drugs are doing to him, like, say, causing him to accidentally knock out people with his fastball during high school baseball games. Oops!
To be fair, veteran comic book writer Peter David does a good job scripting a story that has a Very Important Message without it becoming too cringe-worthy. And there’s some pretty good artwork courtesy of Sal Velluto & Keith Williams.
It’s only in the second installment that the proceedings become insanely anvilicious. Cap, still working on tracking down the drug ring seen in the prior chapter, has joined forces with the teenage superhero group the New Warriors. Following the criminals to their lair, Cap and the New Warriors find it defended by a quartet of super-powered teenage criminals with the names Weed, Crack, Ice and Ms. Fix, collectively known as the Drug Lords… no, I am not making this up! And then Silhouette of the New Warriors unmasks the hooded mastermind lurking in the shadows. Yep, it’s those pesky alien drug pushers, the Tzin, once again.
The Tzin leader and the Drug Lords escape by teleporting to an orbiting spaceship. We soon see that the Drug Lords may have gained their powers through the use of narcotic substances, but (of course) this has also turned them into addicts.
Back on Earth, Silhouette pays a visit on her friend Dorreen, only to discover the teen dance prodigy is using drugs to relieve the pressure she’s under. This is all observed by Ms. Fix, who has been trailing Silhouette. Ms. Fix realizes that Silhouette, who uses crutches, wants to regain full mobility, and tries to tempt her into joining the Drug Lords. Silhouette surreptitiously summons Cap and tricks Ms. Fix into teleporting them all to the Tzin spaceship. During the fight the ship gets trashed, and the Drug Lords’ supply goes up in flames, causing them to turn on their alien masters. Cap, Silhouette, and Dorreen (who somehow also managed to end up on the ship) teleport back to Earth before everything goes boom. Wrapping things up, Silhouette offers to help Dorreen overcome her addiction.
The writer on this half of the book is George Caragonne, who penned a handful of stories for Marvel in the early 1990s. What makes Caragonne’s association with this anti-drug comic especially odd is that soon after he became the editor of Penthouse Comix. And then a year after that he committed suicide. Yeah, all joking aside, that was a really awful end for him.
Having the story focus on Silhouette was a good decision on Caragonne’s part. As so effectively established by writer Fabian Nicieza in the ongoing New Warriors series, Silhouette was a former athlete who became partially paralyzed, but who continued to actively fight crime, not letting her disability hold her back. So she was an ideal character to utilize in attempting to show that you do not need to fall back on mind-altering substances when adversity strikes.
This second part is penciled by A Distant Soil creator Colleen Doran, with inking by Greg Adams. I have to say it looks very beautiful. Doran and Adams probably could have phoned it in if they wanted to, given the somewhat hokey, throw-away nature of the story. Instead they turned in some real quality artwork.
It’s worth nothing that, by collecting those two PSAs as Captain America: The Drug Wars, those stories became an official part of Marvel canon. I kid you not. The Tzin even received a profile page in the Captain America: America’s Avenger handbook-style special in 2011, with a profile image illustrated by Gus Vasquez.
I’m still waiting for someone to bring the Tzin back. Because when you think about it, they actually had a somewhat more plausible scheme for conquering the Earth than most other alien invaders. If you really are that hell-bent on attempting to take over the Earth, which has several thousand superheroes living on it and has successful driven off the Skrulls, Kree and Galactus on multiple occasions, then there are certainly worse schemes to hatch than getting the teenage population of the planet addicted to drugs. Sounds like Marvel’s next big crossover if you ask me!