Welcome to the 12th edition of Comic Book Coffee. I posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.
56) Judit Tondora
Wonder Woman ’77 Meets The Bionic Woman #2, drawn by Judit Tondora, written by Andy Mangels, lettered by Tom Orzechowski & Lois Buhalis, and colored by Roland Pilcz, published by Dynamite Entertainment and DC Comics in January 2017.
This was a fun miniseries co-starring television’s top two heroines from the late 1970s. Andy Mangels is probably the foremost expert on Wonder Woman, and he must have had a real blast writing a team-up of Princess Diana and Jamie Sommers.
Hungarian artist Judit Tondora did a great job rendering both the television version of Wonder Woman and the Bionic Woman, along with both their supporting casts and their small screen rogues galleries. Likenesses can be very tricky, but I feel that Tondora really captured most of them pretty accurately. Her depictions of Diana and Jaime were certainly beautiful. Tondora’s art for this miniseries was very lively. I hope we see more of her work appearing in comic books in the near future.
In this scene Diana Price and Steve Trevor of the IADC are meeting with Jaime Sommers and Oscar Goldman of the OSI. Over coffee the four agents are discussing the ongoing investigation into the terrorist cabal Castra, an alliance of the IADC and OSI’s deadliest adversaries that has hijacked a shipment of experimental nuclear missiles.
Wonder Woman ’77 Meets The Bionic Woman was a really enjoyable read. I definitely recommend it.
57) Brad Gorby & Mark Heike
Femforce #93, written & penciled by Brad Gorby, inked by Mark Heike, and lettered by Christie Churms, published by AC Comics in May 1996.
While Femforce is basically a serious title, it also has a sense of humor about itself. The main storyline running though these issues involves Jennifer Burke, the daughter of the original Ms. Victory. Due to the manipulations of the military and a series of personal tragedies Jen’s life has completely fallen apart. Going rogue, Jen adopts the identity of Rad which her mother previously assumed. The government, realizing that Rad possesses a wealth of top secret information from her time leading Femforce, dispatches a group of genetically engineered assassins to eliminate her.
While this very intense plotline is taking place, writer / penciler Brad Gorby takes a brief detour to a more lighthearted setting. It is morning and the ladies of Femforce are having breakfast. Ms. Victory is once again drinking coffee, obviously a favorite of hers. The incredibly-powerful yet often-absentminded Synn is trying to find out who ate all her sprinkle donuts and pop tarts, prompting the sorceress Nightveil to conjure up some for her.
I enjoy these types of “downtime” scenes in Femforce that explore the personal lives of the characters, and which allow for somewhat more goofball sequences.
Gorby did a good job penciling this scene, giving each of the characters their own personalities, making them stand out from one another. The inking is by Mark Heike. Gorby and Heike are both longtime AC Comics contributors, as well as very talented artists. Grey tones are by Christie Churms, who also lettered this issue.
58) José Beá
The beautiful young protagonist of “Recurrence” thought she had it made. She had pushed her husband into an elevator shaft, collecting $10,000 from the insurance company for his “accidental” death. But then came the dreams, night after night, of being pushed off a cliff and falling endlessly. Was it a guilty conscience… or a premonition? Now she drinks coffee in the middle of the night desperate not to fall asleep again.
Spanish artist José Beá illustrated a number of stories for Warren between 1971 and 1976. These were published in Warren’s three main comic book magazine series, Creepy, Eerie and Vampirella. Following his time at Warren, Beá did a great deal of work in the European comic book field. Among these were a number of erotic stories, some of which at the time unfortunately garnered a great deal of controversy. Beá also wrote several science fiction novels for young adults.
59) Peter Krause & Dick Giordano
During a crossover with the Starman series, Billy and Mary Batson have to work with Jack Knight to help clear the name of World War II hero Jim Barr, aka Bulletman, who has been framed for treason by neo-Nazis. In his Captain Marvel identity Billy initially clashes with Jack, until the more level-headed Mary Marvel convinces him to calm down. The trio heads to the home of Nick & Nora Bromfield, who have adopted the orphaned Mary and Billy. There they find the Bromfields having coffee with Jack’s father Ted, the original Starman, as well as Jim Barr himself, with everyone attempting to figure out what their next step should be.
The Power of Shazam was such an amazing, fun, underrated series. I came into it a bit late, in the second year, but I immediately became hooked, and I soon got caught up on the Jerry Ordway graphic novel and back issues. Ordway wrote some great stories. He successfully achieving the very tricky feat of simultaneously updating Billy, Mary and the rest of the Marvel Family cast for the 1990s while retaining a great deal of the charm from the original Golden Age stories.
Peter Krause did really good work penciling the series. Due to the prevailing styles in super-hero comic books at the time, I think his work here was unfortunately overlooked by many. Krause deftly balanced the serious and cartoony elements of the characters. On the later issues of the series Krause was inked by the legendary Dick Giordano.
60) Amy Reeder
DaYoung Johansson, a fifteen year old police officer from the high tech future year of 2013, has traveled back in time to 1986. DaYoung is convinced that her miraculous world should not exist, that it was created when the monolithic corporate juggernaut Quintum Mechanics sent its own technology back in time 27 years to its founders to give them a vast advantage. DaYoung, armed with her jetpack and her teenage zeal, is determined to thwart this crime against time, even if it means erasing the very future from which she came.
Montclare & Reeder’s ten issue Rocket Girl series is a wibbly wobbly, timey wimey tale of temporal paradoxes, corporate intrigue and youthful idealism. I previously reviewed the first five issues. The ending to Montclare’s story ultimately left me feeling ambivalent, for a few different reasons.
What I was not ambivalent about was Reeder’s stunning artwork. She did a superb job drawing both the sci-fi New York City of 2013 and the historically accurate Big Apple of 1986. Her layouts for Rocket Girl were incredibly dynamic, and the amount of detail she put into her pages was astonishing.
As Reeder recounts in the text feature from issue #7…
“In Rocket Girl I am responsible for making two worlds; an 80s vision of the future, and actual 1980s New York. At first I expected the futuristic world would give me the worst trouble — I thought coming up with a city out of thin air would be a bit overwhelming. But I should have known better: I get carried away with accuracy, and the 1980s New York is heavily documented, often talked about, and well remembered by many. So bar none — 80’s NYC is the harder of the two worlds to draw. I just HAVE to get it right. And, honestly, it’s pretty fun to get it right. (Or close!)”
On this page from issue #2, the recently arrived DaYoung is bunking with Annie Mendez and Ryder Storm, two graduate students who work for Quintum Mechanics in 1986. Annie and Ryder awaken to find the hyperactive DaYoung has whipped up a huge stack of pancakes and brewed a pot of coffee, all the while pondering how to change the course of history.