The Daily Comic Book Coffee, Part Ten

Welcome to the tenth Comic Book Coffee collection. I’ve been posting 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. I’m hoping to do 100 of these entries on FB, which means we’re halfway there.

46) Frank Miller & Klaus Janson

Here’s a coffee-drinking cover, courtesy of penciler Frank Miller and inker Klaus Janson.  This is for Amazing Spider-Man Annual #15, written by Denny O’Neil, lettered by Jim Novak, and colored by Bob Sharon, published by Marvel Comics in September 1981.

I know sometimes covers are designed by people other than the credited penciler, although I cannot find any info to that effect for this one.  Regardless, whether it was Frank Miller himself or someone else, this is an incredibly striking image.  The reader is seeing through the eyes of Doctor Octopus as he drinks his morning coffee and reads the Daily Bugle’s account of the latest battle between Spider-Man and the Punisher.

In the last couple of decades, what with the proliferation of ninjas, prostitutes, racism and Goddamn Batmen in his stories, it is easy to forget what made Miller such a well-regarded creator in the first place.  Looking through this Annual recently, I was reminded what an absolutely incredible storyteller he can be.  Miller’s layouts for this story are astonishing.  He does a hell of a job showing Doctor Octopus making full, creative, deadly use of his mechanical tentacles.

The inks / finishes by Klaus Janson in this Annual are very effective.  Janson’s inking has always been wonderfully well-suited to creating moody atmospheres.  His artistic collaborations with Miller, here and on the ongoing Daredevil series, are certainly well-regarded.

47) Michele Witchipoo

Here’s a page from the Psycho Bunny story “Summer of COVID19” written & drawn by Michele Witchipoo, which is currently on Webtoon.

Psycho Bunny is a misanthropic, foul-mouthed, alcoholic rabbit who lives in Queens, NYC.  He been featured in a series of self-published comic books created by Witchipoo over the past 15 years.  This latest story sees Psycho Bunny dealing with the Coronavirus pandemic, and the accompanying insanity, in his own rage-filled way.

On this page Psycho Bunny is at his job at Any Company Inc, stuck listening to his annoying co-worker Bill the Badger, who thinks COVID-19 is a hoax.  Glancing around to make sure the coast is clear, Psycho Bunny slips out an airplane bottle…

“The manager isn’t around. Gonna sneak some booze into this shitty coffee.”

Yes, Michele is my girlfriend.  I may be biased, but I think she is a very talented artist.  She has self-published a number of comic books, and her work has been included in several small press anthologies.  Michele’s illustrations were first published in 2010 by MTV Press.

“Psycho Bunny: Summer of COVID19” can be viewed at the link below.  Stay tuned for future installments.

https://www.webtoons.com/en/challenge/psycho-bunny-summer-of-covid19-/list?title_no=446519

48) Al Milgrom & Joe Sinnott

Avengers #246, penciled by Al Milgrom, inked by Joe Sinnott, written by Roger Stern, lettered by Jim Novak, and colored by Christie Scheele, published by Marvel Comics with an August 1984 cover date.

Al Milgrom shows off his strong storytelling chops on this page featuring the Vision and the Scarlet Witch.  Inking is by Joe Sinnott, his third appearance in this Comic Book Coffee series.  For many years Sinnott was a much in-demand embellisher at Marvel.  I enjoyed the work Milgrom and Sinnott did together.  They were a solid art team.

During a meeting at the White House, the Vision attempts to convince the President that the Avengers should report directly to the Oval Office.  This is all part of the Vision’s plan for Earth’s Mightiest Heroes to gain more power & responsibility, with the final secret goal of the Vision himself assuming control of the world.

The Vision now seeks to establish himself as a “man of the people” with whom the public is comfortable.  In order to make his profile more public, he and the Scarlet Witch are returning to New York not by Avengers Quinjet but by commercial airliner.

To the Scarlet Witch’s surprise, the Vision orders drinks from the stewardess.  “My wife will have tea with lemon, and I’ll take coffee… cream, no sugar!”  This prompts another passenger to remark, “’Ey, how about that? The Vizh takes his coffee the same way I do!”  A satisfied Vision thinks to himself “Perfect! Just the reaction I wanted!”  Yep, the Vision certainly understands him human psychology!

All of this leaves the Scarlet Witch bewildered. “He never drinks coffee! What is going on?”  I don’t know if Roger Stern intended this to be a deliberate reference, but this scene always reminds me of the 1980 disaster parody movie Airplane!

49) Frank Turner & Bill Black

Femforce #44, penciled & inked by Frank Turner, written by Bill Black, and lettered by Tim Twonky, published by AC Comics in December 1991.

Let’s take another look at Femforce.  Having been exposed to a flawed version of the chemical compound that originally gave Ms. Victory her powers, the Femforce team leader was transformed into the anti-social bad girl Rad.  Breaking away from Femforce, Rad led a wild, hedonistic lifestyle.

Rad recently lost a bundle in Atlantic City, and so reluctantly agrees to create a youth formula for a wealthy woman who promises to pay her a fortune.  What Rad does not realize is that the elderly lady and her assistant are actually Lady Luger and Fritz Von Voltzman, who she fought as Ms. Victory back during World War II.  The Nazi war criminals are plotting to duplicate the chemical, and they slip Rad a drugged cup of coffee to incapacitate her.

Frank Turner got his start in the mid 1980s working for black & white independent companies Graphik Publikations, Eternity and Malibu.  In the early 1990s he drew a number of stories for AC Comics, as well as a few jobs for Millenium Publications, doing some very nice work at both companies.  I certainly liked the art he did for Femforce.  Turner then worked for Marvel between 1992 and 1994 as an inker on several different titles.

Following the mid-1990s implosion in comic books Turner reportedly worked for Sony Animation in California for a period of times, after which he moved back to his native Birmingham, AL.  Unfortunately he passed away in 2008 at the much too young age of 47.

50) Khary Randolph & Rich Perotta

New Mutants volume 2 #13 penciled by Khary Randolph, inked by Rich Perotta, written by Nunzio DeFilippis & Christina Weir, lettered by Dave Sharpe, and colored by Ian Hannin & Rob Ro, published by Marvel Comics with a June 2004 cover date.

The second New Mutants series saw the original team becoming teachers and Xavier’s School, instructing a new generation of young mutants in the use of their powers & abilities.  This final issue of volume two served as a bookend to the debut of the New Mutants in Marvel Graphic Novel #4 two decades earlier.

Donald Pierce, the cyborg terrorist who was the original team’s very first adversary way back when, has returned.  Pierce and his new team of mutant-hating Reavers arrive in Salem Center NY planning to eliminate Josh Foley, a teenager who worked with them before he learned he was a mutant, along with any other students at Xavier’s School that they can set their sights on.

Encountering Cannonball, Mirage, Karma, Wolfbane and Sunspot, the original line-up, a bloodthirsty Pierce gloats that the last time they met he nearly killed them.  However, this time the former students handily defeat Pierce and the Reavers, showing just how much they’ve grown in the years since.

DeFilippis & Weir do a good job with the downtime scenes that were a hallmark of the original series.  Prior to Pierce’s attack, the reunited original class head to The Grind Stone coffee shop to touch base and catch up.  Sunspot, the incurable ladies man Roberto DaCosta, just cannot help flirting with Luna, an attractive barista at The Grind Stone, leading Karma to playfully slap him upside the head.  Randolph & Perotta do a wonderful job illustrating the fun, comedic moments of this scene.

Happy birthday to Louise Simonson

I wanted to wish a very happy birthday to one of my favorite comic book writers, Louise Simonson, who was born on September 26, 1946.  When I was a young reader who was just getting into comic books in the mid-1980s, Simonson’s writing played a key role in capturing my interest.  With super-talented penciler June Brigman, she created Power Pack, a series about four young siblings who gained superpowers from a dying alien.  Alex, Julie, Jack and Katie Power used their fantastic new abilities to defend Earth against the belligerent alien Snarks, as well as a succession of other strange menaces.

I had a lot of identification with the four main characters in Power Pack.  They were all around my age.  In addition to fighting aliens & supervillains, they faced much more mundane problems such as disagreements among themselves, arguments with parents who they felt just did not understand them, making friends with other kids their age, and having trouble with homework.  Simonson did an amazing job scripting stories that young readers could relate to without ever talking down to them.

Power Pack 2 cover

Simonson had previously edited writer Chris Claremont on both Uncanny X-Men and New Mutants.  The two of them seem to possess a really good rapport and (in my humble opinion) under Simonson’s editorship Claremont wrote some of his best stories.  Later on, when Simonson was writing Power Pack, her close creative relationship with Claremont resulted in her series occasionally featuring guest appearances by the X-Men, and the Power kids showing up now & again in the X-titles.  Those crossovers were a major part of my introduction to the wider X-Men universe and Claremont’s work.  For instance, Uncanny X-Men #205, written by Claremont with superb artwork by Barry Windsor-Smith, is an amazing story where we see Wolverine through young Katie Power’s eyes.  It was a really great introduction to the character of Logan.

(This is the point where I risk embarrassing myself.  When I was a kid, I used to make up stories where I gained superpowers and had adventures alongside Power Pack.  Years later at a convention I admitted this to Louise Simonson.  She smiled and told me that a lot of other readers had told her they did the exact same thing growing up.)

In 1986, Simonson took over as writer of X-Factor with issue #6.  With penciler Jackson “Butch” Guice, she quickly introduced a mysterious, powerful new villain named Apocalypse.  Her husband Walter Simonson came on-board as regular penciler four issues later, and together the two of them majorly revamped the original five members of the X-Men, as well as building up Apocalypse into a significant figure in the Marvel universe.  Louise Simonson stayed on X-Factor until issue #64, in her later stories working with such artists as Art Adams, Paul Smith, and Terry Shoemaker.  She also had a lengthy run on New Mutants that lasted from issue #55 to #97.

Superman Man of Steel 26 cover

After departing from X-Factor and New Mutants in 1991, Simonson moved over to DC Comics.  There she paired up with Jon Bogdanove, who she had previously worked with on her later Power Pack issues, and the two of them launched Superman: The Man of Steel.  Both Simonson and Bogdanove would stay on the title for a lengthy eight year run.  During that time, amidst the “Death of Superman” story arc, they co-created John Henry Irons, aka Steel, who first took up his armored identity in memory of the (temporarily) deceased Kal-El.  Throughout her issues, while juggling the requirements of tying in with the storylines of the other three monthly books, Simonson managed to give Superman: The Man of Steel its own individual feel, introducing an interesting supporting cast and ongoing subplots.

When her run on Man of Steel ended, Simonson returned to Marvel for several projects.  Among these was Warlock, a really fun but all too short-lived series drawn by Pascual Ferry featuring the wacky techno-organic alien member of the New Mutants, and Chaos War: X-Men, a miniseries co-written with Chris Claremont.  She also penned the excellent X-Factor Forever, which was set in a timeline that picked up right after her point of departure from X-Factor in 1991.  On that five issue miniseries, she worked with Dan Panosian, who showed off his amazingly improved artwork.  He had really grown by leaps & bounds since his debut in the early 1990s.

Warlock 7 cover

There is a major theme running through much of Simonson’s writing.  She often takes a look at the importance of family, of establishing emotional ties to other people.  Power Pack was very much the story of the four Power children, their relationships with one another and their parents.  In her X-Factor issues, Simonson tackled the complicated state of Cyclops’ personal life, at how he had basically wrecked his marriage to Madelyne Prior, and now had to deal with the consequences of that, his confused feelings for the newly resurrected Jean Grey, and having to raise his infant son Nathan who he’d previously had with Madelyne.  (I think Simonson did an excellent job handling the extremely awkward editorial directive handed down to her and Claremont that had forced Scott Summers to leave Madelyne for Jean.)  In Man of Steel, Simonson introduced a young African American boy named Keith.  After his mother died, the orphaned Keith was adopted by Daily Planet editor-in-chief Perry White and his wife Alice, who had lost their own son some years before.  In Warlock, Simonson had her oddball alien hero forming a sort of family unit with Hope, Psimon, and Chi-Chee the monkey, each of whom had also become outcasts.

XFactor Forever 3 cover

The entire X-Factor Forever miniseries was all about family and relationships.  Cyclops and Marvel Girl are still attempting to reconcile their feelings for one another, and to take care of baby Nathan.  Bobby Drake, a.k.a. Iceman, is continuing his romance with Opal Tanaka, with the pair visiting her parents and discussing the possibility of marriage.  Warren Worthington is in a growing friendship with policewoman Charlotte Jones and her son Timmy, all the while struggling to come to terms with his transformation from Angel to the dark Archangel by Apocalypse.  And Hank McCoy, the bouncing blue Beast, is working on his on-again, off-again relationship with reporter Trish Tilby, who is thinking of adopting an orphan child.

Even Apocalypse is, in his own way, searching for a family.  Born 20,000 years ago to a tribe of primitive humans, the man who would become Apocalypse was a freak anomaly, the world’s first mutant, gifted with shape-shifting abilities.  As the X-Men would discover in the present day, so too did Apocalypse learn in prehistoric times: his powers were a double-edged sword.  When he used them to serve as his tribe’s protector, they reacted with fear & hatred, driving him out.  We can interpret Apocalypse’s subsequent millennia-long mission to insure the future supremacy of mutant-kind as motivated by a wish to no longer be alone, to one day have another family.  In the 19th Century, he thought he had found a kindred spirit in young Nathaniel Essex, and transformed him into his apprentice Mr. Sinister.  One could say that Apocalypse regarded Sinister almost like a son.  And when Sinister rebelled, conducting his own dangerous experiments which threatened to destabilize all of his former mentor’s carefully-laid plans, on some level it must have hurt Apocalypse.  It really shows Simonson’s talent & skill as a writer, that she brought a degree of empathy and pathos to a ruthless schemer such as Apocalypse.

I definitely think Louise Simonson is an amazing writer.  I really enjoy her work, and I hope that we see more from her pen again in the near future.  It would be especially great if she had the opportunity to work with her husband Walter again, or with June Brigman.