Neal Adams: 1941 to 2022

Legendary comic book artist and forceful advocate for creators’ rights Neal Adams passed away on April 28th at the age of 80 years old. During a career that spanned six decades, Adams had groundbreaking runs illustrating Batman, Deadman, Green Lantern, Green Arrow and Superman for DC, and Avengers and X-Men for Marvel, as well as working in the horror, sword & sorcery and humor genres.

Batman #227 cover drawn by Neal Adams, published by DC Comics in Dec 1970

I was born in 1976 and didn’t start reading comic books regularly until the late 1980, so I was not around when Adams made an absolutely seismic impact on comic books, both as an industry and as an art form.

For a very insightful look at Adams’ work from the perspective of someone who was reading comic books in the late 1960s and early 1970s, I highly recommend reading my friend Alan Stewart’s blog post on The Brave and the Bold #79, published by DC Comics with an Aug-Sept 1968 cover date, an issue Alan refers to as “one of the most historically significant comics of Neal Adams’ career.”

Even though I wasn’t there when Neal Adams shook American comic books to their core, I nevertheless want to pay tribute to the man and his work. So here is my own personal experience at discovering his incredible artwork.

Ms. Mystic #1 cover drawn by Neal Adams, published by Pacific Comics in Oct 1982

By the 1980s Adams had mostly removed himself from mainstream comic books, having found the fields of storyboarding, advertising, and graphic design to be much better paying ones. He was releasing some creator-owned projects, first through Pacific Comics and then through his own Continuity Studios.  Unfortunately for me they got lost in the glut of the early 1990s comic book explosion, because I simply did not know to look for them.

With the benefit of hindsight, I wish that I had picked up those comics, and that Adams had been able to do more with those characters, especially Ms. Mystic, who I’ve always felt has a wonderful design. (I did later pick up a few of these as back issues.)

So… three and a half decades ago there were no trade paperback collections reprinting older comic books or digital editions readily available to read. There was no Wikipedia or social media. All that I had as a 13 year old comic book fan in 1989 was letter columns and editorial pages in current comic books. From time to time Neal Adams’ name would be mentioned… and I really had no way of knowing who he was.

Batman #234, written by Denny O’Neil, penciled by Neal Adams, inked by Dick Giordano, lettered by John Costanza and edited by Julius Schwartz, published by DC Comics in August 1971

The first occasion when I ever saw Adams’ work must have been in the collection The Greatest Batman Stories Ever Told which DC Comics released in November 1988 ahead of Batman’s 50th anniversary. I bought that book in 1990, and I read it religiously.

Neal Adams penciled two of the stories in that collection, “Ghost of the Killer Skies” from Detective Comics #404 (Oct 1970) and “Half an Evil” from Batman #234 (Aug 1971), both of those in collaboration with writer Denny O’Neil and inker Dick Giordano. The book also had smaller reproductions of a few of Adams’ covers, among them his evocative artwork for Batman #227 (Dec 1970), a stunningly atmospheric piece that when I finally saw it full-sized years later took my breath away.

While I certainly liked Adams artwork in The Greatest Batman Stories Ever Told well enough, I had no way of putting it within its proper context. His penciling was nice, but it didn’t seem all that different from what I was used to seeing in comic books. I liken it to someone completely ignorant of cinematic history seeing Orson Welles’ Citizen Kane and having the reaction of “What’s the big deal?” Because just as the innovations Welles has pioneered in his filmmaking eventually became commonplace in filmmaking, the storytelling & stylistic choices pioneered by Adams had become thoroughly suffused in American comic books by the early 1990s.

Batman #244 written by Denny O’Neil, penciled by Neal Adams, inked by Dick Giordano and lettered by jean Simek, published by DC Comics in Sept 1972

I think that I FINALLY began to understand just how important Neal Adams was when in the late 1990s and the early 2000s DC at long last began reissuing his work. I was at last able to read Green Lantern / Green Arrow and the Batman: Tales of the Demon collection featuring the Dark Knight’s first encounters with the diabolical Ra’s al Ghul, both of which Adams did with writer Denny O’Neil.

Likewise, the epic Avengers storyline “The Kree / Skrull War” and the late 1960s X-Men run that Adams penciled with writer Roy Thomas and inker Tom Palmer (with Adams serving as an uncredited co-plotter) were both collected together by Marvel Comics in the year 2000.

Adams’ artwork on all of these was absolutely breathtaking. I also discovered that he drew some astonishingly great covers for DC throughout the 1970s. The more I saw of Adams’ work, the more I grew to appreciate it.

X-Men #59, co-plotted & penciled by Roy Thomas, co-plotted, penciled & colored by Neal Adams, inked by Tom Palmer and lettered by Sam Rosen, published by Marvel Comics in Aug 1969

On Facebook comic artist Scott Williams shared the below two images, along with the following commentary:

“Someone on Twitter posted these two images side by side. One, a page from X-Men #54 by Don Heck, and the other from X-Men #56 by Neal Adams, both from 1969. Same characters and storyline. My point is not to in any way disparage Don Heck, but to demonstrate what a tectonic impact Neal had in comics. Couldn’t be a more stark and clear example (garish reprint coloring aside here) of how Neal changed the game forever.”

For the record, the full credits for X-Men #54 are apparently breakdowns by Don Heck, finished pencils by Werner Roth, and inks by Vince Colletta. Heck and Roth are both good, solid, underrated artists who seldom receive their due. Pencilers such as Heck and Roth were the vital foundation of the American comic book industry, guys who could tell a clear story and hit deadlines month after month.

But, yeah, when you place Adams side-by-side with them, basically drawing the same scene as Heck & Roth , it totally enables you to see exactly what Adams brought to comic books in the late 1960s, and why it was so Earth-shaking.

Compare & contrast: X-Men #54 (March 1969) drawn by Don Heck, Werner Roth & Vince Colletta, and two issues later X-Men #56 (May 1969) drawn by Neal Adams & Tom Palmer

Just as important, perhaps even more important, as Adams’ artistic legacy was his continual fight for creators’ rights in the comic book industry, which has for all-too-long regarded talent as interchangeable, disposable cogs in the machine. Among the creators Adams helped out where Jerry Siegel & Joe Shuster, Jack Kirby, Dick Ayers and Russ Heath. Over on 13th Dimension former DC Comics writer /editor / publisher Paul Levitz discussed this aspect of Adams’ career…

“What I didn’t know is that as Neal began shaking up the look of comics, he began devoting much of his energy to shaking up the processes. Creative people were treated very poorly in the field in those years, and most of the leaders in the community were afraid to champion the cause because of the likely consequences. The disparity of power between the owners of the comics companies and the creators was an immeasurable gap, and at its base waited carnivores ready to devour agitators. But a modern Don Quixote had no fear…

“Of the many fights won or ignored, the one that was most visible was being part of the team (with Jerry Robinson and Ed Preiss) that labored to restore Jerry Siegel and Joe Shuster’s credit to Superman, and economic dignity to their lives. Jerry was probably the more suave negotiator, Ed the wise lawyer… but Neal roared the loudest. And they won.”

Adams was also a teacher to young up-and-coming artists who hoped to enter the comic book biz. Among the many creators he mentored over the years were Frank Brunner, Howard Chaykin, Larry Hama, Bob McLeod, Frank Miller, Bill Sienkiewicz, Buzz , Henry Martinez and his own son Josh Adams.

Superman #252 cover drawn by Neal Adams, published by DC Comics in June 1972

Living in the New York City area most of my life, I was very fortunate to have met Neal Adams on several occasions at comic cons and store signing. In spite of the fact that he was a hugely popular creator who was frequently mobbed by fans, Adams always came across as polite and patient to everyone who came up to his table. He always had a smile on his face.

There was one time he was at Big Apple Comic Con about a decade ago when his table wasn’t busy and I had the opportunity to chat with him for a few minutes, and I asked him about something I had been curious about for a while. In the pages of X-Men #62 (Nov 1969) Adams had been the first artist to draw Magneto without his helmet. The features & hair he gave Magneto were very close to those of Quicksilver… so much so that a decade later this became the basis for establishing that Magneto was the father of Quicksilver and the Scarlet Witch.

I asked Adams if in giving Magneto that particular visual he had intended for the character to be Quicksilver’s father. Adams gave me one of his smiles and explained that he liked to plant “seeds” in his storylines that he or other creators could then use to develop future storylines if they so choose.

X-Men #62, co-plotted & scripted by Roy Thomas, co-plotted, penciled & colored by Neal Adams, inked by Tom Palmer and lettered by Sam Rosen, published by Marvel Comics in Nov 1969

Adams then smiled again, leaned in conspiratorially, and told me he had something to tell me, but I had to promise not to tell anyone else about it, and I agreed. (Since he’s now passed away I feel comfortable recounting this.) Adams said he had an idea for another X-Men story that he hoped to do one day. Adams observed that the Beast in his furry blue form had the same distinctive hairstyle as Wolverine… so he wanted to reveal that Wolverine was Hank McCoy’s father.

Honestly, it sounded completely bonkers to me! But I am sure that if Adams had ever gotten around to actually doing it then it would certainly have been a memorable story.

Another time I saw Adams at a convention he was penciling a page for the Batman: Odyssey project at his table while talking to fans. Observing him up close laying down this detailed pencil work and these intricate, dramatic layouts while simultaneously carrying on conversations just left me in awe.

Neal Adams always looked a decade or so younger to me than he actually was. For example, when he was in early 70s he didn’t look much older than 60. I guess that’s why I expected him to live, well, not forever, but certainly much, much longer. Still, 80 years is a good, long run, especially as he was still creating quality work right up until almost the end, capping it off with the Fantastic Four: Antithesis miniseries written by Mark Waid that was published in 2020.

Fantastic Four: Antithesis written by Mark Waid, penciled by Neal Adams, inked by Mark Farmer, lettered by Joe Caramagna and colored by Laura Martin, published by Marvel Comics in Nov 2020

So much more could be said about Adams; you could literally write books about him. I’ve blogged about him a few times in the past; the links are below.

My sincere condolences to Neal Adams’ family, friends, and colleagues for their loss.

Denny O’Neil: 1939 to 2020

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.

UPDATE: For an insightful alternate perspective on the Green Lantern / Green Arrow stories I recommend reading J.R. LeMar’s blog post on Denny O’Neil.

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.

Happy Batman Day and Caturday!

Today is Batman Day, celebrating all things relating to the Dark Knight of Gotham City, one of DC Comics’ most iconic comic book characters.  Today is also Saturday, or rather Caturday, the weekly celebration of all things cat-related.

Batman, aka Bruce Wayne, first appeared in Detective Comics #27, published in 1939.  Catwoman, real name Selina Kyle, made her debut just a year later in the pages of Batman #1.  Both characters were created by writer Bill Finger and artist Bob Kane.

For nearly eight decades the grim vigilante Batman and the sexy thief Catwoman have had an adversarial relationship with heavy romantic undertones.  There was a mutual attraction from the start, one often undermined by the fact that Bruce and Selina have typically been on opposite side of the law.

Since this year Batman Day falls on Caturday, I am taking a quick look at the history between Batman and his longtime frenemy Catwoman.

Batman 65 cover

Creator credits in the Golden Age of comic books were unfortunately often sparse, but the GCD credits the cover artwork to Batman #65 (June-July 1951) to Win Mortimer, Lew Sayre Schwartz & Charles Paris.  Whoever drew it, it’s a nice cover.  Both it, and the story inside by Finger, Kane, Schwartz & Paris, demonstrate that right from the start Batman never knew if each time he met Catwoman she would turn out to be an enemy, an ally, or something in-between.

Detective Comics 211 pg 1

“The Jungle Cat-Queen!” is an exciting tale written by Edmund Hamilton and drawn by Dick Sprang & Charles Paris, and appeared in Detective Comics #211 (Sept 1954).  Catwoman plays a variation of “The Most Dangerous Game” with Batman and Robin on a jungle island.  Sprang is considered the quintessential Batman artist of the 1950s.  I first read this one in the excellent collection The Greatest Batman Stories Ever Told.

(Pay no attention to the contratually obligated Bob Kane byline.  Kane had nothing to do with this comic, or any other Batman story published after the early 1950s.  Unfortunately he loved to take credit for other people’s work.  At least nowadays we have a much better idea of who did what.)

Batman 197 pg 18

Batman #197 (Dec 1967) written by Gardner Fox and drawn by Frank Springer & Sid Greene sees Catwoman determined to marry Batman… whether he wants to or not!  Yeah, this one certainly won’t win any awards for progressive depictions of woman!  This was pretty typical of DC’s Silver Age superhero comics, the target audience for which was pre-teen boys. Oh, well… nice artwork by the underrated Springer & Greene, at least.

For an entertaining, in-depth look at Batman #197 by someone who read it when it first came out I highly recommend heading over to Alan Stewart’s excellent Attack of the 50 Year Old Comic Books.

Batman 256 pg 14

Okay, this is certainly better!  Batman #256 (May-June 1974) by writer Denny O’Neil & artists Irv Novick & Dick Giordano, has Batman and Robin investigating whether or  not Catwoman has committed a murder at the circus.  Selina is innocent, of course, since she’s no killer, but she is planning to “liberate” the tigers from the circus, so she can return the large cats to the natrual world.  While Batman disapproves of Catwoman’s larcenous activities, he nevertheless admires her strong love for animals.

DC Super Stars 17 pg 30

DC Super Stars #17 (Nov-Dec 1977) featured the origin of the Huntress, heroine of Earth 2 and the daughter of the Golden Age Batman and Catwoman.  This story, written by Paul Levitz and drawn by Joe Staton & Bob Layton, opens with the wedding of Bruce & Selina, who at least in this dimension found love & happiness together for two decades, until tragedy eventually struck.  It’s a great story, so go find a copy and read it!

Detective Comics 569 pg 6

Meanwhile, back on Earth 1, Batman and Catwoman were still doing their will-they-or-won’t-they dance.   Mike W. Barr was one of the writers to delve into their rocky relationship, as witnessed in this scene from Detective Comics #569 (Dec 1986) expertly illustrated by Alan Davis & Paul Neary.

Batman 611 pg 21

In the post-Crisis, post-Zero Hour, post-whatever other reality-altering mega crossovers DC has thrown our way in the past 30 years, Batman and Catwoman still had that mutual attraction going.  After numerous encounters that saw them working in various permutations of friends and foes, they finally officially became a couple in Batman #611 (Feb 2003) written by Jeph Loeb, with art by Jim Lee & Scott Williams.

I am generally not a huge fan of Lee’s work.  I find his style too busy and hyper-detailed.  Having said that, this is a beautiful splash page which has become an iconic image.

Batman Catwoman Follow the Money pg 44

Of course, the course of true love never runs smooth, or words to that effect.  Batman and Catwoman’s ongoing relationship has hit quite a few speedbumps.  One of the reasons for this is that the two come from very different backgrounds: Bruce is a millionaire, and Selina grew up on the streets of Gotham City’s poorest neighborhoods.  As a result the two have often disagreed over matters of crime, punishment and justice.  This was expertly illustrated in Batman / Catwoman: Follow the Money (Jan 2011) written & illustrated by Howard Chaykin.  It’s an enjoyable story, and I recommend searching out a copy.

I know a lot of people were upset that Bruce & Selina did not actually tie the knot during writer Tom King’s current run on Batman.  But, honestly, as you can see from the above, they already bicker like an old married couple, so at this point it’s really just a formality!

Batman Gotham Adventues 50 cover

I am going to close out with the cover artwork for Batman: Gotham Adventures #50 (July 2002) which features the animated incarnations of Bruce & Selina.  Illustrated by the late, great, much-missed Darwyn Cooke, this image is a beautiful snapshot of the relationship between Batman and Catwoman.

Happy birthday to Joe Staton

I want to wish a very happy birthday to the super-talented comic book artist Joe Staton, who was born on January 19, 1948, and who turns 66 years old today.  Staton has had a long, productive career, working on dozens of titles from numerous publishers.

Staton, as with a number of other artists who broke into the comic book biz in the 1970s, got his start at Charlton Comics.  Beginning in 1971, Staton drew a number of stories for their various horror anthologies, plus licensed titles Space 1999 and The Six Million Dollar ManWith writer Nicola Cuti, he created the cult classic sci-fi super hero E-Man, which I covered in a previous blog.

In the mid-1970s, Staton also worked for Marvel.  He inked Sal Buscema’s pencil breakdowns on Avengers and The Incredible Hulk.  Staton, however, enjoyed both penciling and inking, and so starting in 1977 he began working at DC, where he would illustrate a wide variety of titles over the next two decades.

Brave and the Bold 197 pg 19

Early on, Staton made a lasting contribution to the DC universe when, working with Paul Levitz and Bob Layton, he created the Huntress, aka Helena Wayne, the daughter of Batman and Catwoman on Earth Two.  Six years later, in 1983, Staton collaborated with writer Alan Brennert and inker George Freeman on “The Autobiography of Bruce Wayne,” which revealed how Batman and Catwoman fell in love and married.  This now-classic story originally appeared in The Brave and the Bold #197 and several years later was deservedly included in The Greatest Batman Stories Ever Told collection.  It is one of my all-time favorite Batman stories, and I’ve lost track of how many times I’ve read it.  Brennert’s script was very moving & memorable.  Staton & Freeman did tremendous work on this.  Staton’s layouts & storytelling are incredibly dramatic. He also succeeds in capturing some of the atmosphere of Golden Age artist Dick Sprang.

In late 1979, Staton became the penciler on Green Lantern, beginning a long, well-regarded association with the characters of the GL Corps.  Staton actually had three separate runs on the series, first from 1979 to 1982, then from 1985 to 1988, and finally from 1990 to 1992, that last time alternating with artists Pat Broderick and M.D. Bright.  During this decade-plus time, Staton co-created several characters in the GL mythos, namely Kilowog, Arisia and Salaak.  Although he didn’t create Guy Gardner, Staton is the artist who designed his now-iconic look.  Also making their debut in the pages of Green Lantern during this time were the alien freedom fighters the Omega Men, who Staton co-created with Marv Wolfman.

Green Lantern Corps 201 cover

In 1992, Staton was the artist on the Guy Gardner: Reborn miniseries, and then on the first year of Guy’s ongoing series.  Throughout the 1990s, Staton continued to work for DC, drawing a number of titles, including several Batman-related projects, in addition to the noir crime miniseries Family Man.  He also had work published by Caliber, Topps and Archie.  Beginning in 1999, Staton became one of the regular artists on the Scooby Doo comic book.

Staton has often commented that he enjoys working on mystery and detective stories.  He definitely has a real flair for that type of material, and in recent years he has fortunately had the opportunity to work in the genre.  With writer Christopher Mills, he worked on the four issue miniseries Femme Noir: The Dark City Diaries, published by Ape Entertainment in 2008, and collected as a trade paperback a year later.  Set in the fictitious metropolis of Port Nocturne during the rough & tumble days of Prohibition, Femme Noir chronicles the adventures of the enigmatic vigilante known only as “The Blonde.”  I really enjoyed this series.  Beginning in 2011, Staton has also been the artist on Dick Tracy.  His style fits the newspaper strip perfectly.

Femme Noir TPB cover

Joe Staton and his charming wife Hilarie live in Upstate New York, and so I’ve had the opportunity to meet them at a number of comic conventions in the tri-state area over the years.  I can honestly say that Staton is one of the nicest comic book creators I’ve ever met.  It is always a pleasure to see him at a show and chat with him for a few minutes.  I’ve been lucky enough to obtain a few sketches by him, as well as a page of original art from one of his Green Lantern issues.

Once again, have a very happy birthday, Joe.  Thank you for all the wonderful, enjoyable stories that you’ve worked on over the years.  And here’s hoping for further editions of E-Man and Femme Noir in the near future.  I really do miss Alec Tronn, Nova Kane, The Blonde, and all the other colorful characters from those series.