Tom Lyle: 1953 to 2019

I was very sorry to hear that longtime comic book artist Tom Lyle passed away earlier this month.

As with a number of other comic book artists who got their start in the 1980s, Lyle’s earliest work was published by Bill Black at AC Comics.  In late 1986, following a meeting with Chuck Dixon at a Philadelphia convention, Lyle began working for Eclipse Comics.  He penciled back-up stories in Airboy featuring the Skywolf character, followed by a three issue Skywolf miniseries, and a few other related books for Eclipse.Airboy 13 Skywolf pg 6

I personally didn’t have an opportunity to see this work until 2014, when IDW began releasing the Airboy Archives trade paperbacks.  Looking at those Skywolf stories, I was impressed by how solid & accomplished Lyle’s work was that early in his career, both in terms of his storytelling and his attention to detail.  In regards to the later, a good example of this is seen in the above page from Airboy #13 (Jan 1987).  Lyle and inker Romeo Tanghal do great work rendering both the airplane and the Himalayan Mountains.

The Skywolf back-ups and miniseries were all written by regular Airboy writer Chuck Dixon, who Lyle would collaborate with again in the future.Starman 1 cover 1988 small

In late 1988 Lyle, working with writer Roger Stern and inker Bob Smith, introduced a new Starman, Will Payton, to the DC Comics universe.  Although not a huge hit, Starman was nevertheless well-received by readers, and the title ran for 45 issues, with Lyle penciling the first two years of the run.  Starting with issue #15 Lyle was paired up with inker Scott Hanna.  The two of them made a very effective art team, and they would work together on several more occasions over the years.

Lyle then worked on a couple of jobs for Marvel.  He penciled an eight page Captain America story in Marvel Comics Presents #60 written by John Figueroa and inked by Roy Richardson.  This was followed by a three part serial that ran in Marvel Comics Present #77-79 featuring the usual teaming up of Sgt. Fury and the Howling Commandos with Dracula.  Written by Doug Murray and inked by Josef Rubinstein, the serial saw the Howlers having to work with the lord of the vampires against the Nazis.

In 1990 Lyle worked on the five issue Robin miniseries for DC Comics, featuring Tim Drake’s first solo story.  The miniseries reunited Lyle with Chuck Dixon and Bob Smith.  It was a huge hit, gaining Lyle a great deal of attention & acclaim.  Within the story Dixon & Lyle introduced the villains King Snake and Lynx, both of whom would become recurring foes in the Batman rogues gallery.  Also around this time Lyle drew the covers for an eight issue Justice Society of America miniseries.Comet 3 pg 2Lyle’s next project was for Impact Comics (or, if you prefer, !mpact Comics) a DC Comics imprint featuring revamped versions of Archie Comics’ oddball line of superheroes.  Lyle was the artist & plotter of The Comet, an interesting reimagining of the character.  Scripting The Comet was Mark Waid.  Beginning with the second issue Scott Hanna came on as the inker / finisher.JSA 6 cover 1991 small

I was 15 years old when the Impact line started, and I really enjoyed most of the books.  The Comet was definitely a really good, intriguing series.  Lyle & Hanna once again made a great art team.  Regrettably, despite apparently having some long-term plans for the series, Lyle left The Comet after issue #8.  It fell to Waid, now the full writer, to bring the series to a close when the Impact books were unfortunately cancelled a year later.

Lyle’s departure from The Comet was probably due to his increasing workload on the Batman group of titles.  During this time he penciled “Shadow Box,” a three part follow-up to the Robin miniseries that ran in Batman #467-469.  After that he was busy on the high-profile four issue miniseries Robin II: The Joker’s Wild.  As the title implies, this miniseries saw Tim Drake’s long-awaited first encounter with Gotham City’s Clown Prince of Crime, the villain who had murdered the previous Boy Wonder.

Following on from this, the team of Dixon, Lyle & Hanna worked on Detective Comics #645-649.  One of the highlights of this short run was the introduction of Stephanie Brown aka The Spoiler.  Stephanie would go on to become a long-running, popular supporting character in the Bat-books, eventually becoming a new Batgirl.Robin 1 pg 1After completing a third Robin miniseries, Lyle moved over to Marvel Comics, where he immediately established himself on the Spider-Man titles.  He penciled the Amazing Spider-Man Annual #27, once again working with Scott Hanna.  Written by Jack C. Harris, another former DC mainstay, the annual introduced the new hero Annex.

Batman 468 cover smallThis was followed by Lyle & Hanna drawing Spider-Man #35-37, which were part of the mega-crossover “Maximum Carnage.”  Lyle also penciled the Venom: Funeral Pyre miniseries, and drew a few covers for the Spider-Man Classic series that was reprinting the original Lee & Ditko stories.

The adjective-less Spider-Man series had initially been conceived as a vehicle for which the super-popular Todd McFarlane could both write and draw his own Spider-Man stories.  However he had then left the series with issue #16 to co-found Image Comics, and for the next two years the title served as something of anthology, with various guest creative teams.  Finally, beginning with issue #44, Lyle & Hanna became the regular art team on Spider-Man, with writer Howard Mackie joining them.

Truth to tell, this was actually the point at which I basically lost interest in the Spider-Man books.  The padded-out “Maximum Carnage” event, followed soon after by the meandering “Clone Saga,” caused me to drop all of the Spider-Man series from my comic shop pull list.  Nevertheless, I would on occasion pick up the odd issue here & there, and I did enjoy Lyle’s work on the character. He also did a good job depicting the villainous Hobgoblin and his supernatural counterpart the Demogoblin.

Spider-Man 48 pg 11Despite my own feelings about “The Clone Saga,” I know it has its fans.  Lyle definitely played a key part in that storyline.  When Peter Parker’s clone Ben Reilly returned he assumed the identity of the Scarlet Spider.  It was Lyle who designed the Scarlet Spider’s costume.  I know some people thought a Spider-Man type character wearing a hoodie was ridiculous but, as I said before, the Scarlet Spider has his fans, and the costume designed by Lyle was certainly a part of that.Spider-Man 53 cover small

Lyle remained on Spider-Man through issue #61.  He then jumped over to the new Punisher series that was written by John Ostrander.  Unfortunately by this point the character had become majorly overexposed, and there was a definite “Punisher fatigue” in fandom.  Ostrander attempted to take the character in new, different directions, first having him try to destroy organized crime from within, and then having him work with S.H.I.E.L.D. to fight terrorists, but the series was cancelled with issue #18.  Nevertheless I enjoyed it, and I think Lyle, paired with inker Robert Jones, did some really good work drawing it.

Lyle next wrote & penciled a four issue Warlock miniseries for Marvel in 1998, which was again inked by Jones.  After that Lyle & Jones worked on several issues of the ongoing Star Wars comic book for Dark Horse.  He also worked on several issues of Mutant X for Marvel.

Unfortunately in the early 2000s Lyle began having trouble finding work in comics. Honestly, this is one of the most exasperating things about the industry.  Here was an artist who for over a decade did good work on some of the most popular characters at both DC and Marvel, and then suddenly he finds himself not receiving any assignments.  It’s a story we’ve regrettably heard variations of over and over again.  It’s a genuine shame that freelancers who time and again were there for publishers do not find that loyalty rewarded.

Punisher 15 cover 1997 smallFortunately for Lyle he was able to successfully transition into another career.  He began teaching sequential illustration at the Savannah College of Art and Design in 2005, a position he remained at for the next decade and a half.

Tragically in September of this year Lyle suffered a brain aneurysm.  After undergoing surgery he was placed in a medically induced coma.  Unfortunately he never recovered, and he passed away on November 19th.  He was 66 years old.

The sad fact is that health care in this country has become more and more unaffordable for most people.  After her husband passed away Sue Lyle was left with astronomical medical bills.  Tom’s brother-in-law set up a Go Fund Me to help Sue.  I hope that anyone who reads this who is in a position to help out will contribute.

Lyle was a longtime friend of June Brigman & Roy Richardson, who also got into the comic book biz around the same time. After Lyle passed away, Brigman shared a few memories of him on Facebook:

“Roy and I were friends with Tom and his wife Sue for, oh…about thirty years. Tom and I followed a similar path, working for Marvel and DC, then SCAD, Tom in Savannah, me in Atlanta. It was Tom who encouraged me to go for a teaching position at SCAD, an experience that I’m very grateful for. And it was Tom’s example that made me, at the ripe ol’ age of 59, finally finish my MFA in illustration. I like to think that we helped give Tom a start in comics. But really, all we did was give him a place to stay when he first visited Marvel and DC. He went on to become a rock star of the comics industry. And while yes, he definitely left his mark on the world of comics, I think his real legacy is his students. They were all so fortunate to have Professor Lyle. Not everyone who can do, can teach. Everything Tom taught came from his experience. He was a master of perspective, he had impeccable draftsmanship, and boy, could he tell a story. And, most importantly, he loved teaching, and truly cared about his students.”

I only met Tom Lyle once, briefly, and a comic book convention in the early 1990s.  Several years later I corresponded with him via e-mail.  At the time I purchased several pages of original comic book artwork from him.  Tom was easy to deal with, and his prices were very reasonable.  Regrettably over the years I’ve had to sell off all of those pages to pay bills, but it was nice having them in my collection for a while.

Tom Lyle was definitely a very talented artist.  Everyone who knew him spoke very highly of him as a person.  He will certainly be missed.

Remembering comic book artist George Klein

Recently I was reminded, thanks to the excellent blog Attack of the 50 Year Old Comic Books by Alan Stewart, of the very underrated work of comic book artist George Klein.

National Sportsman Dec 1939 cover smallOne of the main reasons why Klein is not much better known among comic book fandom is that he tragically passed away at a young age.  He died 50 years ago this month, on May 10, 1969.

Klein was born in 1915, although there is a bit of uncertainty over the exact date, as well as the location of his birth.  Klein’s earliest published work appears to be a painted cover for the December 1939 edition of National Sportsman.

Between 1941 and 1943 Klein was employed by Timely Comics, the precursor to Marvel.  Creator credits in the Golden Age were often missing or inaccurate, but it is generally believed he worked on such titles as All-Winners Comics, Captain America Comics, USA Comics and Young Allies Comics at Timely.

In 1943 Klein was drafted to serve in World War II, and served as a private in the Army Infantry.  Honorably discharged in 1946, Klein returned to his career as an artist, working in both comic books and as a magazine illustrator.Detective illustration George Klein

Several of the periodicals that Klein worked for, both before and after the war, were pulp magazines published by Timely’s owner Martin Goodman, specifically Best Love, Complete Sports, Complete War and Detective Short Stories.  Klein was also a regular contributor to Wyoming Wildlife, the award-winning magazine published by the Wyoming Game and Fish Department.  His work in Wyoming Wildlife and other publications apparently gained Klein some renown as a landscape and wildlife artist.

Klein once again did work for Timely, or Atlas Comics as it came to be known in the 1950s.  Among the various titles Klein worked on at Timely / Atlas in the late 40s and early 50s were the romance series Girl Comics and the well-regarded fantasy / romance series Venus, although (again due to the lack of credits) the exact details of his involvement are a matter of deduction and guesswork.

 

Venus 2 pg 1

During this time Klein also branched out to work for other publishers such as ACG, Ace Comics and Prize Publications.  By the early 1950s much of Klein’s work was for National Periodical Publications, aka DC Comics.

Beginning in 1955 Klein, working as an inker, was regularly paired up with penciler Curt Swan on DC’s various Superman titles.  Looking at the Grand Comic Database, the first story drawn by the Swan & Klein team seems to be the Superboy story “The Wizard City” written by the legendary Bill Finger in Adventure Comics #216, cover-dated September 1955.Adventure Comics 332 cover small

Swan and Klein continued to work together for the next 12 years, with their art appearing in various issues of Action Comics, Adventure Comics, Superman, Superman’s Girl Friend Lois Lane, and Superman’s Pal Jimmy Olsen.

Truthfully, Swan is a penciler who at times leaves me a bit cold.  He’s one of those artists who I recognize as technically proficient, someone who is a good, solid storyteller.  However often his work just does not connect with me personally.  That said, there is something about the teaming of Swan and Klein that really appeals to me.

Having been born in 1976, obviously I did not read the stories they drew when they first came out. About 20 years ago I really got into the Legion of Super-Heroes and began picking up the various Legion Archives.  I was immediately taken with the work that Swan & Klein on those Superboy and the Legion stories from Adventure Comics in the 1960s.  I regard Klein as one of the best inkers Swan ever got during his lengthy career.

As per writer & editor Mark Waid’s bio of George Klein written for the Legion Archives:

“Klein set new standards for his craft with his razor-crisp brushline, which brought new dimensions to the art of Curt Swan, the penciler with whom Klein was most frequently paired. Together, Swan and Klein defined for years to come the look of Superman and his cast of characters; to this day , most Legion of Super-Heroes aficionados consider Swan and Klein to be the all-time finest Legion art team.”

Adventure Comics 352 pg 5

Klein’s work over Swan’s pencils is an excellent demonstration of just how significant a role the inker can have on the look of the finished artwork in comic books.

Adventure Comics 352 cover smallProbably the stand-out stories of this era were written by the then-teenage Jim Shooter, who introduced Karate Kid, Princess Projecta and Ferro Lad to the Legion, as well as the villainous Fatal Five.  Swan & Klein did a superb job illustrating these now-classic stories.

One cannot discuss Klein’s work in the Silver Age without mentioning Fantastic Four.  Created by Stan Lee and Jack Kirby in 1961, that title was the birth of what came to be known as the Marvel Universe.  For many decades the specific details concerning the creation of the early FF stories have been shrouded in mystery.

One of the most frequently-pondered questions was who exactly inked Kirby’s pencils on the first two issues.  After much debate & analysis, the conclusion reached by Dr. Michael  J. Vassallo, one of the foremost authorities on Timely / Atlas / early Marvel artwork, is that it was George Klein.  It is known that Klein worked on several stories for Atlas in the late 1950s and early 60s, which would put him in exactly the right place when the first two issues of FF were being created in 1961.

As to why Klein in particular was chosen to ink these two issues, longtime Marvel editor Tom Brevoort offers up this theory:

“I would also conjecture that perhaps the choice of George Klein to ink these early issues–if indeed he was the inker as is generally believed today–was to try to give them more of a super hero feel than Kirby’s monster or romance or western work. Klein at the time was inking Curt Swan on Superman, and you really can’t get a more classic super hero finish than that.”

Fantastic Four 1 pg 14

Absent the original artwork for those first two FF issues resurfacing, or some previous-unknown documentation being discovered, we will probably never be 100% certain; nevertheless, the general consensus is that Klein very likely inked those two issues, placing him right at the birth of the Marvel Age of Comics.

Klein’s work for DC on the Superman family of titles took place during the regime of editor Mort Weisinger.  The late 1960s saw an editorial shake-up at DC. Although Weisinger remained in control of the Superman books until 1970, this behind-the-scenes instability is reportedly what led to Klein departing the company.  He quickly found work at Marvel Comics which, eight years after the introduction of the Fantastic Four, was achieving both commercial success and critical acclaim.Avengers 57 cover small

Klein’s first assignment at Marvel was inking John Buscema’s pencils on Avengers.  After inking a couple of covers, Klein became the regular inker with issue #55, cover-dated August 1968.  Klein remained on Avengers for nearly a year.

The late 1960s is now considered one of the series’ most important and influential periods. Writer Roy Thomas, working with John Buscema, introduced the Avengers’ arch-nemesis Ultron, new member the Vision, and Hank Pym’s new costumed identity Yellowjacket, among other key developments.  Klein did a superb job inking Buscema on many of these key stories.  In 2001 Thomas spoke with Buscema about their work on Avengers, a conversation that saw print in Alter Ego #13.  In it they briefly touched upon Klein:

Roy Thomas: So how did you feel about George Klein’s inking compared to some of the others?

John Buscema: From what I’ve seen, a very credible job, not bad.

Considering that Buscema was notoriously critical of most of the artists who inked his work, I suppose by his exacting standards this was high praise indeed!

Avengers 55 pg 16

Klein also inked Gene Colan on Avengers #63-64, Sub-Mariner #11, and on several issues of Daredevil.  Klein was probably one of the best embellishers to ever work over Colan, who could often be a bit challenging to ink.

Daredevil 53 cover smallAdditionally, in early 1969 Klein inked two very early jobs by a very young Barry Windsor-Smith, in Daredevil #51 and Avengers #67.  Klein’s finishes gave some much-needed support to BWS who, although he was already showing quite a bit of promise, was still honing his craft.

Last, but certainly not least, Klein inked Jack Kirby on Thor #168-169, which were cover-dated Sept and Oct 1969.  It has been opined that Vince Colletta’s inking of Kirby was a good match on Thor, as the feathery line work provided a specific tone that was well-suited to the mythological characters & settings.  It was much less appropriate to Kirby’s sci-fi concepts, which is why Colletta was a poor fit on Fantastic Four.

Similarly, when Kirby took Thor in a more cosmic direction in the late 1960s, Colletta’s inking felt out of place.  So it was definitely nice to have Klein’s more polished inking on these two issues, which saw the god of thunder learning the origin of one of Kirby’s most cosmic creations, Galactus.  These Thor issues were very likely the last work that Klein did before his untimely death.
Thor 169 pg 2

According to the Field Guide To Wild American Pulp Artists, Klein was hospitalized for cirrhosis of the liver in May 1969, less than a month before he died.

I’m going to add a few words from Alan Stewart here summing up this unfortunate situation:

“It’s tragic that Klein passed away as young as he did — and the fact that he’d gotten married just a few months before makes it even more so. Unfortunately, his work over Curt Swan on the Superman books all those years was uncredited, and his subsequent stint at Marvel was too short for him to have made the impact of a Joe Sinnott or Tom Palmer. I agree he’s underrated.”

Action Comics 300 cover small

I really believe that Klein would probably be much better remembered as an artist if he had not died so young.  He did very well-regarded work on comic books in a career that lasted nearly three decades.

The reissuing of so much of DC and Marvel’s material from the Silver Age does mean that younger fans such as myself have now been able to rediscover Klein’s work.  Additionally, all these decades later Klein, as well as everyone else who worked on those early DC stories, are at long last receiving proper credit for their work in those reprint volumes.

There are so many creators from the Golden Age and early Silver Age who helped to make the comic book industry what it is today, creators who in the past were unfortunately uncredited and overlooked.  I hope this short profile on one of those creators, George Klein, will inspire readers to seek out some of these classic stories, and to develop more of an appreciation for the people who crafted those imaginative tales.

Thank you to all of the websites from which I gleamed information about and artwork by George Klein.  I believe I’ve included links to all of them, but if I did miss anyone please let me know!

Comic book reviews: The Fox by Dean Haspiel and friends

Given that I enjoyed the New Crusaders: Rise of the Heroes miniseries Archie Comics / Red Circle published a year ago, I was probably going to get their next offering, the five issue miniseries The Fox.  Of course, as soon as I found out that Dean Haspiel would be plotting and illustrating the book, well, I was sold.

I’ve been a fan of Haspiel’s work since he collaborated with Josh Neufeld on the Keyhole anthology series in the late 1990s, and subsequently worked solo on his Billy Dogma stories.  Haspiel is one of those rare creators who successfully straddle the worlds of independent and mainstream comics. He is equally at home crafting bizarre, experimental projects and chronicling the adventures of popular Marvel & DC superheroes.  In fact, The Fox is very much a meeting ground between those two worlds, as Haspiel brings his innovative small press sensibilities with him in a clever revamping of a long-time Red Circle costumed crime-fighter.

The Fox 2 pg 1

Paul Patton Jr. is the son of the original Fox.  Unlike his father, Paul never set out to be a hero.  Rather, as a photojournalist, Paul felt that by becoming a masked vigilante he could attract news stories, create material to help his career.  Unfortunately Paul eventually realized that he had become, in Haspiel’s words, a “freak magnet,” attracting all sorts of bizarre individuals & strange events without meaning to.  Now all Paul desperately wants is a normal life with his wife and kids.  But fate just keeps conspiring against him, throwing a succession of oddities and curveballs his way with alarming regularity.

Scripting “Freak Magnet” is veteran writer Mark Waid.  I really enjoyed his work in the past on such series as The Flash, Captain America, The Brave and the Bold, and Kingdom Come.  Although the first thing that comes to mind when I think of Waid is old-school, traditional superhero tales (and I mean that as a compliment) he really is a diverse scribe, having also penned the extremely dark titles Empire and Irredeemable.  With The Fox, Waid shows yet another side of his talent, scripting some hysterically insane dialogue to accompany Haspiel’s bizarre, surreal plotting.  The two make a hell of a team.  And, yeah, you could say that Waid makes the Fox much more witty and eloquent than the original Golden Age version, who was introduced in 1940 by writer Joe Blair & artist Irwin Hasen:

The Fox Irwin Hasen

“Yah yah yah yah yaaahh!”  Indeed.

Beginning in issue #2 is a back-up story featuring the Shield.  Writer J.M. DeMatteis reunites with penciler Mike Cavallaro, who he previously collaborated with on The Life and Times of Savior 28.  Joining them is the insanely talented Terry Austin who, as I’ve mentioned on at least one occasion, is one of the best inkers / embellishers in the comic book biz. He does superb work over Cavallaro’s pencils here.

DeMatteis’ story is a flashback to World War II, as Joe Higgins, aka the Shield, heads to Antarctica to investigate a mysterious power source that the military suspect is being caused by an unknown Axis super-weapon.  At first tangling a horde of monsters, the Shield then encounters the German and Japanese agents Master Race and Hachiman.  Not stopping to ask questions, the Shield leaps at them, engaging the two Axis super-soldiers in battle.  But these three men soon discover that things are not as simple as they seem.

The Fox 2 pg 25

One of the aspects of DeMatteis’ writing that I have appreciated since I first encountered it way back in the pages of Captain America #278 was that he would demonstrate that not every problem can be solved with violence.  In a genre such as superhero comic books, which (truth be told) often involves costumed superhumans beating each other senseless, this is a somewhat unusual approach, one that has often set DeMatteis apart from his contemporaries.  But I appreciate that he scripts protagonists who utilize their intelligence & reasoning to arrive at a more constructive solution than punching the other guy in the face.

Not to get too political, but there is such a significant problem in the real world where non-violent strategies are frowned upon.  One need only look at reactions to the current crisis in the Ukraine.  Various politicians are decrying the tactics of negotiations with and economic sanctions against Russia because they make the United States look “weak.”  Of course, the people usually calling for military action either cannot or will not recognize that conflicts such as this one are not black & white affairs with “good guys” and “bad guys” that can be quickly & neatly solved by blowing up some “evil” enemy.  And you can be guaranteed that those saber-rattling politicos and armchair generals are not the types to lay their own lives on the line in the service of their country, instead leaving it to others to fight & die on the battlefield.

Very unexpectedly, the extremely different adventures of Paul Patton and Joe Higgins come crashing together at the end of issue #4, as the Fox, having helped rescue the other-dimensional Diamond Realm from the diabolical Druid, is transported back to Earth.  But instead of returning to the United States in 2014, an alarmed Fox materializes in Antarctica seven decades earlier, ending up smack dab in the middle of a four-way fight between the Shield, Master Race, Hachiman and an equally time-displaced Druid.

The Fox 5 pg 9

With DeMatteis taking over both the plotting & scripting for the final issue, I really wondered how this would work out.  DeMatteis has very different sensibilities from Waid.  Much of his work features psychoanalytical or spiritual tones.  That’s not to say that DeMatteis cannot do comedy, because he has written some very funny stories in the past.  But, yes, there is a somewhat abrupt shift in mood between #4 and #5.  Perhaps DeMatteis might have endeavored to maintain some of the Fox’s irreverent commentary in the concluding issue.  But, on the whole, it is a pretty effective conclusion.  The fact that the Fox is not your typical superhero, that he really just wants to have a nice, quiet life, makes him just the sort of individual to think outside the box.  He’s the one who is able to realize that the Shield, Master Race, and Hachiman have to stop thinking with their fists, set aside their distrust, and come up with a more intelligent strategy to stop the Druid.

Haspiel does a fine job illustrating the concluding issue.  After the wacky shenanigans of the preceding four chapters, he ably shifts gears, ably depicting both the gritty horrors of war and the mystic, esoteric final confrontation with the Druid.

I also have to give a tip of the hat to John Workman.  As always, his lettering is dynamic.  It’s an oft-overlooked art.

One other nice touch to The Fox was that there were a number of tie-ins with New Crusaders.  In addition to the Shield, there are also appearances by Dusty the Space Chimp and Bob Phantom.  And we learn that Paul Patton’s daughter is Fly-Girl.  For those who have also read New Crusaders, these are nice touches that will make you go “A-ha!”  But they are done in such a way that if you’ve never laid eyes on that other miniseries, you will still be able to appreciate The Fox as a stand-alone piece.  That is how continuity should work.

The Fox 1 Freak Magnet cover signed

I did think that having 17 covers for 5 issues was a bit much, though.  Yeah, there was some nice artwork on those variants.  I guess they’ll make for a really lovely gallery in the back of the upcoming trade paperback.  Okay, I did splurge a bit and pick up a couple of the alternate covers, namely Haspiel’s “Freak Magnet” issue #1 variant, and the cover for #5 showcasing a vintage rendering of the Fox by the late, great Alex Toth.

All in all, despite a couple of hiccups, The Fox was very well done.  I’m glad that Haspiel & Waid are already working on a second miniseries.  I’m definitely looking forward to the further misadventures of everyone’s favorite freak magnet.