George Perez: 1954 to 2022

I was very sorry to hear about the passing of legendary comic book creator George Perez on May 6th. Perez had announced back in December that he was suffering from with inoperable pancreatic cancer, and that he had approximately six months to a year left to live. We all knew this day was coming soon, but it doesn’t make it any less sad.

Perez had an incredibly lengthy, diverse career. As I did a week ago to mark the passing of fellow legend Neal Adams, I am going to refrain from even trying to put together any sort of comprehensive retrospective of Perez’s career, and instead just focus on my own impressions of his work as a fan.

Batman #439 cover drawn by George Perez and collored by Anthony Tollin, published by DC Comics in Sept 1989

I first started following comic books regularly in 1989 when I was 13 years old, so I missed Perez’s early work on Fantastic Four and Avengers for Marvel Comics in the late 1970s, as well as his wildly popular collaboration with writer Marv Wolfman on The New Teen Titans at DC Comics beginning in the early 1980s.

While I can’t be 100% certain, I think the first work by Perez that I ever saw were his covers for the “Batman: Year Three” and “A Lonely Place of Dying” story arcs that ran through Batman #436-442 in the summer and fall of 1989. I was immediately struck by Perez’s intricately detailed work and his complex compositions. His cover to #439 featuring Nightwing hanging on for dear life from the bell tower of a church in the midst of a fierce rainstorm, highlighted by the Bat-signal, especially stood out in my mind. Perez and colorist Anthony Tollin did absolutely stunning work in rendering that atmospheric image.

Within a couple of years I was following quite a few DC titles. War of the Gods was a major crossover that DC published in the summer & fall of 1991, and it tied in with Perez’s run on Wonder Woman. So I picked up Wonder Woman #58 which was written & cover-illustrated by Perez and the four issue War of the Gods miniseries for which Perez was writing, doing interior pencil layouts and drawing full covers. As I’ve mentioned before, this was an absolutely insane time for me to try to dive into Wonder Woman, because this was the culmination of a number of plotlines & character arcs that Perez had been developing over the past five years.

War of the Gods #4 cover drawn by George Perez, published by DC Comics in Dec 1991

Three decades later I only remember three things about War of the Gods: 1) the evil sorceress Circe was the main villain, 2) I didn’t understand even half of what was going on, and 3) DC promoted the fact that for the cover of the final issue of the miniseries Perez set out to draw a cover featuring ONE HUNDRED different characters. That must have been my first exposure to Perez’s fondness for drawing literal armies.

At the exact same time Perez was also penciling another crossover, this time at Marvel. The Infinity Gauntlet was another “cast of thousands” cosmic extravaganza that ran for six double-sized issues. Truthfully, I wasn’t especially into writer Jim Starlin’s story for The Infinity Gauntlet, either, since it very predictably followed the arc of Thanos becoming a god and wiping the floor with everyone else in the Marvel Universe for half a dozen issues before finally losing the titular Infinity Gauntlet.

Nevertheless, Perez, paired with inker Josef Rubinstein, did a fantastic job drawing the cosmic spectacle… at least until working on two mega-crossovers simultaneously became too much for even someone of Perez’s talent & speed, and he had to bow out partway through issue #4, with Ron Lim taking up penciling duties for the remainder of the miniseries. To show support for Lim stepping into this high-profile assignment and having the unenviable job of following in his footsteps, Perez inked Lim’s pencils on the covers for the final two issues of The Infinity Gauntlet.

The Infinity Gauntlet #1 cover drawn by George Perez and colored by John Stracuzzi, published by Marvel Comics in July 1991

So, while I haven’t revisited The Infinity Gauntlet in the last 30 years, either, I definitely was impressed by the work Perez did on the first half of the miniseries. Certainly his intricate cover for the first issue, colored by John Stracuzzi, is one of the all-time greatest depictions of Thanos in the character’s half-century history. Heck, even Jim Starlin, the writer / artist who created Thanos, has used Perez’s cover artwork for The Infinity Gauntlet #1 for his own convention banner. Now that is respect.

Anyway, throughout the 1990s, when I was in high school & college, I went to a lot of comic book conventions, and bought a lot of back issues from the 1970s and 80s. Amongst these were several books that Perez worked on: Avengers, Justice League of America, The New Teen Titans, Marvel Fanfare, Crisis on Infinite Earths and Action Comics. I also had the opportunity to pick up a lot more issues of Perez’s epic, groundbreaking five year run on Wonder Woman, at last getting in on the earlier parts of his incredible, highly influential revamp of Princess Diana of Themyscira.

Straight from the back issue bin… Crisis on Infinite Earths #10, written by Marv Wolfman, penciled by George Perez, inked by Jerry Ordway, lettered by John Costanze and colored by Anthony Tollin, published by DC Comcis in january 1986

In the mid 1990s Perez penciled the first six issues of Isaac Asimov’s I-BOTS, written by Steven Grant, published by Tekno Comics / Big Entertainment.  I took a look at Perez’s work on that series a few months ago as part of the most recent round of Super Blog Team-Up, in which the various contributors examined different parts of Perez’s amazing career.

In 1998 Perez had another opportunity to pencil Avengers, this time paired with writer Kurt Busiek. Perez remained on the series for three years. After the meandering, confusing events of “The Crossing” and the controversial Heroes Reborn that saw Rob Liefeld take over the book, Busiek & Perez’s run was warmly received by long-time Avengers readers.

Now here’s another one of those occasions when I am going to go against conventional fan wisdom. The truth is I wasn’t especially enthusiastic about Busiek’s writing on Avengers; I feel Busiek is an amazing writer on smaller, intimate, character-driven stories set against the epic backdrops of superhero universes, something he’s demonstrated again and again with his incredible work on Astro City. Same thing for Thunderbolts from Marvel, which was a very character-centric series. In contract, Avengers was the epic superhero event book, and I just didn’t feel that Busiek quite had the faculty to pull off those sorts of stories. (Just my personal opinion, so feel free to disagree.)

The Scarlet Witch tears up the dance floor! Avengers vol 3 #19 written by Kurt Busiek, penciled by George Perez, inked by Al Very, colored by Tom Smith and lettered by Richard Starkings, published by Marvel Comics in August 1999

That said, Busiek did really solid work on the character-driven subplots in Avengers involving the Scarlet Witch, the Vision, Wonder Man, and Carol Danvers / Warbird, as well as his own creations Silverclaw and Triathalon. And of course Perez did an incredible job illustrating Busiek’s stories, both the action scenes and the quieter character moments. I certainly appreciated the stunning costume Perez designed for the Scarlet Witch. And that bellydance sequence featuring Wanda from Avengers vol 3 #19 (Aug 1999) seen above was absolutely gorgeous, a superb example of Perez’s storytelling abilities.

In the early 2000s Perez signed an exclusive contract with startup publisher CrossGen Comics. Perez penciled the quarterly double-sized CrossGen Chronicles, followed by the monthly series Solus. I only read a handful of the CrossGen titles, but I picked up a couple of issues of CrossGen Chronicles specifically for Perez’s artwork.

One of the things I appreciated about the CrossGen books was that it was not a superhero-centric universe. CrossGen enabled Perez to stretch his boundaries and work in the genres of fantasy and sci-fi / space opera. He did some incredible work for them. Regrettably CrossGen only lasted a few years, going bankrupt in 2003.

CrossGen Chronicles #4, written by Mark Waid, penciled by George Perez, inked by Mike Perkins & Rick Magyar, colored by Laura DePuy, Chris Garcia & Mike Garcia, and lettered by Dave Lanphear & Troy Peteri, published by CrossGen Comics in Sept 2001

Back in 1981 Perez had begun penciling a Justice League / Avengers crossover, but the project was left uncompleted due to editorial conflicts between DC and Marvel Comics. Two decades later, in 2002, the Big Two at last came to an agreement to work together and publish a crossover between their two superstar teams. Even though Perez was signed to CrossGen, he’d included a clause in his contract with them that if Justice League / Avengers ever happened he would be allowed to draw it. And so he was reunited with Kurt Busiek and colorist Tom Smith to produce the long-awaited meeting of the Justice League and Avengers in four double-sized bookshelf issues.

JLA / Avengers once again gave Perez the opportunity to draw his casts of thousands. The absolute highlight of the event was the wraparound cover to the third issue, on which Perez depicted every single member of both teams up to that point in time. Tom Smith recently recounted that it took him two whole weeks just to color that cover.

Where’s Waldo?!? JLA/Avengers #3 cover drawn by George Perez and colored by Tom Smith, published by DC and Marvel Comics in December 2003

It seems like everyone has a George Perez story, so here’s mine: I met writer Marv Wolfman at a comic con in White Plains NY in June 2000 and had him autograph my copy of Crisis on Infinite Earths #8, the historic (and at the time absolutely permanent) death of Barry Allen, the Silver Age Flash. A few months later, at a store signing in Connecticut, I met artist Jerry Ordway, who had inked that issue,and I had him autograph it, too. He smiled and said “I’d better leave room for George Perez to sign it.” I responded that he didn’t have to do that, since I didn’t expect to ever meet Perez (and, really, I didn’t think I’d have the opportunity, because he was such an incredibly popular artist).  Ordway just smiled again and autographed the book, leaving several inches space between his and Wolfman’s signatures.

Fast forward a few years, and low & behold none other than George Perez was a guest at a comic con in Manhattan. Of course I brought along my copy of Crisis on Infinite Earths #8, and Perez autographed it in between Wolfman & Ordway’s signatures. So, a big “thank you” to Jerry Ordway for his foresight.

Crisis on Infinite Earths #8 signed by Marv Wolfman, George Perez and Jerry Ordway!

I wish I could regale you with some fascinating anecdotes about my meeting George Perez. The simple fact is, in the couple of minutes I spoke with him he came across as a good person, and that’s it. From everything I’ve heard Perez was always like that; he always made an effort to be friendly to all of his fans, to greet them with a warm smile.

About a decade later Michele and I were at New York Comic Con. We ran into Perez when he was between panel discussions or something; I don’t recall the specifics. I just remember that Michele had had a copy of Wonder Woman vol 2 #19 with her, and she went up to Perez and asked him to sign it. I think he was talking with someone, or maybe he was on his way out of the room, but whatever it was he was doing he paused, turned to Michele, smiled, pulled out a sharpie, and autographed her comic. That’s the type of person Perez was, always making time for his fans.

George Perez was an incredible artist and a genuinely decent person. He will definitely be missed. I wish to offer my condolences to his family, friends and colleagues for their loss.

The Daily Comic Book Coffee, Part 13

Welcome to the 13th edition of Comic Book Coffee. I previously 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.

(I has nasal surgery a couple of days ago, so if any typos creep into this I apologize. My head is pretty stuffed up right now!)

61) Gene Colan & Tom Palmer

Daredevil #90, penciled by Gene Colan, inked by Tom Palmer, written by Gerry Conway and lettered by Sam Rosen, published by Marvel Comics with an August 1972 cover date.

It’s not all that surprising that during his career Daredevil has encountered four different criminals who assumed the costumed identity of Mister Fear.  What would be more natural that for the self-proclaimed “Man Without Fear” to cross swords with a villain whose modus operandi was the creation of fear?

Here we see Daredevil, hit by Mister Fear’s powers, has crashed through the window of an office building, and is now cowering in terror at the little old lady who cleans the building.  The next panel finds DD a guest of the local precinct, with the cops offering the still-unsteady crimefighter a cup of coffee.

Gene Colan had a style that was generally not an especially good fit for superheroes, yet he is regarded as one of the all-time great Daredevil artists.  Perhaps that is because DD is a non-powered acrobatic character, as well as the fact that, no matter how weird and jokey the series sometimes got, it usually still had one foot planted in gritty noir.  Both these elements made Daredevil an ideal fit for Colan’s unconventional layouts and shadowy penciling.

Colan was reportedly a somewhat-challenging artist to ink.  Tom Palmer is usually classed as one of the best inkers of Colan’s pencils.  They definitely worked extremely well together on Daredevil, Doctor Strange and Tomb of Dracula.

62) John Rosenberger

“What’s Ambition, Anyway?” drawn by John Rosenberger, written by Richard Hughes, and lettered by Ed Hamilton, from Confessions of the Lovelorn #81, published by ACG in May 1957.

Beautiful, talented Jill Sanders dreams of becoming an actress.  She auditions with famed producer-director Carl Rogers, who agrees to see how she works out in rehearsals for his upcoming musical.  While having coffee with Rogers and the rest of the cast, Jill thinks to herself “He’s a real professional — and a swell guy!”  Unfortunately for Jill, her high school rival Marion Major has also joined the cast, and pretty soon the ambitious, arrogant blonde is sinking her claws into Rogers himself.  Due to budget cuts Jill is squeezed out of the chorus and finds herself back waiting tables, and the despairing young woman believes she has lost out on both show business and Carl Rogers.  However, when Carl’s investors back out on him, Jill convinces her restaurateur boss to help finance the show.  It’s a success, and Carl has fallen in love with Jill.

Artist John Rosenberger’s career stretched over 30 years, from 1946 to 1975.  He worked for several different companies, drawing stories in various genres.  His style was definitely well-suited for romance, as he had an aptitude for rendering beautiful, fashionable women.  Towards the end of his career he penciled Superman’s Girlfriend Lois Lane for DC Comics, where once again his knack for drawing lovely ladies was a definite asset.  Rosenberger became the regular artist on Wonder Woman in 1975, but sadly only completed two issues before taking ill.  He passed away in January 1977 at the age of 58.

The entire story “What’s Ambition, Anyway?” can be read on the Comic Book Plus website.

63) Ron Lim & Chris Ivy

Sovereign Seven #36, penciled by Ron Lim, inked by Chris Ivy, and written by Chris Claremont, published by DC Comics with a July 1998 cover date.

As the final issue of Chris Claremont’s Sovereign Seven comes to a close, the Sovereigns, after a long, hard-fought conflict, have finally emerged triumphant against the insidious Rapture.

And then we see that, apparently, the entire story of S7 has been nothing more than a comic book series created by Casey and Morgan, two young women who are customers at the Crossroads Coffee Bar that appeared so often throughout the series.

Sovereign Seven was a creator-owned series that nevertheless took place in the DC universe, with appearances by Darkseid, Superman, Power Girl and other mainstays.  Presumably this ending was conceived by Claremont to allow the series to end with a clean break, so that in the future he could have his characters return in an entirely different venue.  It’s certainly a metatextual scene, with Casey and Morgan standing in for Claremont himself to reflect on the series’ cancellation.

Of course, as Alan Moore once famously observed, “This is an Imaginary Story… Aren’t they all?”  And so I like to think that in some corner or another of the multiverse the events of Sovereign Seven “really” did happen.  Ah, well, real or not, it was a fun series.

Ron Lim was the second regular penciler on S7.  I have been a fan of Lim since he drew Captain America way back in the early 1990s.  I definitely regard him as underrated.  On most of his S7 issues Lim was inked by Chris Ivy.  They made a great art team, wonderfully illustrating Claremont’s stories.

So, anyone know where I can snag one of those big S7 coffee cups?

64) Frank Bolle

Golden and Silver Age artist Frank Bolle passed away on May 12th at the age of 95.  “Outlaw Gold” was penciled & inked by Bolle. It appeared in Tim Holt #29, published by Magazine Enterprises with an April-May 1952 cover date.

Tim Holt was a Western movie star during the 1940s and early 50s.  The comic book Tim Holt featured a fictionalized version of the actor who assumes the guise of the costumed vigilante Red Mask in the post-Civil War “Old West.”  Tim Holt ran for 54 issues, being re-titled Red Mask with issue #42.  Frank Bolle’s artwork appeared in every single issue of Tim Holt / Red Mask.  Bolle really excelled at drawing Westerns, and his work on this series was definitely impressive.

“Outlaw Gold” sees beautiful dancehall girl Della Martin enlisting the help of Red Mask to locate a treasure which she says her father hid out in the desert, west of Bald Rock.  Pursuing Della are members of Butch Cassidy’s “Wild Bunch” gang, who are all too ready to murder the lovely singer so that they may claim the buried fortune.

On this page, en route to Bald Rock, Red Mask and Della are pursued by a trio of Wild Bunch thugs.  Red Mask makes short work of them, knocking all three out.  He and Della then bunk down for the night, brewing up some hot coffee to keep warm.

Bolle does nice work on this page.  The action flows well.  I like how Bolle has Red Mask’s fist swinging out of that third panel, really highlighting the punch.   Della is beautifully drawn.  And since this is a Western, of course we have horses.  I guess this is another crossover with Jim Thompson’s 1000 Horses series!

The entire issue can be read on the Comic Book Plus website.

65) Jerry Ordway & George Perez

Here is a double dose of Da Ordster!  First up is Adventures of Superman #428, penciled & inked by Jerry Ordway, written by Marv Wolfman, lettered by John Costanza, and colored by Tom Ziuko, published by DC Comics in May 1987.

Here we see Clark Kent and Cat Grant at the offices of the Daily Planet, discussing Perry White’s ongoing investigation of organized crime in Metropolis.  Clark is having his morning coffee, and as we can see from his choice of mug he’s a fan of The Far Side.

This page is a good example of both Ordway’s storytelling and inking.  He does a good job laying out the conversation between Clark and Cat, presenting it from different angles, making it interesting.  I like how Ordway inks Cat on this page.  Panel four is especially beautiful.

I know that it’s undoubtedly a function of my having gotten into DC Comics in the late 1980s, but I definitely regard Ordway as one of the definitive Superman artists.

Jumping forward a dozen years we have Avengers volume 3 #18, written & penciled by Jerry Ordway, inked by George Perez, lettered by Richard Starkings, and colored by Tom Smith, published by Marvel Comics in July 1999.

Ordway wrote & drew a really fun three issue story arc on Avengers to give Kurt Busiek & George Perez a chance to catch their breaths.  This is the final page of Ordway’s last issue.

Hank Pym is in his lab late at night, studying the technology of the cyborg Doomsday Man, one of the threats the Avengers faced during Ordway’s storyline.  Hank has obviously been working for a while, because he disgustedly thinks to himself “*GAH* Coffee’s bitter! ‘Course that pot’s only been on all night…”

Before Hank has a chance to brew some fresh java he is interrupted by the violent arrival of several leering metal monstrosities, servants of his mechanical “son” Ultron.  And so Ordway segues back into Busiek & Perez’s own ongoing storylines, with Perez himself inking this last page as part of the transition.  Ordway must have been working closely with Busiek, Perez and editor Tom Brevoort to get everything to line up so smoothly.

Jerry Ordway is one of my favorite comic book creators, and I enjoyed his short stint on Avengers.  As much as I liked Busiek & Perez, I really wish Ordway could have done more work on this title.  He latter penciled the Domination Factor: Avengers and Maximum Security miniseries, on both of these once again doing excellent jobs depicting Earth’s Mightiest Heroes.

I don’t think Ordway’s had any ongoing assignments in the last two decades, instead bouncing around between various short guest runs, fill-ins, miniseries and specials.  That’s a shame, because he’s a very talented artist.

Happy July 4th from the Avengers

Here’s wishing everyone in the United States a very happy July 4th.  For those of you elsewhere in the world, I wish you all the very best, as well.  I hope that one day “liberty and justice for all” truly becomes a reality no matter who you are or where you live.

To celebrate, I am posting a scan of this wonderful Avengers pin-up.  It was published in the Avengers: The Ultron Imperative special that was released in late 2001.  Described on the credits page as an “Unused Avengers promotional drawing,” it depicts Avengers members Hawkeye, Captain America, Quicksilver and the Scarlet Witch celebrating American Independence Day.

I think it’s worth pointing out that Quicksilver and the Scarlet Witch are immigrants from Europe who came to the United States in search of freedom from intolerance and the opportunity for a new beginning.  So they definitely deserve to be here as symbols of the American Dream.

Avengers July 4th Don Heck

The pencils on this piece are by Don Heck.  A good, solid, often-underrated artist, Heck worked on numerous comic book titles in a career that stretched over four decades, from the 1952 to 1993.  Among his credits were stints penciling Avengers for Marvel Comics in the 1960s and 70s.  Yes, that includes the time period when “Cap’s Kooky Quartet” were the headlining members of Earth’s Mightiest Heroes.

Heck passed away at the age of 66 in 1995, so this drawing was obviously done a number of years before it was published.  Given the subject matter, perhaps it was left over from the Bicentennial in 1976.

Inking / embellishing this pin-up is the ever-amazing Jerry Ordway.  As I have mentioned a few times on this blog, I am a huge fan of Da Ordster.  Ordway has gone on record with his appreciation for Heck, referring to him as “a truly underappreciated artist.”  I expect that he enjoyed having the opportunity to ink this piece in 2001.

The coloring is by Tom Smith, who was the regular colorist on the monthly Avengers series at this time.  He definitely did a very nice, vibrant job on this piece.

Thanks for taking a look!