Longtime comic book artist Marie Severin passed away on August 30 at the age of 89. Severin, a very talented artist who was possessed of a wonderful sense of humor, was one of the few women to work in the comic book industry in the 1950s and 60s.
Marie Severin and some of her friends from work
Severin got her start in the 1950s as a colorist at EC Comics, where her brother, John Severin, was working as an artist. Following that, Severin began working at Marvel in the late 1950s. Initially working as a colorist and in the production department, in the mid 1960s she also began drawing for the House of Ideas.
Severin had a decidedly unconventional, often wacky style to her artwork. She also acknowledged that she really did not care all that much for super-heroes. That made her the perfect fit for Marvel’s outlier characters. She became only the third artist on the Doctor Strange feature in Strange Tales beginning with issue #153, cover-dated Feb 1967. Soon afterwards, Severin began drawing the adventures of Marvel’s two moody, violent anti-heroes, Namor the Sub-Mariner and the Hulk.
In the early 1970s Severin penciled several stories written by Roy Thomas featuring Robert E. Howard’s introspective warrior king Kull the Conqueror. On the Kull stories Severin was inked by her brother John, and it was a beautiful collaboration.
However, it was in the humor field that Severin really found her calling. Her style was perfectly suited for comedy, and for sending up the characters at Marvel and their competitors. Severin’s work appeared in all but one issue of Not Brand Echh, which ran for 13 issues in the late 1960s. All these years later the wacky, satirical stories from Not Brand Echh are well-remembered, in major part because of Severin’s distinctively crazy artwork.
I was born in 1976, so I only discovered Not Brand Echh years later via reprints. I think once I reached my 30s and started taking super-heroes a lot less seriously was when I finally began to really appreciate the parodies of the genre that Severin & her colleagues had done.
However, for the thoughts of someone who did read Not Brand Echh when it was being published, I recommend reading Alan Stewart’s blog Attack of the 50 Year Old Comic Books. Earlier this year Alan did a blog post looking back at Not Brand Echh #9. Severin’s drew the cover artwork for on Not Brand Echh #9 and penciled “Bet They’ll Be Battle!” featuring the Inedible Bulk and Prince No-More the Skunk-Mariner, a parody of the Hulk vs. Sub-Mariner story published in Tales to Astonish #100 a year and a half earlier, which Severin had also penciled.
Nevertheless, of the Not Brand Echh material I have seen via reprints, one of my favorite pieces is the satirical two page “How to Be a Comic Book Artist” vignette which Severin drew, and which she apparently also wrote and colored. It was originally published in Not Brand Echh #11 (Dec 1968). Here it is…
How to Be a Comic Book Artist page oneHow to Be a Comic Book Artist page two
“How to Be a Comic Book Artist” always leaves me chuckling, especially the second panel on the first page. “Work in pleasant, inspiring surroundings – to keep your thoughts alive and creative!” Yes, yes… of course! 😛
I showed this two-pager to my girlfriend Michele, who is an artist. She shook her head and muttered, “Yeah, that sounds like everybody I know.”
Severin continued her humor work at Marvel in the 1970s, contributing to the short-lived color comics Spoof and Arrgh! and the long-running black & white Crazy Magazine. In the early 1990s she also drew a few stories for Marvel’s later-day humor comic What The–?!
Much of Severin’s work for Marvel in the 1980s and early 90s was on titles geared towards younger readers. Her artwork appeared in the Muppet Babies, Fraggle Rock and Alf comic books. Once again, her style was very well-suited to that material.
On occasion Severin did return to straightforward super-heroes. In the mid 1990s she worked on a few stories during David Quinn’s memorable run writing Doctor Strange, doing nice work. I especially enjoyed her artwork on the Doctor Strange & Clea story that appeared in Midnight Sons Unlimited #6 (July 1994) which, although it was a mostly-serious tale, was drawn in a semi-cartoony style, and which had a fair amount of comedic background details, such as the depictions of late 1960s counter-culture elements.
I only met Severin once, briefly, at a comic book convention in June 2000. At the time the only book I had on hand which contained her work was the graphic novel Dignifying Science. Written by Jim Ottaviani and illustrated by a talented line-up of female artists, Dignifying Science spotlighted several important female scientists. Severin drew the book’s prologue & epilogue, which touched upon the life of Marie Curie. I got my copy autographed by Severin. I wish I’d had some of the other books she worked on to also get signed, but at least I did get to meet her that one time.
Marie Severin had a very lengthy career in comic books as an artist and colorist, and I’ve only briefly touched upon a few highlights in this blog. For an in-depth examination of her career, I highly recommend the book Marie Severin: The Mirthful Mistress of Comics written by Dewey Cassell with Aaron Sultan from TwoMorrows Publishing. In addition, Severin was recently interviewed by Jon B. Cooke in Comic Book Creator #16 (Winter 2018) also from TwoMorrows. Please check them out.
In the second part of my look back at writer David Quinn’s run on Doctor Strange: Sorcerer Supreme, we pick up from the events of Annual #4. As “Strangers Among Us” concluded, both Vincent Stevens and “Strange” had discovered that they were not true living beings, but mystical creations of Doctor Stephen Strange based upon aspects of his own personality. Now both of them were slowly beginning to discorporate, and each was desperate to maintain his existence. Stevens thought the solution lay in technology, whereas “Strange” believed that he and Stevens needed to merge together into one being. Meanwhile, in the Dark Dimension, Clea was attempting to travel to Earth and reach Doctor Strange, in the hopes that he could aid her in quelling the mystic civil war engulfing her home. She was unaware that her former lover had been infected with the energies of Salome, forcing him to take refuge in his new null space Sanctum Sanctorum.
In Midnight Sons Unlimited #6, we find Doctor Strange in the midst of assembling the “Forge” out of the numerous mystical items previously collected by “Strange” on his behalf. Perhaps subconsciously sensing that Clea is making her way to Earth, Stephen Strange finds his thoughts drifting to his one-time student & paramour. He relates to Sister Nil, his Lilin prisoner/ward, some of his past history with Clea. The Doctor recounts three occasions when he and Clea encountered Verdelet, a scorned would-be lord of vampires who was passed over by his sire Varnae in favor of Dracula. Their various encounters with this undead fiend through the years highlight the progression of their relationship. Quinn does excellent work examining the couple’s shifting, developing roles over time. In the first segment, Clea is very much the wide-eyed novice discovering a new world, in need of Doctor Strange’s guidance & protection. In the second, they are teacher and pupil, with Clea honing her abilities by aiding Strange in his war against mystic menaces. And in the third, we see them as equals, confidently working alongside one another.
Each of the flashback segments is illustrated by a different artist. The first one, set early in Strange & Clea’s association, is drawn by Marie Severin, one of the artists to work on the post-Ditko issues of Strange Tales in the late 1960s. Appropriately enough, this tale seems to be set in that exact era. Severin, who is probably best known for her work on Marvel’s self-parody title Not Brand Echh, adds a humorous touch to this tale of the undead via her colorful, off-the-wall depictions of the hippy counter-culture.
The second part also features work by a former Doctor Strange artist. The super-talented Gene Colan drew the series throughout the 1970s. He is inked here by Dave Simons, who previously embellished Colan’s pencils on Howard the Duck. Making an appearance is Colan’s vampire-hunting co-creation Blade, who crosses paths with Strange and Clea as they engage in their second match with Verdelet.
Quinn returns to present-day events in Doctor Strange: Sorcerer Supreme #67. Clea arrives on Earth and is shocked to discover that Stephen Strange’s Bleecker Street home is now a vacant lot. Looking for clues to the Doctor’s whereabouts, she explores Greenwich Village disguised as a punk rock chick. Finally, Clea realizes that her long association with and intimate connection to Strange allows her to reach out with her mystic senses to locate his new Sanctum. The two are reunited, and each learns of the tragic circumstances that has befallen the other of late. Clea understands that Strange is, at the moment, unable to help her. As the spell that transported Clea to Earth fades and she returns to the Dark Dimension, each of them comes to terms with the need to go on alone in their respective quests.
Issue #68 is a fill-in written by Dan Abnett focusing on the two Strangers. He does a nice job of getting into Vincent Stevens’ head, exploring his desire to continue to live. Stevens may be immoral and unscrupulous, but he has still developed into a living, sentient being. You can feel his anguish at his slow disintegration. Abnett’s issue ties in very well with Quinn’s ongoing story. It seems that editor Evan Skolnick did a good job coordinating the scripts of the two writers so that events would smoothly flow from one point to another.
Quinn returns with Doctor Strange #69 and, honestly, I think it is one of the strongest issues of his entire run. Having been rejected once and for all by Stevens, a disoriented “Strange” is wandering about, desperately searching for another being to merge with. “Strange” crosses paths with Polaris and Forge from X-Factor, en-route back to Washington after a conference on human/mutant affairs. They are in the midst of arguing about the role of mutants in society. Forge thinks it crucial that mutant-kind band together in a unified front to ensure their security. Polaris, however, believes that different views ought to be expressed, and debate encouraged among mutants about what role they should play in the world.
“Strange” is drawn to Polaris as he senses that due to her status as a mutant she is an “outcast” much like him. He wants to merge with her, making them both, in his mind, complete. While they are fighting, Polaris slowly begins to comprehend that “Strange” is a being who wants to be accepted & understood. Forge, however, perceives “Strange” as a threat, and attempts to destroy him. Polaris’ first instinct is to chastise her teammate for rash action. But when “Strange” abruptly reforms, she reacts with fear. A disenchanted “Strange” flies off, telling Polaris to “remember your hypocrisy.” And perhaps she comprehends for the first time the perspective of ordinary humans who fear and attack those that are different from themselves.
The guest art team of David Brewer & Pam Eklund do excellent work illustrating Quinn’s extremely compelling, thought-provoking plot. And the issue is topped off by an absolutely amazing cover by Mark Buckingham.
The quests by both Vincent Stevens and “Strange” to perpetuate their existences continues in issue #s 70-71, the two part “Half Lives.” Stevens believes that he has finally found the solution via “techno-magick.” He intends to use this to take over the form of the most powerful being on Earth, the Hulk. He summons the green goliath to his Tempo skyscraper by masquerading as the real Doctor Strange… an appropriate enough thing to do, I suppose, since for the past several months people have kept mistaking Stevens for the Master of the Mystic Arts.
“Strange,” on the other hand, is drawn to the Hulk’s oldest friend Rick Jones, who also once shared his form with Captain Mar-Vell. “Strange” believes this makes Rick uniquely suited to merge with him. Rick, on the other hand, has only just married his true love Marlo Chandler. Looking forward to embarking on a new life with her, he certainly has no desire to go back to being one half of a composite entity.
The debate between Rick and “Strange” is abruptly interrupted when the Stevens-possessed Hulk crashes in, ready to destroy his aetheric “brother” as payback for weeks of harassment. It seems Stevens is on track to do just that until Rick, who knows the Hulk all too well, uses psychology to make the gamma-spawned giant’s true personality angry, giving him the strength to reassert control. Stevens’ consciousness is banished. Desperate, Stevens claims that he has changed his mind and wishes to merge with “Strange.” The two flee back to the Tempo, leaving the Hulk and Rick to try and sort things out.
While all this has been taking place, Doctor Strange has been in his Sanctum. He has completed his Forge, and is now attempting to utilize it to channel the magick influence of the Earth itself, thereby gaining a new supply of power. This, he hopes, will allow him to leave null space and take back the mantle of Sorcerer Supreme from Salome.
At the same time, the Doctor is ready to just casually stand back and allow “Strange” and Vincent Stevens to “dissolve naturally.” He seems unaware, or unwilling to admit, that the two Strangers have become independent entities, clinging tenaciously to life. So, despite his vow to no longer treat “those who trusted me like mere chess pawns,” Doctor Strange is as yet unwilling to accept the consequences of his creating the Strangers. Quinn ably demonstrates this glaring moral blind spot in the Doctor’s philosophy. It is one the writer will examine in-depth in his next four issues.
Closing out #71, we finally catch a glimpse of Salome, who has been absent the past several issues. Still searching for Doctor Strange, the mad sorceress contacts the Vishanti. Salome offers up her services to these cosmic beings in exchange for the power to destroy Strange, the man who previously rejected them. Thus is the stage set for the final confrontation between the two.
“Half Lives” features the debut of the new regular artist on Doctor Strange: Sorcerer Supreme. Peter Gross had worked on Dr. Fate and Books of Magic for DC Comics / Vertigo, as well as Hellstorm for Marvel itself. That made him well suited to draw another mystical-themed title such as this. I do think the more traditional superhero action elements in these two issues with the Hulk do perhaps come out a bit awkward. However, Gross does amazing work on the much more bizarre and esoteric sequences featuring Doctor Strange and Salome. The scenes of Strange in the Forge Canal are really eerie, containing a surreal quality. As we will see, Quinn’s upcoming “Last Rites” arc will definitely play to Gross’ strengths as an artist.
In part three, we will be taking a look at the final portion of David Quinn’s work on Doctor Strange, as featured in issue #s 72-79.
In my June 6th blog post, I talked about how I was tracking down David Quinn’s run on Doctor Strange: Sorcerer Supreme. Having finally done that, I’m going to take an in-depth look at Quinn’s innovative, offbeat, and downright bizarre run.
Unlike many creators who come in to take a series in a brand-new direction, David Quinn did not simply sweep under the rug everything that came before him. Rather, he built upon what had gone before. To wit, in the months preceding, in stories by Len Kaminski, Roy Thomas & Geof Isherwood, Doctor Strange’s mystic patrons the Vishanti had called upon him to fight on their behalf in the War of the Seven Spheres. Believing this conflict would last for several millennia, and not wanting to leave Earth unprotected from other supernatural threats, Strange refused. As a result, the Vishanti stripped him of the title of Sorcerer Supreme.
So, when Quinn came onboard, his protagonist was vastly reduced in power & ability. And Quinn totally ran with that, showing just what drastic measures the Master of the Mystic Arts would take to continue in his role of protector of the Earth.
“Siege of Darkness”
Y’know, in certain respects, I have to think that Quinn didn’t have the most ideal of circumstances under which to begin his stint on Doctor Strange. Here he is, ready to kick off a brand-new storyline with sweeping changes in issue #60 and, by the way, it just so happens that that issue is going to be part 7 of a multi-title Midnight Sons crossover titled “Siege of Darkness.” Indeed, Quinn does get off to a bit of a bumpy start. I mean, Doctor Strange is competing for page space with Ghost Rider, John Blaze, Vengeance, Morbius, the Nightstalkers, and the Darkhold Redeemers, all fighting off an assault on Strange’s Bleecker Street home by the demon sorceress Lilith, and her children the Lilin.
(Having said that, I’m sure that being part of a huge crossover centered on Ghost Rider was a really great way to hook new readers!)
Quinn manages to squeeze in a couple of key plot points in #60. First, Doctor Strange has a brief premonition of the future. Second, one of the Lilin, Sister Nil, penetrates Strange’s house and attacks the Midnight Sons. The de-powered Strange is unable to fight Nil himself, and is forced to make a terrible choice. He uses his remaining power to summon Morbius to save them, but as a result is unable to prevent Nil from using her cancerous touch to murder Imei, the fiancé of his longtime ally Wong. And, as the issue concludes, the Doctor’s house is destroyed in a mystic explosion.
Anyway, long story short, the Lilin get banished, but their ally Zarathos is still hanging around. And he immediately finds another group of supernatural baddies, the Fallen, who take up the battle against the Midnight Sons.
Salome arrives, first in Doctor Strange’s nightmares, and then on Earth
Quinn actually introduces a major player in his own overarching storyline in between Doctor Strange #s 60 and 61. Marvel Comics Presents #146 was part 14 of “Siege of Darkness,” and in an eight page tale illustrated by Isherwood, Strange finds himself in a bizarre dream along with his ancient foe Nightmare. However, this time the lord of the dream dimension isn’t Strange’s true enemy. Rather, he comes face to face with the mysterious and lethal Salome, a vampire-like being who feeds on dark emotions.
This leads right into part 15 of “Siege” in Doctor Strange #61. Salome, who is one of the Fallen, finally returns to Earth after thousands of years of exile in another dimension. This is an altogether more focused issue, as Quinn has the other Fallen, uncertain of how Salome is going to affect their plans, decide that they are better off waiting things out on the sidelines. That enables Quinn to focus on the conflict between Doctor Strange and Salome, the latter of whom makes a beeline to the Midnight Sons, who are gathered at the ruins of Strange’s house.
(For the nitty-gritty, click on the above images to enlarge!)
Engaging Doctor Strange and his allies in battle, Salome declares that she was “Sorceress Supreme” of Earth millennia before, and that she is now ready to reclaim her title. Strange, already depowered and weakened from the battles with the Lilith and the Fallen, is obviously in no shape to fight off this lethal contender. Ceding the title to her, he vanishes in a vortex of mystic energy, all his arcane possessions disappearing along with him. The furious Salome is ready to vent her anger on the remaining Midnight Sons, when suddenly a bizarre figure appears. His face covered in a mask, his costume superficially resembling that of the Master of the Mystic Arts, this being known only as “Strange” drives off Salome with a berserker fury.
It is in issue #s 62 and 63, freed from dealing with the whole “Siege” crossover, Quinn really begins to advance his story arc. Skipping forward four months, we see that the masked being “Strange” has been crisscrossing the globe, collecting various mystic artifacts with a ruthless efficiency. Meanwhile, back in Manhattan, a man named Vincent Stevens, who bears a striking resemblance to a somewhat younger Doctor Strange, has been using his powers of hypnosis to both manipulate the financial market and establish ties with organized crime. Constructing a towering skyscraper known as the Tempo, Stevens leads a hedonistic lifestyle, throwing lavish erotic parties for the wealthy.
Neither of these individuals is the genuine article, though. The true, original Doctor Stephen Strange is dwelling in his new Sanctum Sanctorum located in a “null space” in a vast cavern a mile beneath Trinity Church on Wall Street. Gaunt, haggard, and decidedly short of temper, the former Sorcerer Supreme is clearly in trouble.
Quinn takes a detour in Midnight Sons Unlimited #5, bringing the sixth century sorcerer Modred the Mystic into the proceedings. Modred’s philosophy can be summed up with the saying “you can’t make an omelet without breaking a few eggs.” He firmly believes that the key to protecting the Earth from the forces of darkness is to master those very forces to use against his foes. In past stories this has predictably backfired, and on at least one occasion he ended up a pawn of the elder god Chthon. Obviously not having learned from his mistakes, Modred, along with his new disciple Wildpride, manipulate several members of the Midnight Sons into attacking Salome. The whole affair is merely a ruse, an attempt to make Salome his servant so she can aid him in killing Doctor Strange, enabling Modred to become the new Sorcerer Supreme. Of course this spectacularly blows up in Modred’s face, and as the story closes we see the sullen, humiliated Mystic being mocked by Wildpride. (Not to worry, though, those two will pop up again soon!)
Obviously Quinn set up a lot of mysteries in these first several stories. Once again, unlike many of his contemporaries on other 1990s Marvel titles, having set up these subplots, Quinn quickly followed through, delivering a number of unusual answers in the four part “Strangers Among Us” arc that ran in Doctor Strange #s 64-66 and Annual #4. As editor Evan Skolnick quite reasonable explained in the letters page of #66…
“When a writer presents his readers with a mystery, it behooves him or her to eventually reveal the previously-hidden facts. We’ve been leaking them slowly over the past six months, giving you enough hints for you to guess… but it’s a fatal error to raise a question and then wait too long to answer it.”
A very strange arrival
Quinn reveals that the mystic treasure hunt by “Strange” has been conducted on behalf of the real Doctor Strange. The sorcerer is amassing these objects in his new Sanctum. There, he is also keeping Sister Nil as a prisoner, a constant reminder to himself of Imei’s death so that he will not fail again. After the Doctor is unable to convince his one-time ally Namor the Sub-Mariner to give up an ancient Atlantean artifact, the Coral Crab, “Strange” takes it upon himself to retrieve the object from the ocean floor. This brings him into conflict with not only Namor, but also a mystic sea serpent and, upon returning to New York City, former ally Vengeance.
All of this attracts the attention of Salome. A necromancer, the Sorceress Supreme divines events by peering into mystic skins literally made from the flesh of her followers. She observes “Strange” referring to “the Other,” and learns this is Vincent Stevens, who she mistakes for Stephen Strange. Salome has brought the disenchanted Wong into her service by convincing him that she has resurrected Imei, although in fact it is actually a winged skeletal demon named Xaos. Wong and Xaos abduct Stevens and transport him to Salome’s sanctuary in Iraq. Salome quickly realizes that Stevens is not Doctor Strange. And then “Strange” appears, ready to once again battle Salome. It is at this point that the Sorceress Supreme finally deduces what has been going on. In an effort to convince both “Strange” and Stevens to ally with her, Salome offers up explanations.
During the events of issue #61, in the midst of Doctor Strange’s explosive disappearance, he created a “stasis spiral,” stopping time. In that frozen moment, he literally created “Strange” and Vincent Stevens via “aetheric discharges.” Because Doctor Strange could not generate life from nothing, he derived their personalities from aspects of his own. “Strange” was the savagery and violence he had long repressed. Vincent Stevens embodied the selfishness and materialism of his former life as a wealthy surgeon which he overcame many years before when he studied under the Ancient One. Doctor Strange had to create these twin beings to act as his agents in the outside world. Because he had been infected by the energies of “Salome’s Dance,” if he left the null space of his new Sanctum, he would instantly disintegrate.
The origin of the Strangers
From within his Sanctum, the Doctor manages to take psychic control of Vincent Stevens and, through his form, engages Salome in battle. But even with the help of “Strange,” the Doctor cannot best Salome. He is forced to channel the energy of Salome’s Dance in his body and use it against her. This finally drives her off, but the Doctor knows that it is only a temporary victory. And he wonders if his use of her dark powers has corrupted him.
There is also a back-up story in Annual #4 written by Tom Brevoort & Mike Kanterovich. “Desperate Needs” brings us up to date with Clea, the lover and student of Doctor Strange. The War of the Seven Spheres has touched upon her native Dark Dimension, causing horrific carnage. Clea, unaware of her former partner’s own dire circumstances, sets out to journey back to Earth’s dimension and recruit Doctor Strange’s assistance in saving her world. Brevoort & Kanterovich’s story works as both a nice stand-alone character piece and as a lead-in to issue #67. But I’ll be looking at that in the next installment.
Sooooooo, what do I think of David Quinn’s work on Doctor Strange? In this first arc he does very good work. After an understandably rocky start during “Siege of Darkness,” the writing really takes off. I realize, reading through the letters pages of these issues, that at the time these drastic changes were met with very mixed reactions. But, in hindsight, I think that the series did need shaking up. Roy Thomas did some decent writing, and he worked well with both Jackson Guice and Geof Isherwood. But after more than four years, Doctor Strange was due for a change.
In his editorial in issue #60, Skolnick stated that he was trying to recapture “the original, defining aspects” of the Steve Ditko & Stan Lee stories from Strange Tales. If you look at those original Ditko & Lee tales (go out and get Essential Doctor Strange Vol. 1) you will see that it did take several issues for them to really hit their groove. I think the exact moment when that occurred can be pinned down: Strange Tales #126, the introduction of the dread Dormammu. This kicked off a more or less uninterrupted storyline that lasted until #146, Ditko’s final issue. And during this 21 issue arc, there really was no status quo. Doctor Strange spent most of the time on the run from Baron Mordo and his myriad disciples who had been empowered by Dormammu, searching across the Earth and through various dimensions for the means to overcome his awesomely powerful adversaries.
David Quinn’s writing on Doctor Strange definitely contains the same sort of tension and unpredictability as that classic storyline, the suspense and mystery inherent in waiting to see how the Master of the Mystic Arts would outwit his enemies. Quinn puts his own unique spin on it, via the moral ambiguity of the Stephen Strange’s actions, the mystery of the two “Strangers,” the alienation of his allies, and the introduction of a brand-new arch-villainess, Salome.
As I mentioned in my earlier blog post, I really did enjoy the work of Mel Rubi and Fred Harper, who were the art team on the first several issues of Quinn’s run. I believe that this was Rubi’s very first published work. He starts off a bit shaky, but you can see him grow from issue to issue. As for Fred Harper, I’m probably biased since I’m friends with him, but his inking is great. It really gives the art a tangible mood and atmosphere. He is another artist who has really grown, consistently getting better & better. If you look at his current painting & illustration work, it is absolutely fantastic.
The artwork on the Annual was courtesy of Kyle Hotz. He reminds me a bit of Kelly Jones. There is this sort of twisted, intricate detail to Hotz’s art that really suits the final chapter of “Strangers Among Us.” And his layouts & storytelling are extremely dramatic. He really gives the battle between the Strangers and Salome a hell of a punch.
Strange vs Namor the Sub-Mariner
And, of course, Mark Buckingham contributes several excellent covers for the “Strangers Among Us” arc. We’ll be seeing more from him in upcoming issues.
One last thing: the lettering on the Annual is courtesy of Janice Chiang. She has always been one of my favorite comic book letterers. Every time I see her work, I can spot it almost instantly. There is an element of calligraphy incorporated into Chiang’s fonts. It works wonderfully well, and feels very organic. The role of letterers is usually overlooked, so I wanted to make sure to highlight her efforts here.
Okay, this post went on much longer than I intended. In part two, when I cover Doctor Strange #s 67-71 and Midnight Sons Unlimited #6, I promise I won’t ramble on so much!
In My Not So Humble Opinion 