This is the third installment of my look at recurring plots, imagery and character-types in the Legion of Super-Heroes stories published by DC Comics during the Silver Age… and beyond.
This time we are looking at homages to one of the most iconic Legion images, the cover to the team’s first appearance in Adventure Comics #247.
Initially these homages were quite infrequent. By the 1990s, though, fandom had, for better or for worse, become a decades-spawning passion with a significant awareness of the medium’s past. This has resulted in the proliferation of homages to and parodies of Golden and Silver Age imagery, among these the cover to Adventure Comics #247.
The first Legion of Super-Heroes story in Adventure Comics #247 (April 1958) was written by Otto Binder, drawn by Al Plastino and edited by Mort Weisinger. The now-legendary cover was drawn by penciler Curt Swan & inker Stan Kaye, who regularly contributed the cover artwork to the Superman family of comics in the late 1950s.
“The Legion of Super-Heroes” saw a group of super-powered teens from 1000 years in the future offer Superboy the chance to join their club. Originally intended as a one-off tale, within a few years it would become a beloved, long-running series. Likewise, the cover image to Adventure Comics #247, with a shocked Superboy being rejected for membership in the team, would go on to be a recurring motif over the series’ history, as well as inspiring numerous parodies throughout the medium.
The earliest homage to the Adventure Comics #247 cover that I’ve located is Superman #147 (August 1961) also drawn by Curt Swan & Stan Kaye. Here we see the now-adult Man of Steel being threatened not with rejection but with death by the Legion of Super-Villains.
It’s interesting to note that this issue was published just a little over three years later, in an era when overt nods to past were rare in the comic book biz. Audience turnover was fairly rapid in the 1950s and 60s, and it would normally not be expected that current readers would be familiar with material published several years earlier. The fact that Swan & Kaye drew this cover, presumably at the direction of editor Weisinger, appears to confirm awareness by DC that the Legion was already developing an avid, long-term readership.
The cover to Adventure Comics #322 (July 1964) is again penciled by Curt Swan, now paired with inker George Klein. Although not a straight-up homage of #247, it nevertheless evokes the former’s audition format, but with the Legion of Super-Pets taking the place of Cosmic Boy, Lightning Lad & Saturn Girl, and the shape-changing Proty II standing in for Superboy.
L.E.G.I.O.N. was a semi-prequel to Legion of Super-Heroes. It featured an interplanetary law-enforcement team organized by the original Brainiac’s son, the Machiavellian genius Vril Dox, in the present day. The tone of L.E.G.I.O.N. was often bleakly humorous (as any series co-starring the ultra-violent Lobo would inevitably be) but the comedic tone reached ridiculous proportions in L.E.G.I.O.N. ’94 Annual #5 (September 1994). This “Elseworlds” tie-in had the team appearing in various pop culture parodies, including this segment lampooning the Silver Age Legion.
One can only guess what Curt Swan was thinking when he was asked to draw this bizarre send-up of his earlier work! He is paired here with inker Josef Rubinstein. The script is by Tom Peyer, with letters by John Costanza and colors by Gene D’Angelo.
The cover to Legion of Super-Heroes #88 (January 1997) has Impulse, the super-fast grandson of the Flash / Barry Allen and Iris West Allen auditioning to join the Legion. Of course the hyperactive, mischievous Impulse tries to rig things in his favor! Cover pencils are by Alan Davis, inks by Mark Farmer, letters by Todd Klein and colors by Patrick Martin.
Acclaimed painter Alex Ross has done numerous reimaginings of classic comic book covers. Here is his take on Adventure Comics #247. This painting was used for one of the two covers for the Overstreet Comic Book Price Guide, 29th Edition (May 1999) from Gemstone Publishing. This is actually a scan of the original artwork, courtesy of Heritage Auctions. The painting was unfortunately too dark & blurry when published.
Legion of Super Heroes was an animated series that ran on WB for two seasons from September 2006 to April 2008. DC published a comic book that tied in with the animated series’ continuity. Legion of Super-Heroes in the 31st Century lasted for 20 issues. The cover to issue #16 (September 2008) has infamous Legion reject Arm-Fall-Off-Boy attempting to join the animated incarnation of the team, with equally unsuccessful results. Cover artwork is by Alexander Serra.
When DC briefly revived Adventure Comics starring the Legion of Super-Heroes in 2009, they published a zero issue that reprinted the team’s first story. The brand new cover to issue #0 (April 2009) is drawn by Aaron Lopresti and colored by Brian Miller.
Looks like somebody took one heck of a wrong turn at Albuquerque! The very much tongue-in-cheek Legion of Super-Heroes / Bugs Bunny Special (August 2017) was part of a series of crossovers between DC Comics and Looney Tunes. “The Imposter Superboy” sees Bugs accidentally transported to the 31st Century, where he finds himself in the cross hairs (or should that be cross hares?) of the very angst-ridden Legion. Cover pencils are by Tom Grimmett, inks by Karl Kesel, and colors by Steve Buccellato.
The cover of Adventure Comics #247 is such an iconic part of Legion lore that comic con cosplayers have even taken to recreating it! I have no idea when or where this was taken, or who this clever quartet are in real life, but they definitely deserve a round of applause.
Longtime, influential comic book writer and editor Denny O’Neil passed away on June 11th at the age of 81.
A journalism major, O’Neil got started in the comic book filed in the mid 1960s. After brief stints at Marvel and Charlton, O’Neil came to DC Comics, where he made a significant impact.
O’Neil was a very socially conscious individual, and he brought his concerns about inequality and injustice to his work. He was assigned the Green Lantern series, which at the time was struggling in sales. Working with artist Neal Adams, another young talented newcomer interested in shaking thing up, O’Neil had GL Hal Jordan team up with the archer Green Arrow, aka Oliver Queen, in a series of stories that addressed head-on issues of racism, pollution, overpopulation, drug abuse, and political corruption.
The above page from Green Lantern / Green Arrow #76 (April 1970), the first issue by O’Neil & Adams, is probably one of the most famous scenes in comic book history.
I read these stories in the 1990s, a quarter century after they were published. At the time I found them underwhelming. I felt O’Neil’s writing was unsubtle, that he threw Hal Jordan under the bus to make a point, and that Oliver Queen was just the sort of smug, condescending left-winger who gives the rest of us liberals a really bad name. As with a number of other people, I always though Hal Jordan’s response to the old black man should have been “Hey, I saved the entire planet Earth, and everyone on it, on multiple occasions!”
When I voiced these criticisms, older readers typically responded “You really needed to read these stories when they were first published to understand their impact and significance.” I never really understood this until I started reading Alan Stewart’s blog Attack of the 50 Year Old Comic Books. Alan writes about the comic books that he read as a kid half a century ago. When I came to Alan’s posts about O’Neil’s early work on Justice League of America for DC Comics in the late 1960s, I finally began to understand exactly what sort of an impression O’Neil’s stories, with their commentary on critical real-world issues, made upon so many young readers of that era.
So, upon further consideration, while I still find O’Neil’s writing on Green Lantern / Green Arrow to be anvilicious, I recognize that he was attempting to address serious social & political crises for which he felt genuine concern, and in a medium that for a long time was regarded solely as the purview of children. However imperfect the execution may have been, I admire O’Neil’s passion and convictions.
In any case, O’Neil & Adams’ work on Green Lantern / Green Arrow is yet more evidence that comic books have addressed political issues in the past, and anyone attempting to argue otherwise is flat-out ignoring reality.
O’Neil & Adams were also among the creators in the late 1960s and early 1970s who helped to bring the character of Batman back to his darker Golden Age roots as a grim costumed vigilante operating in the darkness of Gotham City. O’Neil & Adams collaborated on a number of Batman stories that are now rightfully regarded as classics.
I really enjoy O’Neil’s approach to Batman. His version of the Dark Knight was serious and somber, but still very human, and often fallible. I wish that more recent writers would follow O’Neil’s example on how to write Batman, rather than depicting him as some brooding, manipulative monomaniac. O’Neil really knew how to balance out the different aspects of Batman’s personality so that he was intense but still likable.
O’Neil & Adams, following the directive of editor Julius Schwartz, created the immortal ecoterrorist Ra’s al Ghul and his beautiful daughter Talia. Ra’s al Ghul debuted in Batman #232 (June 1971) by O’Neil, Adams and inker Dick Giordano.
Ra’s al Ghul was certainly an interesting villain in that he possessed shades of grey. He admired Batman, and easily deduced that the Dark Knight was actually Bruce Wayne. Ra’s wanted Batman to become his successor and marry Talia. Ra’s was genuinely passionate about saving the environment; unfortunately his solution was to wipe out 90% of the Earth’s population and rule over the survivors. While Batman had feelings for Talia and sympathized with Ra’s end goals, he was understandably repulsed by the ruthless, brutal means Ra’s pursued, and so the two men repeatedly came into conflict.
Throughout the 1970s O’Neil, working with artists Adams & Giordano, as well as Bob Brown, Irv Novick, Michael Golden, Don Newton & Dan Adkins developed the globe-spanning conflict between Batman and Ra’s al Ghul, with Talia often caught in the middle of their immense struggle of wills. These epic stories were later reprinted in the trade paperback Batman: Tales of the Demon. It is some of O’Neil’s best writing, and I definitely recommend it.
O’Neil of course wrote a number of other great Batman stories during the 1970s outside of those involving Ra’s al Ghul and Talia. Among those stories by O’Neil that are now considered classics is “There Is No Hope In Crime Alley” illustrated by Dick Giordano, from Detective Comics #457 (March 1976).
“There Is No Hope In Crime Alley” expanded upon Batman’s origin and introduced Leslie Thompkins, the doctor and social worker who cared for young Bruce Wayne after his parents were murdered in Crime Alley. The story was later included in the 1988 collection The Greatest Batman Stories Ever Told, which is where I first read it. It was actually one of four stories from the 1970s written by O’Neil to be included in that volume, a fact that speaks to how well-regarded his work on the character was.
In the early 1980s O’Neil went to work at Marvel Comics. In addition to editing several titles, he wrote Iron Man and Daredevil. On Iron Man he decided to follow up on Tony Stark’s alcoholism, which had been established a few years earlier by Bob Layton & David Michelinie. O’Neil had struggled with alcoholism in real life, and he wanted to address that in the comic book Stark was apparently white-knuckling it, trying to stay sober without a support system or a program of recovery.
O’Neil, working with penciler Luke McDonnell & inker Steve Mitchell, wrote a three year long story arc around Stark’s alcoholism. Corporate raider Obidiah Stane, a literal chess master, ruthlessly manipulated events so that Tony fell off the wagon hard, then swooped in and bought out Stark International from under him. Stark became destitute and homeless, and was forced to make a long, difficult climb back to sobriety, rebuilding both his life and his company from the ground up.
It’s worth noting another development in O’Neil’s Iron Man run. Previously in Green Lantern / Green Arrow, O’Neil & Adams had introduced African American architect John Stewart, who they had become a new Green Lantern. Twelve years later on Iron Man O’Neil had African-American pilot & ex-soldier James Rhodes, a longtime supporting character, become the new Iron Man after Stark succumbed to alcoholism. Rhodey would remain in the Iron Man role for over two years, until Tony was finally well enough to resume it.
So, once again, the next time you hear some troll grousing about SJWs replacing long-running white superheroes with minorities, or some such nonsense, remember that O’Neil did this twice, telling some really interesting, insightful stories in the process.
This is another instance where the argument comes up that you had to be reading these comic books when they were coming out to understand that impact. In this case I can vouch for it personally. It was early 1985, I was eight years old, and the very first issue of Iron Man I ever read was in the middle of this storyline. So right from the start I just accepted that there could be different people in the Iron Man armor, and one of them just happened to be black.
In the late 1980s O’Neil returned to DC Comics, where he became the editor of the various Batman titles. He also continued to write. Among the noteworthy stories he penned was “Venom” in Batman: Legends of the Dark Knight #16-20 (March to July 1991), with layouts by Trevor Von Eeden, pencils by Russ Braun, and inks & covers by Jose Luis Garcia-Lopez.
“Venom” is set early in Batman’s career. After the Dark Knight fails to save a young girl from drowning, he begins to take an experimental drug to heighten his strength. Unfortunately he very quickly becomes addicted to the Venom, and is almost manipulated into becoming a murderer by the military conspiracy that developed the drug. Locking himself in the Batcave for a month, Batman suffers a horrific withdrawal. Finally clean, he emerges to pursue the creators of the Venom drug.
It is likely that “Venom” was another story informed by O’Neil’s own struggles with addiction. It is certainly a riveting, intense story. Venom was reintroduced a few years later in the sprawling Batman crossover “Knightfall” that O’Neil edited, which saw the criminal mastermind Bane using the drug as the source of his superhuman strength.
In 1992 O’Neil, working with up-and-coming penciler Joe Quesada and inker Kevin Nolan, introduced a new character to the Bat-verse. Azrael was the latest in a line of warriors tasked with serving the secretive religious sect The Order of St. Dumas. Programmed subliminally from birth, Jean-Paul Valley assumed the Azrael identity after his father’s murder.
Azrael soon after became a significant figure in the “Knightfall” crossover. After Batman is defeated by Bane, his back broken, Azrael becomes the new Dark Knight. Unfortunately the brainwashing by the Order led Azrael / Batman to become increasingly violent and unstable. After a long, difficult recovery Bruce Wayne resumed the identity of Batman and defeated Azrael. O’Neil appears to have had a fondness for the character, as he then went on the write the Azrael ongoing series that lasted for 100 issues.
Another of O’Neil’s projects from the 1990s that I enjoyed was the bookshelf special Batman / Green Arrow: The Poison Tomorrow, released in 1992. Written by O’Neil, penciled by Michael Netzer, and inked by Josef Rubinstein, The Poison Tomorrow had the Dark Knight and the Emerald Archer working together to prevent a ruthless corporation from using the femme fatale Poison Ivy to create a virulent plague.
O’Neil’s liberalism definitely shines through with his clear distrust of Corporate America. In one scene that evokes “the banality of evil” multi-millionaire CEO Fenn casually discusses with Poison Ivy his plan to poison jars of baby food, killing hundreds of infants, and then to sell the antidote to millions of terrified parents across the nation. Reading this story again in 2020, it is not at all far-fetched, as in recent months we have repeatedly seen various corporations publically musing on the various ways in which they can turn a profit on the COVID-19 pandemic.
I also like how O’Neil wrote the team-up of Batman and Green Arrow. Bruce Wayne and Oliver Queen can both be very stubborn, inflexible individuals. Each of them has a tendency to browbeat others into submission, so having them forced to work together is basically a case of unstoppable force meets unmovable object. O’Neil got a lot of mileage out of the tense, almost adversarial chemistry that existed between these two reluctant allies.
The Poison Tomorrow is a grim, unsettling tale. The moody artwork by Netzer & Rubinstein and the coloring by Lovern Kindzierski effectively compliment O’Neil’s story. There were such a deluge of Batman-related projects published by DC Comics in the early 1990s that I think The Poison Tomorrow sort of flew under a lot of people’s radar. I definitely recommend seeking out a copy.
O’Neil had such a long, diverse career that I have really only touched on a few highlights in this piece. I am certain other fans, as well as the colleagues who actually worked with & knew him, will be penning their own tributes in which O’Neil’s many other important contributions will be discussed.
For example, I’m sure some of you are asking “How can you not discuss O’Neil’s fantastic run on The Question with artist Denys Cowan?!?” Regretfully I have to admit that I have never read it. However, if you are a fan of The Question then I recommend that you read Brian Cronin’s excellent tribute to O’Neil’s work on that series.
I was very fortunate to meet O’Neil at a few comic book conventions over the years. Briefly talking with him while he was autographing some comic books for me, and hearing him speak on panel discussions, it was immediately obvious that he was an intelligent and passionate individual. Those qualities definitely came through in his work.
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 devastating damage 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.
It has been observed that someone’s favorite Batman artist is often determined by when they first began reading comic books. That’s certainly the case for me. There have been numerous talented artists who have rendered the Dark Knight’s adventures over the past eight decades, but two hold a special fondness for me: Jim Aparo and Norm Breyfogle. When I began reading DC Comics regularly in 1989, Aparo was the penciler on Batman, and Breyfogle was the penciler on Detective Comics.
Jim Aparo, who had been working in the biz since the late 1960s, was what I refer to as a good, solid artist. His penciling on Batman was of a more traditional bent, but his style perfectly suited the character.
And then there was Norm Breyfogle, the new kid on the block. Breyfogle utilized a very dynamic approach to his storytelling. His artwork in Detective Comics was filled with dramatic, innovative layouts that were possessed of both explosive energy and brooding atmosphere.
Breyfogle had broken into the biz just five years earlier, in 1984, with a pair of contributions to DC’s New Talent Showcase. Two years later, in 1986, Breyfogle penciled several issues of Steven Grant’s series Whisper for First Comics. Following that, Breyfogle first entered the dark, moody world of Gotham City, becoming the regular penciler of Detective Comics with issue #582, cover-dated January 1988.
The following month, with issue #583, Breyfogle was joined on Detective Comics by the talented British writing team of Alan Grant & John Wagner. Issue #584 saw the arrival of the last member of the now-regular creative team, inker Steve Mitchell.
Grant, Wagner & Breyfogle very quickly made their impart on the Bat-mythos, introducing new adversaries the Ratcatcher, the Corrosive Man, and the Ventriloquist & Scarface, the last of whom has become an iconic member of the Dark Knight’s rogues gallery.
Although Wagner soon departed, Grant remained on Detective Comics, penning a series of stories that were expertly illustrated by Breyfogle & Mitchell. With issue #608, Grant & Breyfogle introduced yet another memorable denizen of Gotham City, the radical anti-hero Anarky.
Breyfogle’s depiction of Batman was incredibly dramatic, and is now regarded as one of the iconic interpretations of the character. His Dark Knight was muscular but also lithe, grim & imposing but also human & vulnerable. Breyfogle’s fluid layouts depicted a dark yet dynamic Batman acrobatically swinging across the skyline of Gotham City, massive cape billowing about. It was absolutely incredible. Breyfogle’s depiction of Batman was *the* definitive one for me during my teenage years in the early 1990s.
The team of Grant, Breyfogle & Mitchell remained on Detective Comics until issue #621 (Sept 1990) and which point they were rotated over to the Batman series with issue #455. Their first storyline, “Identity Crisis,” ended with the new Robin, Tim Drake, debuting his brand-new costume. Breyfogle stayed on Batman until #476 (April 1992), at which point he switched over to yet another Bat-title, the new ongoing Batman: Shadow of the Bat.
Although he only drew the first five issues of Shadow of the Bat, this certainly wasn’t the end of Breyfogle’s association with Batman. He would return for the occasional fill-in issue here and there. Breyfogle also worked on several Batman-related graphic novels. Among these was the acclaimed Elseworlds special Batman: Holy Terror written by novelist Alan Brennert.
One of my personal favorite issues from the team of Grant, Breyfogle & Mitchell was “Stone Killer” in Detective Comics #616 (June 1990). In this story Batman faces an eerie supernatural adversary. Breyfogle’s style was perfectly suited for this eerie tale.
Also noteworthy was Detective Comics #627 (March 1991). This was the 600th appearance of Batman in that series. To celebrate, this issue reprinted the first Batman story, “The Case of the Chemical Syndicate” by Bill Finger & Bob Kane, and a 1969 update of the story by Mike Friedrich, Bob Brown & Joe Giella. Additionally, there were two new interpretations of the story by the then-current Batman creative teams, Marv Wolfman, Jim Aparo & Mike Decarlo, and Alan Grant, Norm Breyfogle & Steve Mitchell. It was interesting to see the same basic plot executed in four very different ways.
Detective Comics #627 concluded with a stunning double-page spread drawn by Breyfogle & Mitchell featuring Batman, his supporting cast, and many members of his rogues gallery.
Beginning in 1993, Breyfogle began working on Prime, which was part of Malibu Comics’ Ultraverse imprint. He drew the first twelve issues, as well as stories for a few of the other Ultraverse titles. Regrettably I did not follow any of these series. At the time the comic book market had a huge glut of product on the shelves, and the Ultraverse unfortunately got lost in the shuffle.
I did finally have an opportunity to see Breyfogle’s work on the character a few years later, when the Prime / Captain America special was published in early 1996. It was an odd but fun story, with wacky artwork by Breyfogle. He appeared to be working in a slightly more cartoony, comedic vein. I definitely enjoyed seeing him draw Captain America, who at the time was my favorite character.
After a short stint on Bloodshot at Valiant, Breyfogle returned to DC. He penciled an Anarky miniseries, reuniting him with the character’s co-creator Alan Grant. In the early 2000s he penciled several issues of the Spectre revival written by J.M. DeMatteis, which featured the then-deceased Hal Jordan adopting the supernatural role of the Wrath of God. For Marvel Comics, Breyfogle drew the 2000 annuals for both Thunderbolts and Avengers, which in turn led to a three issue Hellcat miniseries featuring his artwork.
For a few years after the Spectre ended, Breyfogle unfortunately had some difficulty finding regular assignments in comic books. Fortunately in late 2009 he began receiving work from Archie Comics. Breyfogle was one of the regular artists on the wonderful Life With Archie series written by Paul Kupperberg. Here he was paired up with inker Josef Rubinstein.
Breyfogle’s work for Archie Comics really demonstrated his versatility as an artist. As I previously observed, Breyfogle’s art on Life With Archie was a very nice, effective blending of the company’s house style and his own unique, signature look. He certainly was adept at illustrating the melodramatic soap opera storylines in the “Archie Marries Veronica” segments.
In 2012 Breyfogle once again had an opportunity to return to the world of Batman, illustrating the “10,000 Clowns” story arc and several covers for Batman Beyond. It was a wonderful homecoming for the artist, who seamlessly fit back into Bat-verse, this time giving us his depictions of the dystopian future Gotham City and its denizens introduced in the animated series.
Batman Beyond would unfortunately be Breyfogle’s last major work in comic books. In December 2014 he suffered a stroke, after which he became partially paralyzed. Tragically, as a result Breyfogle was no longer able to draw. Nevertheless he remained connected to the comic book community, regularly communicating with fans via Facebook.
Norm Breyfogle passed away on September 24, 2018. He was only 58 years old. It was a tremendous shock, both to his colleagues, who always spoke very highly of him, and to the generation of fans such as myself who grew up on his amazing artwork.
For me Breyfogle will always remain one of the all-time greatest Batman artists. He will definitely be missed.
Welcome to the eighth edition of Super Blog Team-Up! Since the movie Captain America: Civil War is now out, our theme is “versus” as the various SBTU contributors spotlight famous comic book battles and rivalries.
I’m taking a look at the volatile relationship between two of Marvel Comics’ most iconic characters, Steve Rogers aka Captain America and Logan aka Wolverine.
Although Wolverine made his debut in 1974, he did not meet Captain America until a decade later. In 1980 there were tentative plans by Roger Stern & John Byrne to have Cap and Wolverine meet and for it to be revealed that Steve and Logan actually knew each other from World War II. Unfortunately Stern & Byrne left the Captain America series before they could tell that story. Cap and Wolverine did not run into each other until 1984, in the first Secret Wars miniseries, and they did not have their first extended one-on-one meeting for another two years, in the pages of Captain America Annual #8 (1986).
“Tess-One” was written by Mark Gruenwald, penciled by Mike Zeck, and inked by John Beatty & Josef Rubinstein. The story opens with Logan hanging at a dive bar in northern Westchester County. Logan’s boozing is interrupted by a huge brawl, as several thugs attack a large figure who they believe to be a mutant. This turns of to be Bob Frank, aka Nuklo, the intellectually-challenged son of the Golden Age heroes the Whizzer and Miss America. Nuklo was cured of his out-of-control radioactive powers, but still retains enhanced strength, and he wipes the floor with his bigoted assailants. Logan is intrigued, and stealthily follows Bob after he leaves the bar. He is surprised when Bob is suddenly attacked by a giant robot, Tess-One. Wolverine leaps to his rescue, but the robot flies away, controlled by a costumed figure.
Several states west, Captain America is investigating a mysterious hole that has appeared in the middle of a parking lot. Going underground, Cap navigates a series of death traps, eventually coming to an empty chamber. Looking at the machinery and the giant footprints in the dust, Cap deduces that the chamber’s previous occupant “must have been some sort of robot.” And if you can see where this is headed, faithful readers, then feel free to award yourselves a No-Prize!
After rushing the critically injured Bob to the hospital, Wolverine begins tracking down the robot and its human master. The trail leads to Southern New Jersey, specifically Adametco, “the nation’s leading manufacturer of adamantium,” the Marvel universe’s near-unbreakable metal alloy. Tess-One and its human controller Overrider have forced a truck driver making a delivery to Adamentco to smuggle them in. After they arrive, Overrider knocks out the driver, but he recovers enough to contact Captain America’s emergency hotline. Cap arrives at Adametco just as Wolverine is sneaking in.
At last Cap and Wolvie meet, and they are immediately off to a rough start. Cap is upset that Wolverine is trespassing in a high-security area. He also expresses serious doubts about the X-Men as a whole, given their recent association with Magneto… and, yes, if you were not actually reading Uncanny X-Men over the previous few years to see Magneto’s efforts at redemption, you could be forgiven for thinking the team had thrown in with an unrepentant terrorist. Y’know, I’ve always said that what the X-Men really needed was a good public relations manager.
Wolverine, who back then was still very much a temperamental loner with little respect for authority figures and a seriously short fuse, quickly has enough of Cap’s attitude. Before you know it, sparks are literally flying, as Wolverine’s claws meet Cap’s impenetrable shield. The two spar for a couple of panels before they are interrupted by the arrival of Tess-One, now coated in adamantium. The already-formidable robot is now even more dangerous. Cap and Wolverine are unable to prevent Overrider from escaping with it.
Realizing they are working on the same case, Cap apologizes for his earlier attitude and asks Wolverine to work with him. Wolverine isn’t thrilled at the idea, but he wants another shot at Tess-One, so he grudgingly agrees.
Cap heads to Washington DC to search government records on Daniel Schumann, the now-deceased owner of the property underneath which Tess-One had been hidden. Cap discovers that back in 1939 Schumann proposed the creation of an army of robots as a failsafe in case the super-soldiers created by Project: Rebirth ever revolted. The subsequent murder of Professor Erskine meant that Steve Rogers would be the only successful super-soldier to be created, and so Project Tess (Total Elimination of Super-Soldiers) was shut down. Tess-One was the only robot ever produced.
Wolverine meanwhile utilizes the mutant-detecting Cerebro device to learn that Overrider is Richard Rennselaer, a former SHIELD with the ability to control machinery. Rennselaer’s son Johnny suffers from “nuclear psychosis,” a fear of the nuclear bomb so overwhelming that he has withdrawn into a catatonic state. Overrider, desperate to cure his son, wants to destroy America’s entire nuclear arsenal, believing this will end the international arms race.
The next day another member of Cap’s emergency hotline spots Overrider transporting Tess-One to the nuclear command base at Offut Air Base. Tess-One attacks base security, enabling Overrider to sneak in. Cap and Wolverine arrive via Avengers Quinjet, but are immediately at each other’s throats again, with Logan balking at taking orders from Cap. Despite this they manage to finally defeat Tess-One, as Cap uses his shield to hammer Wolverine’s claws into the robot’s neck. Cap, in spite of his dislike for Wolverine, has to admit that the X-Man is one tough cookie to have endured the excruciating pain required by this plan.
The pair head inside the base to confront Overrider. Neither of them is able to talk Overrider down, and finally Cap uses his shield to knock him off his hover platform, hoping he will be too stunned to trigger the nukes. Cap orders Wolverine to catch the falling Overrider; Logan, however, has other ideas, and pops his claws, ready to skewer the plummeting foe. At the last second he decides to split the difference; he doesn’t kill Overrider, but neither does he catch him, letting him hit the ground hard. Overrider is seriously injured but still alive.
Cap, disgusted both by this particular act, and by Wolverine’s general attitude, goes off on him…
“As for you, mister, you’d better hope the X-Men never get tired of putting up with you, because I guarantee you the Avengers would never have you.”
Captain America Annual #8 is interesting if you look at it as part of Mark Gruenwald’s decade-long stint as writer on the series. During his time on the book, Gruenwald would often contrast Cap to the violent anti-heroes who were becoming more and more popular in superhero comic books. Gruenwald obviously favored the more traditional heroes of the Silver Age, and he sometimes overcompensated by making Cap too much of a humorless, overly-moral boy scout.
Keeping this in mind, it’s surprising that when Cap meets Wolverine, Gruenwald offers a rather nuanced depiction of the later. Yes, he shows that Wolverine is a very different type of person from Cap, someone who is unpleasant and quick to anger and who regards killing as a perfectly reasonable solution. But Gruenwald also depicts Logan as a very competent individual who will endure hardship & pain to achieve his goal. He shows Wolverine risking his life to rescue Bob Frank from Tess-One. On the last page of the story, after gets chewed out by Cap, we see Logan visiting Bob at the hospital to make sure he’s okay, demonstrating that there’s more to the man than just attitude and berserker rages.
I am not a fan of creators who have guest stars show up in books they write just so they can be completely humiliated by the title character. Garth Ennis writing the Punisher teaming up with pretty much anyone is a perfect example of that sort of thing. In contrast, you have this annual. Gruenwald has Cap remaining very much in-character and expressing grave reservations about Wolverine. But at the same time Gruenwald also writes Logan in a manner that was respectful of the work Chris Claremont had done with the character. It’s a delicate balancing act, and I appreciate that Gruenwald made the effort.
One of the reasons why this annual is so well remembered, in addition to the Wolverine appearance, is that it is penciled by former Captain America artist Mike Zeck, who does an amazing job. His pencils are ably embellished by John Beatty and Josef Rubinstein, two of the best inkers in the biz. Certainly the action-packed cover of Cap and Wolverine fighting is one of the most iconic images that Zeck has ever penciled.
This annual was a really expensive back issue for a long time. I missed getting it when it came out, and I had to read someone else’s copy at summer camp. For years afterward every time I saw copies of this annual for sale at a comic shop or convention it was $20 or more. In the late 1990s I was at last able to buy it for a mere three bucks.
“Tess-One” would not be the last time we would see Captain America and Wolverine side-by-side. Four years later, in 1990, we would finally see that first time Cap and Logan met during World War II, although it would be recounted by Chris Claremont, Jim Lee & Scott Williams in Uncanny X-Men #268.
Adamantium claws would collide with unbreakable shield several more times throughout the years as Cap and Logan would find themselves at odds with one another. One of the more unusual of these was courtesy of Gruenwald himself in the 1992 storyline “Man and Wolf” with artwork by Rik Levins, Danny Bulanadi & Steve Alexandrov. This time Cap and Wolverine ended up fighting each other because Logan was hypnotized. Oh, yes, and Cap got turned into a werewolf. Yep, that’s right, this was the epic introduction of Capwolf!
Truthfully, Capwolf looked less like a werewolf and more like a Long-Haired Collie. “What’s that, Capwolf? Timmy fell down a well? I tell ya, that’s always happening to that darn kid!”
Despite Cap’s promise on the final page of Annual #8, years later Wolverine did indeed become an Avenger. To be fair, it was Iron Man’s idea to have Logan join the team, and at first Cap was dead-set against it. Not surprisingly, as teammates Cap and Wolverine would continue to clash over tactics and methodologies.
Eventually, after they had to team up with Deadpool to prevent North Korea from using the technology of Weapon Plus to create an army of super-soldiers, Cap and Wolverine would grow to respect one another. Later, when Wolverine died — he’s not only merely dead, he’s really most sincerely dead… at least for now — Cap was genuinely saddened.
In the special Death of Wolverine: Deadpool & Captain America by writer Gerry Duggan and artist Scott Kollins (December 2014), Steve Rogers and Wade Wilson get together to mourn Logan, as well as prevent AIM from creating a clone of him. Thinking back on their tumultuous relationship, Cap briefly recounts the time he and Wolverine fought Tess-One. When Cap gets to the “I guarantee you the Avengers would never have you” part, naturally enough Deadpool bursts out in hysterical laughter.
Y’know, I really would like to see a live action face-off between Captain America and Wolverine, with Chris Evans and Hugh Jackman reprising their respective roles. Unfortunately at this point in time it doesn’t seem like Disney and Fox are able to iron out their differences enough to enable that. Well, in the meantime at least we have the actual comic books where more often than not Cap and Logan will inevitably end up butting heads over one thing or another.
Thanks for reading my entry in Super Blog Team-Up 8. Be sure to check out the pieces written by the other fine contributors…
I was very sorry to hear that author C.J. Henderson had passed away on July 4th at the age of 62. I knew that he wasn’t well. About a month ago I had run into a mutual acquaintance, writer James Chambers, for the first time in several years. I asked Jim if he was still in touch with C.J. and had learned that he was suffering from cancer. So while his passing is not unexpected, it is still sad. C.J was a talented writer, as well as a nice, friendly fellow with a distinctive, wry sense of humor. It was always a pleasure to see him.
While I wasn’t close friends with C.J. he was someone who I had encountered numerous times over the years, both socially and at comic book conventions, where he was often a guest. I first met C.J. back in the mid-1990s, at one of the parties that artist Fred Harper threw at his loft in Brooklyn. I know I’d read a handful of C.J. Henderson’s stories previously, and afterwards I acquired quite a bit of his work. In 2003 I hitched a ride to the Pittsburgh Comic Con with C.J., Jim Chambers, and a few other people. That was a lot of fun. Fred and I also once spent New Year’s Eve with C.J. and his family, which was a nice, relaxing evening.
C.J. Henderson was a very prolific author who was extremely fond of both hardboiled detective and horror fiction. He wrote a number of excellent novels and short stories in those two genres, often deftly mixing the two. One of Henderson’s ongoing characters was private eye Jack Hagee. The various Jack Hagee short stories, written throughout the 1980s, were collected together in What You Pay For in 1990.
Henderson’s other signature P.I. was Teddy London. Whereas Hagee’s cases were very much grounded in gritty noir, London’s investigations took him into the strange, dark world of the supernatural. Henderson was a self-avowed fan of H.P. Lovecraft’s “cosmic horror,” and London’s debut novel The Things That Are Not There saw the detective encountering malevolent entities summoned up from another dimension. Originally published in 1992, the book returned to print a decade later, which is when I finally had an opportunity to read it. The Things That Are Not There was definitely a riveting book, and I highly recommend it.
C.J.’s fondness for Lovecraft extended through much of his work, including his more humorous writing. Baby’s First Mythos was a tongue-in-cheek faux children’s book that offered an overview of Lovecraft’s writings from A to Z, i.e. “N is for Necronomicon, That horrid flesh-bound book of magic, The reading of which by mere mortals brings their damned souls, To ends both terrifying and tragic.” C.J. collaborated on Baby’s First Mythos with his daughter Erica Henderson, who provided the excellent illustrations.
C.J.’s short fiction appeared in numerous anthologies over the years. These included Horrors Beyond, Dark Furies, Return To Lovecraft Country and Weird Trails. Henderson also contributed to X-Men: Legends. Published in 2000 and starring the mutants of Marvel Comics, the book was a collection of original prose stories set throughout the team’s history. Henderson penned “The Worst Prison of All,” which featured Professor Xavier encountering a Lovecraftian elder god on the psychic plane.
Henderson was also a non-fiction writer & reviewer. The Encyclopedia of Science Fiction Movies, clocking in at a mammoth 500 pages, featured hundreds of reviews of sci-fi films. Henderson’s write-ups were very interesting & insightful. Even though I must have disagreed with half of his opinions, I found his analyses to nevertheless be thought-provoking and extremely well articulated.
C.J. did quite a bit of work in comic books over the years. In the mid-1990s he wrote several issues of Neil Gaiman’s Lady Justice from Tekno Comix. Henderson also was quite a prolific contributor to Moonstone Books. He wrote and edited several Kolchak: The Night Stalker specials (he was a long-time fan of the character). Henderson adapted some of his own characters from prose to comic books at Moonstone, as well. Paired with artist Richard Clark, he wrote a Jack Hagee: Private Eye graphic novel that was published in 2003. Henderson also wrote two issues of Lai Wan: Tales of the Dreamwalker, featuring the lovely Asian “psychometrist” who assisted Teddy London in the pages of The Things That Are Not There.
In 2004 Moonstone published Slamm! The Hardboiled Fiction of C.J. Henderson, a trade paperback collection of mystery, suspense, and horror stories illustrated by Fred Harper, Richard Clark, Trevor Von Eeden and Ben Fogletto. I really wish I could locate my copy of that book, because it’s really good. Unfortunately it’s probably packed up in storage with the majority of my comics.
I once asked C.J. who his favorite artist had been to work with in comic books. He stated that Trevor Von Eeden was probably the artist he had most enjoyed collaborating with. In addition to their time at Moonstone, C.J. and Trevor had worked together on a pair of stories at DC Comics, the two part “Duty” in Batman: Legends of the Dark Knight #105-106, and Batman: Joker’s Apprentice, with inks by Josef Rubinstein. Both stories featured Batman’s arch-nemesis the Joker. “Duty” focused on James Gordon having to thwart the Clown Prince of Crime without the assistance of the Dark Knight. The Joker’s Apprentice special had Henderson placing the Joker in a Hannibal Lector-esque role, manipulating from within the walls of Arkham Asylum a serial killer protégé who he aims at Batman as a twisted “present.” It was an extremely dark, macabre, gruesome tale much in the vein of Criminal Minds, although Henderson’s story preceded that television series by several years.
C.J. Henderson was undoubtedly an extremely talented writer who crafted some amazing, entertaining, engaging stories during his lifetime. He will definitely be missed.
I’ve written before about the classic Spider-Man story “Kraven’s Last Hunt” which originally came out back in 1987. I think that many people have forgotten that immediately after J.M. DeMatteis’ six part arc concluded, the very next month another storyline ran across all three of the Spider-Man titles. Appearing in Web of Spider-Man #33, Amazing Spider-Man #295, and Spectacular Spider-Man #133, it was written by Ann Nocenti, penciled by Cynthia Martin, and inked by Steve Leialoha, Kyle Baker & Josef Rubinstein, with covers by Bill Sienkiewicz. There wasn’t an overarching title to the story, but I refer to it by the cover copy on Amazing #295, “Life in the Mad Dog Ward.” Whereas the previous six issues had seen Spider-Man buried alive, Ann Nocenti’s arc featured him getting locked up in an insane asylum!
Housewife Vicky Gibbs is alone with her thoughts & inner demons. The already emotionally troubled mother of two has finally decided to leave her husband Frank. She can no longer stand the fact that he has become involved in the mob, specifically the organization controlled by Wilson Fisk, the Kingpin of Crime. Before Vicky and her children Jacob and Tanya can leave, though, Frank arrives home. And soon after, he receives orders from the Kingpin’s right-hand man the Arranger, orders that involve having his wife committed to the Pleasant Valley mental hospital.
Pleasant Valley, which is owned by the Kingpin, is a front. In cases where there are former associates of Fisk’s or witnesses to his crimes who, for one reason or another, cannot simply be killed, he pulls strings to have them declared mentally unfit and sent to Pleasant Valley. There they are detained indefinitely and drugged to keep them silent & pacified. Running the hospital is the Doctor, who in exchange for collaborating with the Kingpin is allowed to engage in unethical medical experiments. This Doctor also occasionally reprograms certain patients to serve as assassins for the Kingpin.
Elsewhere, Peter Parker is walking about in a daze. He is recovering from his traumatic encounters with Kraven & Vermin, as well as worrying about more mundane matters such as bills and his relationship with his wife. After having dinner at his Aunt May’s house, Peter is wandering the streets of Forest Hills. Suddenly his spider sense goes off as an ambulance rushes by, with Jacob and Tanya futilely chasing after it on foot. Bumping into Peter, the two children explain that their mother is being sent to Pleasant Valley. Returning to his apartment, a restless Peter is unable to sleep. He keeps wondering if there is more to the children’s story than he initially thought. Slipping into his Spider-Man costume, he heads back to Queens to investigate.
Jacob and Tanya have also gone to Pleasant Valley, having stolen their father’s gun, believing they can rescue their mother. Frank arrives to stop his children, but all three are soon detained by the hospital’s armed security force. When the guards move to grab the trio, Spider-Man swings in and knocks out the majority of them. One, however, sadistically tosses Tanya off the roof of the asylum, and when Spider-Man leaps to catch her, he is shot. Lying wounded in an alley, the bleeding web-slinger urges Tanya to flee.
Peter regains consciousness in Pleasant Valley, having been patched up by the physicians there. The cynical staff, who refer to the hospital as “the Mad Dog Ward,” think that Peter is just some nut who only believes he is a superhero. When the weakened Peter resists, he is quickly drugged & restrained. Only the Doctor realizes that this new patient is exactly who he claims to be. He is looking forward to experimenting on Spider-Man’s mind, but first he must complete his conditioning of the Kingpin’s latest assassin, Mad Dog 2020 aka Brainstorm.
Drugged and disoriented, Peter struggles to string his thoughts together coherently. He befriends Mary, a nurse new to the facility who is already unsettled by what she sees. Peter gets Mary to let him talk to Vicky, but she is in even more of an anesthetized stupor than he is. Peter also meets Zero, a very dim but strong & well-intentioned man-child whose greatest wish is to be a genuine superhero.
Peter attempts to rally his fellow patients to revolt. Unfortunately, everyone is too zonked out on drugs, and the uprising is soon quashed by the staff. The Doctor realizes that Zero, who he had hoped to program into a future Mad Dog assassin for the Kingpin, has proven non-aggressive, yet at the same time continues to rile up the other patients. And so the Doctor decides to have Zero lobotomized. Once Peter begins to become coherent again, he learns of this impending procedure. Undeterred by his previous failure, Peter attempts to convince Mary to switch the patients’ daily drugs for a placebo. The nurse is reluctant, fearing that suddenly coming off their medication will make them violent or suicidal, but eventually she decides to go along with the plan.
The next day, the patients begin to come out of their stupor. We start seeing some rather odd, aggressive behavior from the various inmates, but seemingly nothing too outrageous. And then THIS happens:
Yipes! Whenever I turn the page and see this, I start laughing uncontrollably. Is that Cynthia Martin channeling Edvard Munch? In any case, Peter takes advantage of this ruckus to break out of his bonds. He and Mary free Vicky and Zero from their cells. However, the Doctor, in addition to being backed up by his security guards, sets loose Brainstorm. The programmed killer attacks, but fortunately Peter has regained his superhuman strength & reflexes, and he manages to defeat the Mad Dog.
Before the Doctor can make another move, he finds himself with a gun pointed at his head by Frank Gibbs. After much soul-searching, and having been shamed into action by his children, the mobster has finally decided to leave his life of crime behind and spring his wife. Using the Doctor as a hostage, Frank, Vicky and Peter are able to make their way out of the Mad Dog Ward.
A day later, Peter returns to Pleasant Valley with Daily Bugle reporter Ben Urich, hoping to expose the facility’s abusive practices. Unfortunately, the Kingpin has beaten both them and the authorities to the punch. The Arranger has called a press conference to announce that an “appalled” Fisk has only just uncovered the unethical behavior at Pleasant Valley, and that the Doctor is now in police custody. Peter is disgusted that the Kingpin has managed to weasel his way out of trouble yet again, maintaining his façade of a respectable businessman. On his way out, he passes by Mary, who is leaving to find a better job. As the story closes, we see Vicky, Frank, Jacob and Tanya driving west, preparing to start a brand new life.
“Life in the Mad Dog Ward” is certainly a strange, unsettling story. Ann Nocenti has always been a very unconventional writer. When I first discovered her work, via this story and her run on Daredevil in the late 1980s, I initially found her work off-putting. At the time I guess I was expecting more conventional superhero stories. What I got from Nocenti were examinations of the roles women play in society, environmental degradation, corporate corruption, faith & religion, animal rights, crime & punishment, and the psychological motivations that make people into who they are. This was really heavy, deep material for a teenager, especially as Nocenti certainly did not err on the side of subtlety. She pulled no punches, espousing her views with bluntness and conviction.
Yet at the same time, when she presented her various antagonists, Nocenti took the time to render them three-dimensional, to delve into what made them tick. The Kingpin, Typhoid Mary, Bushwacker, and Bullet committed monstrous acts, but Nocenti gave us a look into their heads, to show how from their points of view they each felt they were behaving in a justifiable, rational manner. She even wrote what was probably one of the most nuanced portrayals of Marvel’s own Devil figure, Mephisto.
In the mid-1990s, I began to have a greater appreciation for Nocenti’s writing, and I really enjoyed the series of stories she did in Marvel Comics Presents with artist Steve Lightle where she delved further into the twisted psyche of her creation Typhoid Mary. Nowadays, looking back on her work at Marvel, I really am able to grasp just how sophisticated and ahead of her time Nocenti really was, bringing a very unique sensibility to mainstream comic books. It’s definitely a pleasure to re-read stories such as “Life in the Mad Dog Ward” and look at them from a different, adult perspective, to catch the aspects of them I didn’t pick up on when I was younger.
We see in Vicky Gibbs a woman who feels constrained by the role of wife and mother. Her husband Frank expects her to placidly accept what he does for a living, even if it is illegal, because it puts food on the table. Frank believes that as long as he is in the role of breadwinner, Vicky should simply accept her own responsibilities as a traditional housewife. Obviously Frank is very much in the wrong, dismissing Vicky’s concerns about where the money comes from, and how the anxiety over it has exacerbated her mental illness. He is equally at fault when he allows the Kingpin’s goons to pack Vicky off to a mental hospital in order to save his own skin. Yet, as written by Nocenti, we can see how Frank has rationalized all of his decisions. However, once Vicky is out of the picture, locked away in Pleasant Valley, Frank is forced into the role his wife previously held, caring for their children. And seeing up close just how miserable Jacob and Tanya are, how much they have come to hate their father, he is finally forced to own up to his mistakes and take action to clean up the terrible mess he has created.
Cynthia Martin’s penciling is well suited to this story arc. She has a very clean line and straightforward style to her storytelling. It is definitely effective at conveying the stark, dramatic tone of the story. A more traditional, dynamic Marvel-style type of artwork might not have worked as well. Martin effectively renders the moody, oppressive sequences in the Mad Dog Ward as well as the more straightforward scenes featuring normal, everyday people.
A while back, in my Thinking About Inking blog post, I wrote about how significant a role the inker / finisher has upon the final look of artwork. I believe this is demonstrated very well in the three part “Life in the Mad Dog Ward.” Cynthia Martin’s pencils are inked by a different artist in each issue. Steve Leialoha, Kyle Baker and Josef Rubinstein each bring their unique styles and sensibilities to the finished work. All three do an excellent job at inking Martin.
Topping it all off, literally, are a trio of surreal, atmospheric covers by Bill Sienkiewicz. They really encapsulate the madness and sense of disconnect from reality that the characters experience throughout Nocenti’s story.
Five years later Ann Nocenti, paired with the art team of Chris Marrinan and Sam DeLaRosa, brought back Zero, Brainstorm, and the not-so-good Doctor. The interesting, insightful “Return to the Mad Dog Ward” saw print in the adjective-less Spider-Man title issue #s 29-31. I did a Google search and, according to a couple of web sites, there may be a collected edition of all six issues coming out in a couple of months. Keep your fingers crossed!
After an absence of several years, Nocenti recently returned to the comic book biz, writing several titles for DC Comics. I hope at some point she is also able to do some new work for Marvel. I can’t help wondering if she has any more stories to tell about her various creations there such as Brainstorm and Zero. And, yeah, no one quite writes Typhoid Mary as well as Nocenti does.
As a long-time comic book reader, I have come to recognize that one of the most important aspects of the creation of comic artwork is inking. It is also, unfortunately, one of the least understood.
Some people make the mistake of thinking that all inking is the same, that it is little more than going over the penciler’s work with a pen (I sometimes think that Kevin Smith should be dunked in a giant vat of India Ink for that line he wrote about “tracers” from his movie Chasing Amy). But the reality is that no two inkers are the same. The difference between one inker and another is often the difference between a very polished finish and a rough, gritty mood. Therefore, it is important to recognize the vital role that inkers have in the crafting of the final, finished look of a comic book story.
I think that the major reason why inkers often do not receive their due credit is that is usually difficult for the casual reader to recognize what, precisely, the inker has brought to the finished artwork. True, there are certain inkers with easily spotted styles, among them Terry Austin, Klaus Janson, and Tom Palmer. But the majority of inkers have work that is of a more subtle sort. John Beatty, Scott Hanna, Mark McKenna, Josef Rubinstein, and Bob Wiacek are all excellent inkers. But when looking at their work, to my unfortunately untrained eye, there isn’t often an occasion where a particular stylistic signature leaps out at me so that I can readily identify them at a casual glance.
Certainly, when a reader only sees the finished, inked work, it can be difficult to discern who did what. And unfortunately most of the time if the reader sees something he really likes in the artwork he is more than likely to ascribe this to the penciler. You really need to be able to view a “before and after” piece, with the raw, uninked pencils side by side with the finished, inked work, in order to fully appreciate who did what.
Bob McLeod is an extremely talented artist, both as a penciler and an inker. He is often at the forefront of the voices rightfully proclaiming that inkers do not receive the credit due them. To that end, on his Facebook page he has posted scans of a number of before and after examples of his inks over other artists’ pencils. Below, reproduced with his kind permission, is one of these (click to enlarge).
This is a page from Spider-Man #34, cover dated May 1993. Lee Weeks provided the pencil layouts on this page, and McLeod the inks / finishes. As you can clearly see by viewing these two pages side-by-side, while Weeks is responsible for the storytelling & pacing, the majority of the important details found in the finished artwork are courtesy of McLeod’s inking.
It can be even more informative when one is able to see how the same penciled piece is inked by several different individuals. I remember that in the early 1990s DC Comics on one of their editorial pages had reproduced a panel of pencil art from a then-recent Batman story. They had three different artists re-ink this panel. Looking at these next to one another, it was readily apparent how each inker brought a very different mood & sensibility to their work, resulting in several very different pieces of art. I really wish I could find that so I could post an image here. It was extremely enlightening, and must have been one of the very first occasions when I realized the importance of the inker.
UPDATE: Here is a scan of that DC Universe piece “What exactly does an inker do?” Thanks to Steve Bird for locating a pic of this and passing along a link in the comments section below.
This clearly demonstrates that Scott Hanna, Gerry Fernandez and Jed Hotchkiss have their own individual styles, and utilized different approaches to when it came to inking Jim Balent’s pencils. This has resulted in three distinctive finished images.
Another earlier example of this sort is equally useful. This was posted on Facebook in January 2013. Originally published in Comics Scene #5 in 1982, a Mike Zeck pencil drawing of the Hulk was inked by four different artists.
As is readily apparent from the images below, Bob Layton, Klaus Janson, Tom Palmer, and Josef Rubinstein each bring something very different to the final look of the artwork. (My personal favorite is the one by Rubinstein.) If you were an editor who was going to hire Zeck to pencil a story, and if you had any common sense, you would not just randomly pick a name out of a hat to choose who was going to ink it. Hopefully, if you were doing your job and knew the styles of the various inkers in your rolodex, you’d give some consideration as to which one would be the best match-up for Zeck’s style, and would bring the desired finished look to the story that you were seeking.
Bob Almond, a very talented inker, is responsible for setting up the Inkwell Awards, which recognize excellence in inking. One of the great things about the Inkwells is that they have helped to demonstrate the importance of inking by putting out various examples of both “before and after” pieces and penciled artwork that have been inked by different artists to demonstrate what each illustrator brings to the table. I encourage everyone to look through their website and Facebook page. There’s a great deal of beautiful artwork on display that really puts the spotlight on the crucial role inking plays.
One last indication of the importance of inking is the rise in prevalence over the last decade of comic books that have been printed from uninked pencil artwork. I first noticed this in 2001 when Marvel began publishing X-Treme X-Men, featuring the art of Salvador Larroca. The book was shot directly from Larroca’s extremely tight, finished pencils. I was never a huge fan of this, because however detailed the penciling may have been it still seemed to be missing something, and the printed comics just looked rather faint and, well, blurry. It’s a bit difficult to describe. But I would have much preferred it if there had been an inker on the book.
Art wise, I felt X-Treme X-Men was much improved in its third year, when the art team of penciler Igor Kordey & inker Scott Hanna came on board. And, again, that also demonstrated the importance of an inker. Anyone who is familiar with Kordey’s work will probably know that when he inks his own pencils, it has a rough, gritty style a bit reminiscent of Joe Kubert. In contract, when he was inked by Hanna, the result is a more polished, slick look. Kordey is usually his own best inker, but he and Hanna definitely did make a very good art team.
In any case, as far as the practice of printing from uninked pencils goes, one of the main publishers to use this is Dynamite Entertainment. They have many talented artists working for them, but the uninked art has its drawbacks, the same I cited concerning Larroca’s work. This especially stood out for me when Mike Lilly was working at Dynamite. I love Lilly’s art, and he did nice stuff for Dynamite. But it would have been even stronger if he had been paired up an inker. Someone like Bob Almond, who had worked very well with Lilly in the past, would have given it a very polished heft, making it more substantive. The lack of inkers on so many of Dynamite’s titles is the major reason why I do not purchase more of their books.
In conclusion, inkers play an extremely vital part of the creative process in the production of comic books. I hope that this blog entry has helped to shed a little bit of light on the role that they play, and leads to a greater appreciation for their talents & efforts.