Last month Michele and I went to the Society of Illustrators to see the Comic Art Sale and Exhibit. It was a great opportunity to see a very impressive & diverse selection of original artwork from comic books was on display, both from mainstream and alternative creators.
Here are just a few highlights from the Comic Art Sale and Exhibit, which ran from July 15th to October 23rd…
The unpublished cover artwork originally intended for Avengers #37 (Feb 1967) drawn by Don Heck for Marvel Comics that was eventually used as a cover by editor Roy Thomas for his comic book history magazine Alter Ego #118 (July 2013) from TwoMorrows Publishing.
A page from the Doctor Strange story “The Many Traps of Baron Mordo” drawn by Steve Ditko from Strange Tales #117 (Feb 1964) published by Marvel Comics.
The cover artwork for Green Lantern #56 (Oct 1967) penciled by Gil Kane and inked by Murphy Anderson, published by DC Comics.
The cover artwork for Hawkman #8 (June-July 1965) drawn by Murphy Anderson, published by DC Comics.
Two pages from Fantastic Four #116 (Nov 1971) penciled by John Busema and inked by Joe Sinnott, published by Marvel Comics.
A page from Incredible Hulk #196 (Feb 1976) pencil breakdowns by Sal Buscema and finishes by Joe Staton, published by Marvel Comics.
Two pages from the underground comix series The Fabulous Furry Freak Brothers created by Gilbert Shelton.
The cover artwork for Laugh Comics #182 (May 1966) drawn by Dan DeCarlo, published by Archie Comics.
A daily installment of the newspaper comic strip Sky Masters penciled by Jack Kirby and inked by Wallace Wood that ran from September 1958 to December 1961.
The cover artwork for Not Brand Echh #9 (Aug 1968) drawn by Marie Severin, published by Marvel Comics.
A page from Red Sonja #6 (Nov 1977) drawn by Frank Thorne, published by Marvel Comics.
While I definitely enjoyed this exhibit, it was slightly sobering to realize that in many cases the artists sold their original artwork many years ago for a fraction of the current asking prices. In some cases some of this artwork was given away by the publishers as gifts to fans, or flat-out stolen. It’s an unfortunate set of circumstances. So I can certainly understand why in recent decades comic book artists have chosen to sell their original work at much higher prices.
Today is the 100th birthday of Golden Age comic book artist Lily Renée, who was born on May 12, 1921.
Lily Renée Wilheim was born in Vienna, Austria to an upper middle class Jewish family. Renée had an interest in art & illustration from an early age, drawing as a hobby and visiting art museums. As she recounted in an interview conducted by Jim Amash in 2008 for Alter Ego from TwoMorrows Publishing:
“I drew clowns, ballerinas, tigers, and scenes that depicted what you would see in theatres. My parents took me to the theatre, where I saw some ballets, and I also went to dance classes. When I was older, I went to the opera twice a year with my school.”
In 1939 the 14 year old Renée was forced to flee Austria a year after the Nazis occupied the country in the Anschluss. Renée was placed by her parents on a Kindertransport (Childern’s Transport) ship which was part of the movement that helped thousands of children escape from Nazi-controlled Europe ahead of World War II. She arrived in Leeds, England, and went to stay with a family in nearby Horseforth whose daughter she had previously been corresponding with. Unfortunately the family that took her in believed they were getting an unpaid servant. The next year and a half was a difficult period for Renée as she struggled to survive in a foreign country, not knowing if her parents were alive or dead.
Finally in 1941 Renée received a letter from her parents explaining that they had escaped to the United States. She hoped to join them, but her efforts were hindered by the British authorities. By now World War II had broken out, and Renée was suspected of being an “enemy alien” due to her possessing an expensive camera that had belonged to her family. She attempted to sneak out of the country, but was caught; however an anonymous stranger intervened and negotiated her release, and she was able to travel to New York City by ship.
Life in New York City in the early 1940s was a struggle for the Wilheim family, who had been left completely bereft. Crammed into a small apartment alongside other refugees, they attempted to make ends meet. Renée took on various artistic odd jobs to help out, such as painting wooden boxes, illustrating catalogs for the Woolworth’s department store, and modeling:
“There was somebody named Jane Turner, a very well-known fashion illustrator, who liked the way I moved, so she asked me to model for her at home in a lovely townhouse. The clothes were sent from the department store, and I was dressed in all these elegant dresses while she would draw me. Then I would go home in my old, outmoded clothes, and that was weird.”
Renée’s mother saw an advertisement in the newspaper from comic book publisher Fiction House looking for artists. Renée had no knowledge of or interest in comic books, but she applied for the position in order to help her family. It was low-paying, unglamorous work, and Renée was uncomfortable working alongside the mostly male staff of Fiction House, many of whom would make crude comments to her, but she stuck with it out of necessity.
Despite the fact that Renée understandably saw comic book illustration as a means to an end, a way to pay the bills and put food on the table, she nevertheless produced exceptional, beautiful work during her short career in the field. Her pages were also distinctive for the highly unusual layouts and panel shapes she utilized.
After starting out erasing pencil lines on inked artwork and drawing backgrounds, she began regularly illustrating the adventures of aviatrix Jane Martin beginning with Wings Comics #31 (cover-dated March 1943) from Fiction House. Another of the features Renée worked on was The Werewolf Hunter beginning in Rangers Comics #16 (April 1944):
“Eventually, they tried me out on a feature, which was one that nobody wanted to do: “Werewolf Hunter.” I made it into something else because I didn’t want to draw wolves. I talked to the writer and convinced him it should be about magic, where people change into other creatures, not werewolves. So we did that, and it became quite popular.”
Starting with Planet Comics #32 (Sept 1944) Renée also began drawing the post-apocalyptic sci-fi / fantasy feature The Lost World.
The character Renée would become most associated with was Senorita Rio, a glamorous Hollywood actress & stuntwoman who, after her fiancé was killed during Imperial Japan’s attack on Pearl Harbor, faked her own death so that she could become a secret agent for the Allied Forces, fighting against the Axis Powers behind enemy lines.
Introduced in Fight Comics #19 (June 1942), Senorita Rio was created by artist Nick Cardy. Renée began drawing the feature with Fight Comics #35 (Dec 1944) and she quickly established herself as the definitive artist at depicting Senorita Rio’s thrilling, exotic adventures combating Nazi spies and fascist agents throughout South America. Renée was the regular artist on the Senorita Rio feature for the next three years.
“And I just wanted to say with all these comic strips and also this name Senorita Rio, it’s sort of like a fantasy. Senorita Rio got clothes that I couldn’t have, you know, she had a leopard coat and she wore these high-end shoes and all of this and had adventures and was very daring and beautiful and sexy and glamorous and all of that.”
It was also cathartic for Renée, a beautiful young woman whose existence had been upended by Nazi oppression, to draw the adventures of a character who looked much like herself fighting against the scourge of fascism:
“I could live out a fantasy, if only on paper. It was a form of revenge.”
Due to her signing her work for Fiction House as “L. Renée” or “L.R.” for a number of years it was not known that she was one of the early female artists in the comic book field.
In 1947 Renée married artist Eric Peters, another refugee from Vienna who had fled the country after his political cartoons earned the ire of the Nazis. In 1948 Fiction House relocated outside of New York. Finding work at St. John Publications, Renée and Peters worked together illustrating several issues of Abbott and Costello Comics. Renée and Peters proved very adept at drawing the comedic misadventures of Bud Abbott and Lou Costello. Regarding the division of labor between them, Renée explained:
“[Eric] drew the Abbott and Costello characters, and I drew the girls, and did all the inking.”
Renée also drew stories for the various romance titles published by St. John. It was at St. John that Renée began signing her work with her full name.
Renée left comic books in the early 1950s, moving into freelance illustration, textile design and jewelry design, all of which at the time were regarded as much more respectable fields. She wrote two children’s books. After her husband passed away in 1990, Renée began taking classes at Hunter College, which inspired her to write several plays.
Renée’s work in comic books was rediscovered in the early 2000s when one of her granddaughters contacted comic book creator & historian Trina Robbins. In 2007 Renée was a guest at the San Diego Comic Con and was nominated to the Friends of Lulu Hall of Fame. An illustrated biography, Lily Renée, Escape Artist: From Holocaust Survivor to Comic Book Pioneer, written by Robbins and drawn by Anne Timmons & Mo Oh, was published by Graphic Universe in November 2011.
Renée’s signature character Senorita Rio lives on, having been revived in 1985 by Bill Black of AC Comics to be one of the founding members of the all-female superhero team Femforce. AC has also reprinted a number of the Senorita Rio stories drawn by Renée. Fantagraphics reprinted several stories drawn by Renée in The Comics Journal #279 (Nov 2006).
The comic books published by Fiction House and St. John have entered the public domain and can be read on the Comic Book Plus website. The Grand Comics Database appears to have a fairly comprehensive listing of the stories Lily Renée drew. If you have not seen her beautiful, detailed artwork before then I definitely encourage you to view it online.
Lily Renée is a remarkable woman who showed great fortitude in surviving tremendous hardship during her teenage years. I am glad that she eventually was able to make a new life for herself here in the United States, and that she has lived long enough to see her beautiful comic book artwork be rediscovered to be appreciated by new generations of fans.
Sal Buscema, one of my favorite comic book artists, celebrates his 85th birthday on January 26th. I’m going to take a look back at how I discovered Buscema’s work as a young comic book fan. (Part of this retrospective is based on a couple of posts I did several years ago. I guess you can consider this a “director’s cut” or something like that.)
Appropriately enough, I first saw Sal Buscema’s artwork in two issues of The Incredible Hulk, one of the series with which he is most closely associated.
On several occasions Sal Buscema has stated that the Hulk was his favorite character to draw. As he related to Jim Amash in the book Sal Buscema: Comics’ Fast & Furious Artist, published by TwoMorrows in 2010:
“I identified with [the Hulk]. Do you know what I liked about the Hulk? … He’s totally unique. He’s monstrous, lumbering, huge, unbelievably strong, and he gets even stronger when he gets angry. He has the mentality of a child. It’s so completely different from anything that you’ve drawn before. Is there another character as unique? … He’s an anti-hero, and yet because of his unbelievable power… look at all the fantastic things he’s capable of doing and usually does. That’s the fun and the constant stimulation that I had with this character.”
Buscema was the penciler on The Incredible Hulk from issue #194 (Dec 1975) to #309 (July 1985), an astonishing nine and a half year run. During that time Buscema missed only seven issues. I believe his 109 issue run on the series has never been surpassed by any other artist.
The very first issue of The Incredible Hulk that I ever read was #285, cover-dated July 1983. It would have been on sale in early April 1983. I was six and a half years old and my parents bought it for me.
The Incredible Hulk #285 was topped off by a fantastic cover drawn by artists Ron Wilson & Joe Sinnott. As a kid, I thought it was an amazing image. The Hulk was fighting this giant orange figure seemingly made out of flames. I hadn’t seen anything like that before. And, oddly, instead of striding around in his usual torn-up pants, on this cover the Hulk was wearing a shirt, tie, jacket and shoes. That said, his pants were still purple, so not everything about him had changed!
Flipping open the comic, I came to the first page of “Today is the First Day of the Rest of My Life.” The creative team was writer Bill Mantlo, penciler Sal Buscema, inker Chic Stone, lettered Jim Novak, colorist Bob Sharen and editor Al Milgrom. This splash page again had the Hulk wearing a jacket & tie, his hair neatly combed. Rather than running around on a destructive rampage, he is seated at a desk, narrating his memoirs into a Dictaphone.
Over the course of the next several pages the Hulk recounts how Dr. Bruce Banner created the Gamma Bomb. While attempting to save the life of teenager Rock Jones who had wandered onto the test site, Banner was caught in the explosion of the weapon he created. The radiation now caused Banner to transform into a savage monster whenever overwhelmed by stress or anger. I distinctly recall that my seven year old self was surprised that in this flashback Banner’s assistant Igor, who set off the Gamma Bomb in an attempt to kill the scientist, was a Soviet spy, rather than an alien robotic infiltrator as he had been depicted in the animated episode “Origin of the Hulk” the year before.
Buscema drew an absolutely savage depiction of the Hulk in this flashback, as Banner transformed into the jade giant for the very first time, on the striking splash page seen at the top of this blog post.
Following this was an amazing two page spread by Buscema & Stone that illustrated the chaotic life of the Hulk over the next several years, the long and winding road taken by a green goliath who was more often than not hunted by humanity. Among the numerous characters glimpsed in this flashback montage, my seven year old self recognized from the animated series the villainous Leader and his pink artificial servants, Betty Ross, her father the militant General Ross, and the equally belligerent Major Talbot. Of course I also knew who Captain America was.
I was surprised to find out that Bruce Banner’s identity as the Hulk was public knowledge, since in the cartoons it had only been known to Rick Jones. Years later I learned that the Hulk was probably the earliest major super-powered protagonist to have his secret identity revealed, way back in Tales to Astonish #77, which was cover-dated May 1966.
At the end of this montage, we come to the Hulk’s current status: At long last, after all this time, Bruce Banner has managed to gain control, to retain his human intelligence when transforming into the Hulk.
While the Hulk has been busy recounting his life, a crew of workers from Stark Industries headed up by Scott Lang, the new Ant-Man, has been constructing Northwind Observatory, a laboratory where Banner can resume his scientific studies. Turning back into his human form, Banner joins Lang to supervise the installation of the laboratory’s power core. At the last minute, Banner discovers that the power core was not designed by Stark Industries, but acquired from a company called Soulstar. Banner immediately recognizes the name, but before he can prevent it, the power core is hooked up, there is “a massive electromagnetic discharge,” and a strange being emerges.
This creature, we are informed, is Zzzax the Living Dynamo (aka the guy guaranteed to always get the very last entry in the Handbook of the Marvel Universe). Looking something like a humanoid lightning bolt, Zzzax is a creature that feeds on the human life force. Before the monster can consume the stunned construction crew, Banner transforms back into the Hulk and tackles this old enemy.
Unfortunately the Hulk comes to a realization: In his old savage, child-like persona, the angrier he got, the stronger he became, but now, guided by Banner’s rational intellect, the Hulk cannot easily become angry, meaning his strength is limited. And so the gamma-spawned giant realizes that, instead of relying on brute force to defeat Zzzax, he must now find a way to out-think his fiery foe.
As a kid, I thought The Incredible Hulk #285 was a fantastic issue with an amazing bad guy. Yep, the idea of an intelligent Hulk was unexpected, but I just shrugged and read on. Mantlo’s script was a really good introduction to the character of the Hulk, neatly surmised through the plot device of Bruce Banner penning his autobiography. The second half, with the Hulk fighting Zzzax, was really exciting.
On the art side of things, the work by Sal Buscema was high quality. To the best of my knowledge, this was the very first comic book I ever read that was penciled by him. As I mentioned above, Buscema would eventually become one of my all time favorite comic book artists. A number of years ago when Our Pal Sal appeared at a NYC comic book show I had him autograph this issue. It was actually my second copy, since I read the original one so many times as a kid that the cover eventually fell off.
In regards to Stone’s inking, it is pretty good. Having subsequently seen a great deal more of Buscema’s work, I have to admit that there were others who did a better job finishing his pencils, among them Joe Sinnott, Gerry Talaoc, and Buscema himself. In the aforementioned Sal Buscema: Comics’ Fast & Furious Artist he admits that he wasn’t overly enthusiastic about Stone’s inking. Looking back at it as an adult fan, yes, I tend to agree with him. That said, back when I was a little kid completely lacking in any knowledge of the subtleties of inking, I thought the artwork by Sal & Chic looked just fine. I guess that’s probably the more important thing.
Even though I really did enjoy The Incredible Hulk #285, because I was just a few months shy of seven years old I very seldom had a chance to go buy comic books on my own, so I ended up not reading another issue of the series for a couple of years. When I finally did, it was issue #309. And if I thought #285 was a bit odd, well, that next one was downright bizarre!
The Incredible Hulk #309 was cover-dated July 1985, exactly two years since the last issue I had read. And it was quickly obvious that a heck of a lot had changed in those two years!
The cover to issue #309 was by Mike Mignola. It’s a pretty early piece of work by the future creator of Hellboy. But you can certainly see his potential as an artist in this unusual cover image. This had to be the first time that I saw Mignola’s art. It certainly leaped out at me as a distinctive piece.
“The Triad” is written by Bill Mantlo, penciled by Sal Buscema, inked by Gerry Talaoc, lettered by John Workman, colored by Bob Sharon and edited by Carl Potts. The last time I had seen Bruce Banner he was in full control of his bestial alter-ego and had been accepted as a hero by the people of Earth. Now, though, the Hulk appears to be somewhere far, far from home, struggling to string together a simple coherent thought.
Within a few pages, Mantlo quickly brought readers up to speed. Buscema renders another of his dramatic flashback montages. I learned that the now-intelligent Hulk was haunted by Doctor Strange’s arch enemy Nightmare, who twisted Banner’s dreams to re-awaken the green goliath’s bestial alter ego. Nightmare hoped to use the Hulk as weapon against the Sorcerer Supreme. However, Strange was able to help the remaining spark of Banner’s consciousness strike back at the demon. Unfortunately the Hulk was left with no mitigating human influence, and became an uncontrollable monster. Rather than have to destroy his old friend, Strange exiled the Hulk to the extra-dimensional Crossroads, which linked up to a myriad of other realities.
And, wow, poor John Workman, a highly skilled letterer, had to try to squeeze all of this information onto a single page! I recall my eight year old self squinting as I read this recap, trying to make out all that tiny lettering.
Now, in the present, after some time wandering the Crossroads, traveling from one strange world to another, the Hulk’s sentience is very gradually awakening. And with this renewed awareness, the Hulk discovers he is now accompanied by a trio of unusual figures. The Triad is made up of a blue-skinned demon Goblin, a young orange-skinned girl Guardian, and a shining magenta star Glow. These mysterious figures were somehow linked to the Hulk, their purpose to help restore the Hulk’s psyche.
Walking through one of the Crossroads portals, the Hulk and the Triad are transported into the middle of a vast alien desert. Although the desolate sands stretch as far as the eye can see, and the harsh sun beats endlessly down, the Hulk refuses to activate the “fail-safe spell” cast by Doctor Strange that would return him to the Crossroads when he feels discontented. As a massive sandstorm sweeps in, the Triad attempt in vain to convince the Hulk to wish himself off this planet before they all perish.
Finally, having survived the brutal elements, the Hulk at last finds that which his inhuman senses had detected from far off: a lush oasis. The Triad realizes that the Hulk was not on a mission of suicide, but was driven by the will to find this oasis, meaning his mind is continuing to heal and come back together.
This was a really odd story to read as a kid. The Hulk was stranded on the other side of reality, fighting not some supervillain or the military, but the very elements, accompanied by an incredibly odd threesome. Mantlo really crafted an unusual story, having the Hulk’s struggle against nature juxtaposed against the Triad’s examination of and insights into his mental state. It is a very introspective tale.
At the time, I had no clue who the Triad was supposed to be. Within the next few issues, Mantlo would reveal that they were the splintered aspects of Bruce Banner’s subconscious mind given form and independent thought. Certainly this was a clever, innovative idea. Reading issue #309 with the benefit of hindsight, I can now see that Mantlo sprinkled the dialogue with a number of hints as to the true identity of the Triad.
Mantlo really broke a lot of ground with his run on Incredible Hulk. Having already given us an intelligent Hulk, he has now exiled the jade giant from Earth and begun to embark on an examination of Bruce Banner’s psychological background. A cursory glance at the Hulk stories that have been written in the decades since readily demonstrates just how much this influenced subsequent writers.
This issue’s artwork was absolutely incredible. The thing that really struck me was the depiction of the Hulk by Buscema & Talaoc. Obviously in other comic books and in cartoons the Hulk had always been a big, strong creature. But this was the first time I had ever seen him drawn as such a huge, bestial, imposing figure.
The depictions of the Crossroads and the desert planet that the Hulk and his strange companions visited were very vivid and detailed. Buscema did a great job on the pencils, crafting these alien environments. And the inking by Talaoc was absolutely superb. He created a tangible atmosphere of oddness for the Crossroads. On the desolate world, his embellishments bring to life a harsh landscape that alternates between cutting winds and a brutal sun.
Buscema stated in the Fast & Furious book that Gerry Talaoc was one of his favorite inkers to work with…
“Gerry Talaoc was a terrific draughtsman and… he drew better than I did. He probably still does. [laughs] And the look of the book was great. I loved what he did. To me the final product was what counted.”
I agree that Buscema and Talaoc went together exceptionally well. Talaoc really enhanced Buscema’s penciling without overpowering it.
Eight years ago I found out that Gerry Talaoc was retired and living in Alaska. I was able to mail a few comic books to him to get signed, and I made certain that The Incredible Hulk #309 was one of them.
On the letters page of The Incredible Hulk #309 editor Carl Potts revealed that this was Sal Buscema’s final regular issue penciling the series, ending his nearly decade-long run. I don’t recall if this meant anything to me back then, since I was just a kid and really wasn’t paying attention to the credits.
Years later, though, I would learn about the behind the scenes circumstances that led to Sal Buscema’s departure from The Incredible Hulk. Buscema and Bill Mantlo, who came on as writer with issue #245, had initially gotten along very well. Regrettably though, as Buscema recounted in Fast & Furious, after several years Mantlo started becoming much more hands-on and demanding in regards to the artwork & storytelling, requesting that Buscema draw pages in certain ways…
“What [Mantlo] was asking for was not good. I didn’t care for it at all, and I have to trust my judgment, because I’m the artist and he’s not. I hate to be this blunt about it, but the fact of the matter is that in many cases where Bill described what he wanted he proved beyond a shadow of a doubt that he was not an artist, because he had no concept – and I do not mean that derogatorily, but simply as a statement of fact – of the relationship of one object to another in a given space. He would ask me to draw things that were impossible to draw.”
Buscema reluctantly asked Marvel Comics to take him off The Incredible Hulk. It’s an unfortunate end to his historic run. Nevertheless, looking at his penciling for issue #309, it is apparent, to me at least, that Buscema was doing high-quality work on the series right up until his departure.
By 1985 it had become a bit easier for me to buy comic books. So fortunately I was able to pick up most the next several issues of the series.
Mike Mignola came onboard as the new penciler. A few issues later the entire team of Mantlo, Mignola & Talaoc relocated to the pages of Alpha Flight. After brief stints by John Byrne and Al Milgrom, The Incredible Hulk gained a new writer, Peter David, who had a lengthy, brilliant run that has some of its roots in Mantlo’s work.
Looking back on Mantlo’s run on The Incredible Hulk, it was innovative and exciting. Despite the difficulties he had working with Mantlo towards the end, the artwork by Buscema was superb. In 2012 a good portion of the Mantlo & Buscema run, issues #269 to #313, was collected in, appropriately enough, a triad of trade paperbacks: Pardoned, Regression and Crossroads.
From my recollection, the point at which Sal Buscema’s artwork really began to stand out in my mind was when he became the regular artist on Spectacular Spider-Man in 1988. His work on that series was outstanding. And so, when I later ended up looking back at those two issues of The Incredible Hulk that I had picked up as a kid, I now realized they had been penciled by Our Pal Sal, which only increased my appreciation for them. It’s great to re-examine them and really absorb the incredible skill Buscema displays with his dynamic layouts & storytelling. Just check out the action, energy and drama on display above, on page 20 of The Incredible Hulk #285.
I definitely recommend purchasing Sal Buscema: Comics’ Fast & Furious Artist. It is still available from TwoMorrows Publishing.
Credit where credit is due: The format of this piece was partly inspired by Alan Stewart’s entertaining and informative blog Attack of the 50 Year Old Comic Books. Hey, as the saying goes, if you’re going to steal, steal from the best! You can read Alan’s entries on Sal Buscema, which so far look back at some of his work from the late 1960s and early 70s. And if Alan keeps blogging (and I certainly hope he does) perhaps in another six or so years he’ll be discussing Our Pal Sal’s work on The Incredible Hulk.
In conclusion, I want to wish a very happy 85th birthday to Sal Buscema, and thank him for the many great, enjoyable comic books he’s worked on over the decades.
I was very sorry to hear that comic book artist Steve Lightle had passed away on January 8th. I have been a fan of his work for many years.
Steve Lightle was born on November 19, 1959 in the state of Kansas. Growing up he was a huge fan of DC Comics, especially Legion of Super-Heroes. As he recounted in a 2003 interview published in the excellent book The Legion Companion by Glen Cadigan from TwoMorrows Publishing:
“One of the oldest drawings that I’ve got was done in second grade, and it was a massive Legion fight scene that I probably did sitting at my desk when I should’ve been doing my work.”
In the early 1980s Lightle was in DC’s new talent program. His first published work was actually for Bill Black’s Americomics / AC Comics line in 1984, where he drew a handful of covers. Right from the start on these early pieces Lightle was already doing impressive work.
Lightle’s work soon after appeared in DC’s New Talent Showcase anthology, and in fill-in issues of Batman and the Outsiders and World’s Finest.
Less than a year into his professional career Lightle was asked by editor Karen Berger to take over as penciler on Legion of Super-Heroes from the outgoing co-plotter & penciler Keith Giffen, who after a stellar run felt burned out drawing the title, with its cast of thousands and myriad futuristic alien worlds. A surprised Lightle was happy to accept the assignment. His first issue was Legion of Super-Heroes volume 3 #3, cover-dated October 1984, which was co-plotted by Paul Levitz & Keith Giffen and scripted by Levitz. Lightle was inked by Larry Mahlstedt, who he would be paired with on most of his mid-1980s run.
In only his second issue Lightle has to draw the death of Karate Kid, one of his favorite members of the team. He did a superb job rendering this tragic event, as well as in the next issue where Princess Projecta executed Nemesis Kid for the murder of her husband. The storytelling on these sequences was stunning, really bringing to life the tragedy of Levitz & Giffen’s plots.
Lightle only penciled Legion for about a year, from #3 to #16, with a couple of other artists providing fill-ins during that time. Lightle, with his highly-detailed art style, was not an especially fast penciler, and that played a role in his departure.
As he explained in The Legion Companion:
“[T]he fact is, I took myself off the Legion… I had convinced myself that my inability to do everything I wanted in every issue was somehow meaning that I was delivering less than a hundred percent, and therefore I shouldn’t be on the book…. So the funny thing is, looking back, I can’t even understand my thinking on this.”
Although his run on Legion was relatively short, Lightle nevertheless had a huge influence on the series. He created the Legion’s first two totally non-humanoid members, Tellus and Quislet, and designed new costumes for several established characters.
Lightle also remained on as the cover-artist for Legion, drawing nearly every cover for volume 3 until it ended in 1989 with issue #63, as well as several covers of the reprint series Tales of the Legion and for the four issue Legion spin-off Cosmic Boy. Lightle also co-plotted and penciled “Back Home in Hell” in issue #23, a story which saw a traumatized Mon-El forced to return to the Phantom Zone when the serum that protects his Daxamite physiology from lead poisoning wears off.
Lightle is regarded by many Legion fans, myself included as one of the series’ definitive artists.
Following his departure from Legion of Super-Heroes, Lightle penciled the first five issues of the Doom Patrol reboot in 1987 and covers for various DC titles, plus several entries in their Who’s Who series.
In 1988 Lightle also began working for Marvel Comics, drawing a fill-in issue of X-Factor and becoming the cover artist for the reprint series Classic X-Men, an assignment that lasted from #30 (Feb 1989) to #56 (Feb 1991).
Yesterday I was attempting to recall when I first saw Steve’s work. I *think* it was when I bought Classic X-Men #39 in the Fall of 1989. Classic X-Men was in the middle of reprinting the epic “The Dark Phoenix Saga” by Claremont, Byrne & Austin from a decade earlier. I was 13 years old, and the dynamic Wolverine cover by Lightle immediately grabbed me. I missed the next issue, but a couple months later my parents got me #41, which had another amazing Lightle cover. I immediately became a fan of his work.
Soon after I saw Lightle’s cover artwork on Avengers Spotlight and Excalibur. He also drew a number of Marvel Universe trading cards.
In the early 1990s I was beginning to get into DC Comics, and one of the invaluable sources of information on the oft-confusing post-Crisis universe was the 16 issue loose leaf edition of Who’s Who in the DC Universe edited by Michael Eury.
Lightle illustrated several profile pics for Who’s Who, including a dramatic rendition of Ayla Ranzz, the former Lightning Lass, in the “Five Years Later” era of the Legion. I don’t know if Lightle ever drew any other Legion-related artwork set during this period, but now I wish he had. It’s a very striking image. He rendered Ayla as a beautiful, athletic figure in dynamic motion.
In 1992 Lightle’s work began appearing regularly in the bi-weekly anthology series Marvel Comics Presents. He drew an eight part Wolverine and Typhoid Mary serial written by Ann Nocenti, which was followed by a Ghost Rider and Typhoid Mary serial by the same team. The storyline culminated in the intriguing and thought-provoking “Bloody Mary: A Battle of the Sexes” by Nocenti, Lightle and co-artist Fred Harper in MCP #150-151 (March 1994).
Lightle’s artwork, with his innovative and unconventional layouts, and its sense of atmosphere, was incredibly well suited to depicting the ongoing story of Typhoid Mary and her fractured psyche. On several chapters coloring was provided by Steve’s wife Marianne Lightle.
Lightle was also the regular cover artist on Flash for DC between 1997 and 2000. He produced a series of very dramatic images during that three year run.
In the late 1990s I *finally* discovered, via back issues, Lightle’s work on Legion of Super-Heroes from the mid 1980s. I immediately recognized he was one of the all-time great artists on that series. Around this time I was fortunate enough to get to know both Steve and Marianne on social media.
I enjoyed the behind-the-scenes looks the Lightles gave of their incredible work for the all too short-lived Cross Plains Comics, which adapted and was inspired by the works of writer Robert E. Howard.
Among the projects Steve and Marianne worked on for Cross Plains was Red Sonja: A Death in Scarlet. Steve co-wrote the story with veteran Conan the Barbarian and Red Sonja writer Roy Thomas, and penciled & inked the issue. Marianne Lightle colored it under the pen name Tayreza.
Red Sonja: A Death In Scarlet was intended to be a three issue miniseries, but unfortunately only the first issue ever came out. Nevertheless, it worked well as a stand-alone story. The artwork by Lightle was magnificent. I definitely wish he had been given more opportunities to draw Red Sonja.
It’s been observed by Legion of Super-Heroes fans that a number of the creators associated with the series have found themselves repeatedly drawn back to working on it throughout the years. At one point someone might have even jokingly referred to it as “Legionnaire’s Disease.”
Whatever the case, Lightle was one of those creators who found himself often returning to the teen heroes from 1000 years in the future. He drew the covers for the four issue miniseries Legends of the Legion in 1998, an Umbra solo story in The Legion #24 (Nov 2003), a cover for the Star Trek / Legion crossover (Nov 2011) and several covers for the New 52 reboot of Legion of Super-Heroes, along with an Invisible Kid solo story in issue #8 (June 2012), plus a few other Legion-related items.
Over the last two decades Lightle was working on several creator-owned web comic book series, issued under the umbrella of Lunatik Press. Among the series Lightle created was the space opera Justin Zane, the martial arts adventure Peking Tom, and the sexy funny animal series Catrina Fellina.
Steve and Marianne Lightle lived in the Kansas City region most of their lives, where they raised their children, and where their grandchildren now live. Throughout my interactions with Steve and Marianna on various social media platforms over the past two decades they always impressed me as genuinely good people. Steve’s death at the age of 61 from cardiac arrest brought on by Covid-19 is a tragedy. My thoughts go out to Marianne and her family in this difficult time.
There is currently a fundraiser on Go Fund Me to help the Lightle family with Steve’s medical bills and other expenses. If you are able, please contribute. Thank you.
Welcome to the latest round of Super Blog Team-Up. We actually have TWO topics this time, “What If?” and Creators. I decided to spotlight a creator, because coming up with “What If” scenarios for how certain comic book stories could (or should) have gone is just too depressing. (What if Armageddon 2001 had used the original planned ending where Monarch was revealed to be Captain Atom? Sheesh, don’t get me started, we’ll be here all day!)
*AHEM!* So which comic book creator am I going to be spotlighting? The answer is Kurt Schaffenberger.
Kurt Schaffenberger, whose career stretched from 1941 to 1995, was born on December 15, 1920, meaning that TODAY is the 100th anniversary of his birth. I could not think of a more appropriate creator to blog about.
Much of Schaffenberger’s work for the first decade and a half of his career was for Fawcett Publications, drawing Captain Marvel, Captain Marvel Jr, the Marvel Family, Ibis the Invincible and other features. Regrettably, due to the lawsuit by DC Comics alleging that Captain Marvel was a rip-off of Superman, Fawcett ceased publication in late 1953. For the next few years Schaffenberger found work at publishers Lev Gleason, Premier Magazines and American Comics Group.
Then in 1957 Schaffenberger was offered work by none other than DC Comics, the company that had put his previous regular employer out of business. Otto Binder, who had been one of the best writers at Fawcett, quickly found work at DC (the irony of DC suing Fawcett because Captain Marvel was supposedly too similar to Superman, and then hiring the main writer of Captain Marvel to work on Superman, has been noted over the years). Binder then went on suggest that DC also hire Schaffenberger.
Schaffenberger’s first assignment at DC was drawing Superman’s Girl Friend, Lois Lane commencing with its debut issue, cover-dated March-April 1958. Schaffenberger drew nearly every issue of Lois Lane up to #81, a decade-long run. It was Schaffenberger’s work on this title that gained him a great many fans, and he is often regarded as the best Lois Lane artist of the Silver Age.
I have to admit, I am typically not a huge fan of the Superman stories from the Silver Age edited by Mort Weisinger. A significant part of my dislike is due to the depiction of Lois Lane. The character had started out in the late 1930s as a tough, intelligent, driven investigative journalist. However, by the 1950s, no doubt due to the conservative political & social climate in the United States, Lois had been reduced to a shrill, catty, manipulative shrew who constantly schemed to trick Superman into marrying her.
Having said all that, I feel that Schaffenberger’s fun, cartoony style was a really good fit for all of the zany antics that occurred with alarming regularity in those Superman stories of the Silver Age. So I love Schaffenberger’s art on Lois Lane. The stories in that series were so ridiculous and over-the-top that they definitely benefited from his style.
Personally speaking, I find the crazy, dysfunctional misadventures Lois and Superman and everyone else got up to during the Silver Age a lot more palatable when drawn by Schaffenberger, because his artwork makes all of it feel genuinely comedic.
Even when Lois and Lana Lang were acting horribly bitchy towards each other, fighting over which of them would get to marry Superman, as rendered by Schaffenberger their quarrels felt more humorous than sexist.
Schaffenberger certainly made Lois a very expressive character, investing her with a great deal of personality. This is very well demonstrated thru the model sheet of Lois by Schaffenberger seen below that saw print in Superman Family #164 (April-May 1974). It showcases how he drew the character throughout the 1960s. Schaffenberger definitely gave Lois a wide range of emotions.
Also, Schaffenberger’s depictions of Lois were beautiful. Considering the fact that he had to work within the very restrained standards of the newly-established Comics Code Authority, and the staid fashions Lois typically wore (soooo many damn pillbox hats!) he was very successful at drawing a genuinely sexy Lois.
Stories would occasionally see Lois dressing in various period costumes. Schaffenberger always did a superb job on these, investing them with rich detail. For example, in “Lois Lane — Queen and Superman – Commoner” written by Leo Dorfman from issue #67 (Aug 1966), as part of a really convoluted scheme a gang of crooks kidnap Lois’ sister Lucy and force Lois dress up and act like famous historical monarchs. Schaffenberger excels at drawing her as these various queens. His depiction of Lois in the guise of Cleopatra, Queen of the Nile is especially alluring.
By the time Schaffenberger’s run on Lois Lane concluded it was the late 1960s and American societal mores had definitely loosened. Schaffenberger began drawing Lois wearing less-conservative clothing.
In “Get Out of My Life, Superman” written by Dorfman from issue #80 (Jan 1968), Schaffenberger’s penultimate issue, we see Lois, furious at Superman for having forgotten her birthday (the image of a distraught Lois finding Superman sitting in a rainy junkyard pounding old cars into scrap is hysterical) breaks up with him and leaves town. Before departing Metropolis, she buys a whole new wardrobe and modes a few rather (for the time) risqué outfits. As always Schaffenberger does a fine job.
“Kurt, that rascal, never shied away from rendering the feminine form in all of its natural, linear beauty. Lois had one tight waist, rounded hips and pin-up perfect gams (always in heels). The artist often poked fun at his own heroine when he depicted the gamut of emotions she couldn’t mask: curiosity when on the scent of a “scoop”; jealousy when Superman paid too much attention to rival Lana Lang; anger when confronting him about said crime; elation when wrapped in the Man of Steel’s bulging arms.”
Oh, yes… Schaffenberger also excelled at illustrating the numerous incredibly bizarre circumstances in which Lois regularly found herself embroiled. Seriously, WTF is going on with the cover to issue #73?!?
In early 1968 DC moved Schaffenberger, against his wishes, over to the Supergirl feature in Action Comics. Even though he was not enthusiastic about his reassignment, he nevertheless continued to do professional work, turning in nice art on those Supergirl stories.
Soon after this, Schaffenberger was unfortunately fired by DC after he supported the attempt by several freelance writers to unionize. In the early 1970s Schaffenberger drew a few stories for Archie, Marvel and Skywald. His aptitude for rendering beautiful women made him a natural fit for romance comic books.
In late 1972 Schaffenberger again gained work from DC, and throughout the Bronze Age he was a regular presence in the various Superman titles, drawing stories featuring various members of the supporting cast. Unlike in the 1950s and 60s, Schaffenberger now often provided only pencils, rather than full artwork. He was paired with several different inkers, often with variable results. This offers another valuable demonstration of the importance of the inker in the look of the finished art.
Schaffenberger finally had the opportunity to once again draw Lois Lane regularly when he became the penciler on the “Mr. and Mrs. Superman” back-up stories that starred the Clark Kent and Lois Lane of Earth-2 after they married. Initially appearing in Superman #327 and #329 (Sept and Nov 1978) the “Mr. and Mrs. Superman” feature then migrated to Superman Family, where it ran in nearly every issue for the next five years.
“Catch a Falling Star” from Superman Family #205 (Jan 1981) offers a good example of Schaffenberger’s work on the “Mr. and Mrs. Superman” stories. Here he is inked by Dan Adkins, probably one of the best embellishers he received during the Bronze Age. Schaffenberger does a fine job penciling E. Nelson Bridwell’s story. Schaffenberger’s storytelling imbues Lois and Clark with a great deal of personality & emotion and effectively communicates the depth of their relationship.
I’ve always found the “Mr. and Mrs. Superman” stories to be very enjoyable, and I hope one of these days they DC collects them together in a trade paperback.
Oh, yes, one other thing about Kurt Schaffenberger: even his signature was a work of art! Take a look below…
Also, for the perspective of someone who read some of these comics when they first came out, head on over to Alan Stewart’s excellent blog Attack of the 50 Year Old Comic Books for his look back at Lois Lane #62 (Jan 1966).
Kurt Schaffenberger passed away on January 24, 2002 at the age of 81. Schaffenberger is, in my mind, unfortunately a rather underrated artist, and I feel he is due for a reappraisal. I certainly encourage everyone to seek out his work.
Thanks for reading. Here are the other Super Blog Team-Up entries:
I went over to JHU Comic Books in Manhattan on Tuesday to buy the latest issue of Alter Ego magazine from TwoMorrows Publishing, and to look for a few other things. Due to Covid-19, this was only the fourth time since March that I’ve set foot in a comic book store, so I decided to spend some time browsing. Skimming though the back issue bins, I came across this:
Yes, I could not think of a more appropriate comic book to read in the year 2020 than one entitled Earth Shattering Disasters! Sadly there were no pandemics, economic meltdowns or murder hornets within these pages, but still plenty of interest to the comic book aficionado.
DC Special was an anthology series published by DC Comics from 1968 to 1971 and then from 1975 to 1977, running for 29 issues. Most issues of DC Special were reprints that centered around themes such as Wanted! The World’s Most Dangerous Villains, Strangest Sports Stories Ever Told or Super-Heroes Battle Super-Gorillas, or that spotlighted the work of specific creators, namely Carmine Infantino and Joe Kubert.
The final three issues of DC Special contained brand-new material. DC Special #28 (cover dated June-July 1977) seems to be a thematic sequel to the all-reprint issue #18, which was sub-titled Earth Shaking Stories. This time, though, Earth Shattering Disasters contained three brand new stories.
The dynamic cover to DC Special #18 is drawn by Al Milgrom, then only 27 years old, who at the time was working as an editor and artist for DC Comics. Having grown up seeing Milgrom’s work for Marvel in the 1980s, it’s interesting to now see an earlier example of his work featuring DC mainstays Batman and Aquaman. If you squint, you can also make out a trio of Legion of Super-Heroes members in the background.
Opening this issue, we come to a table of contents page drawn by the great Jim Aparo. It took me a bit of time when I was younger to develop an appreciation for Aparo, but since then I’ve come to regard him as one of the very best artists DC had in their employ during the Bronze Age.
By 1977 Aparo was already well-regarded for his depictions of both Batman and Aquaman, having drawn numerous stories featuring those two characters over the previous decade. This is, however, one of the very few times Aparo drew anything involving the Legion of Super-Heroes. It’s nice to see his depictions of Timber Wolf, Phantom Girl and Brainiac-5, even if it’s only a single image.
The first story, “And the Town Came Tumbling Down,” has Batman facing Quakemaster, a disgruntled architect who threatens to destroy Gotham City with man-made earthquakes. This tale is interesting in hindsight since a little over two decades later in 1998 DC Comics would do a massive year-long storyline involving Gotham City being devastated by an earthquake. Of course, back in 1977 comic book stories were much more self-contained, and this is very much a one-off tale. Nevertheless, it’s nice to see Batman face off against a brand new villain rather than encountering one of his regular foes like the Joker or Penguin for the umpteenth time.
“And the Town Came Tumbling Down” is written by Bob Rozakis, who did a fair amount of writing for DC between 1975 and 1989, although nowadays he better known for his nearly two decade stint running DC’s production department.
Pencils are by John Calnan, an artist who is probably not too well known nowadays. Most of his work for DC was on their anthology titles, but he also drew a number of Batman issues in the late 1970s.
Calnan is inked by Tex Blaisdell, an artist who spent most of his career working on syndicated comic strips. Blaisdell was often paired with penciler Curt Swan on the Superman titles during the Bronze Age, which was unfortunate, as I really don’t think their styles meshed well. Blaisdell’s inking definitely feels like a much better fit over Calnan’s pencils. The two of them turn in a good, solid job on this story.
“A Creature of Death and Darkness” opens with Aquaman facing off against modern day pirates, but the action soon shifts to a battle with a humongous blob-like creature that threatens to consume the Hawaiian Islands. The story is written by Gerry Conway, a prolific creator at both Marvel and DC during the 1970s and 80s.
This story is notable for being the very first DC Comics work by Don Newton. As with a number of his Bronze Age contemporaries, Newton got his start at Charlton Comics. Having honed his craft on Charlton’s horror anthologies and The Phantom, Newton then moved into the “big leagues,” so to speak, becoming a regular artistic presence at DC Comics until his untimely death at the age of 49 in August 1984.
Newton is inked here by his friend and neighbor Dan Adkins. Starting out as an assistant to Wallace Wood in the mid 1960s, Adkins went on to do some superb inking over a variety of pencilers such as Gil Kane, Paul Gulacy, P. Craig Russell, Curt Swan and Jose Luis Garcia-Lopez. Adkins also occasional did full artwork, both in comic books and on magazine covers & illustrations. The collaboration of Newton and Adkins certainly works well on this story.
The final entry in this issue, “The City That Stopped Dead,” is the primary reason I picked this up. I’m a huge fan of the pre-Crisis Legion of Super-Heroes.
I’d never read this story before. The only time it’s been reprinted was in Legion Archives Volume 13, which had a low print run and currently goes for between $300 and $600 from various online retailers! Um, no thank you! It’s much cheaper to just search out the original issues, which is exactly what I did.
This is an early Legion story by Paul Levitz, who would later go on to write some of the team’s all-time greatest adventures in the 1980s. Levitz is often upfront about the fact that his later Legion of Super-Heroes work was better. Nevertheless, considering he was only 21 years old when he wrote “The City That Stopped Dead,” it’s a pretty good effort. The Legion’s five on-call members leap into action to save 30th Century Metropolis when the city’s Fusion Powersphere is sabotaged, causing a catastrophic blackout.
Penciling this one is Arvell Jones, one of the members of Detroit comic book fandom who entered the comic book biz in the 1970s. Jones drew a number of series for DC and Marvel, most notably a two and a half year run penciling All-Star Squadron in the mid 1980s and the first six issues of Kobalt from Milestone / DC in 1994. He did a nice job on this, so it’s a shame that he only drew a couple of other Legion issues after this.
Inks are by future Iron Man and Valiant Comics superstar Bob Layton. At the time Layton was only 24 and, as with several of the other creators on DC Special #28, early in his career. Nevertheless, Layton’s inking here is already polished, displaying the artistic flair that he has consistently demonstrated in the decades since.
DC Special #28: Earth Shattering Disasters is the sort of comic book that if I had been old enough to buy it when it had come out I would have enjoyed it. It has some of DC’s best characters in a trio of exciting stories written & drawn by a line-up of talented creators. Plus you got 34 pages for 60 cents! Adjusted for inflation, that’s $2.58 in 2020 money. That’s a great value, considering nowadays you can’t find a 20 page comic book for less than four bucks!
So, yeah, if I had been ten years old when this was released in the Spring of 1977 (as opposed to ten months old, which is how old I actually was back then) I’m sure I would have eagerly snatched this off the newsstand. As a 44 year old reading it in 20202, I can still enjoy it. It’s a product of a slightly less complicated era, a time when comic books already featured a high degree of craft, yet were still more accessible.
I realize the industry has changed a great deal in the last 40 plus years and that the market now usually requires stories that are decompressed and “written for the trade,” as the saying goes. Nevertheless, I miss these types of “one and done” tales.
Of course, that’s the great thing about back issues (and, consequently, collected editions of vintage comic books): there are literally decades of older material out there for us to enjoy.
I did 100 entries of The Daily Comic Book Coffee on the Comic Book Historians group at Facebook. I decided to switch things up after that, and began posting Comic Book Cats. Each day I post cat-centric comic book artwork by a different artist.
Ghostly Tales #85, drawn by Steve Ditko and written by Joe Gill, published by Charlton Comics in April 1971, and Speedball #10, plotted & penciled by Steve Ditko, inked by Dan Day, scripted by Jo Duffy, lettered by Jack Morelli and colored by Tom Vincent, published by Marvel Comics in June 1989.
Steve Ditko drew a number of stories with cats throughout his lengthy career. Here is artwork from couple of them.
The first page is from “The 9th Life,” one of the best stories that Joe Gill wrote for Charlton’s horror anthologies. Ditko did really good work illustrating Gill’s story.
Michael Holt rescues a stray black cat and takes it back to his apartment in the slums. Michael is depressed about the state of the modern-day world. The black cat is apparently a shape-shifting witch named Felicia, and she offers to transport Michael back to the past. Michael agrees, but soon discovers the “good old days” were not so good, with tyranny and disease. Returning to the present day, Michael realizes that he needs to actively work to make the world he lives in a better place. He is reunited with Felicia, who joins him on his path of fighting for a better world.
The second page is from the last issue of the short-lived Speedball series. The laboratory accident that endowed Robbie Baldwin with his kinetic energy powers also gave those same powers to Niels, a cat who belonged to one of the scientists at the lab.
A subplot running through the Speedball series was Robbie’s repeatedly-unsuccessful efforts to capture Niels. Getting a hold of a normal feline who doesn’t want to be caught is difficult enough as it is; give a cat bouncing superpowers and the task becomes nigh-impossible!
Dwayne Turner & Chris Ivy
Sovereign Seven #7, penciled by Dwayne Turner, inked by Chris Ivy, written by Chris Claremont, letter by Tom Orzechowski and colored by Gloria Vasquez & Rob Schwager published by DC Comics in January 1996.
I spotlighted Chris Claremont’s Sovereign Seven in a couple of Comic Book Coffee entries. It was a fun series, so I’m happy to take another look at it.
In this issue Finale of the Sovereigns is caught in the middle of a struggle between international mercenary Marcello Veronese and his fugitive quarry. Pursuing the sword-wielding fugitive, Finale enters a doorway, only to find herself in the Crossroads Coffee Bar & Inn on the opposite side of town. Crossroads once again lives up to its name, serving as a portal to different places, dimensions & times. Greeting the stunned Finale is Lucy the cat, who is apparently dressing as Supercat for Halloween.
Batman #406, drawn by David Mazzucchelli, written by Frank Miller, lettered by Todd Klein and colored by Richmond Lewis, published by DC Comics in April 1987.
I must have read the Batman: Year One trade paperback a dozen times in high school. To this day, it remains one of my all-time favorite Batman stories. Many of the images from this story have burned themselves into my consciousness. So as soon as I decided to do Comic Book Cats, I just knew I was going to spotlight this page.
A pre-Catwoman Selina Kyle, her roommate Holly, and their menagerie of cats being awoken at 5 AM by the GCPD’s corrupt, trigger-happy swat team attempting to kill Batman by dropping bombs on him. Of course the cats now want to be fed, even though it’s much too early! I’ve always thought David Mazzucchelli did an especially good job on this page.
This is actually scanned from the trade paperback, which was re-colored by Richmond Lewis. As has been astutely observed by colorist Jose Villarubia, newsprint has a different texture from the paper used in TPBs, and the result is that coloring done for the former will not reproduce accurately in the later.
Batman: Year One is apparently one of the very few times when the original colorist was asked to do new coloring for a collected edition. Lewis’ work for the Year One collection is outstanding, and I’m grateful that for once DC Comics actually went the extra mile.
Frankie Comics #3, written & drawn by Rachel Dukes, published by Mix Tape Comics in November 2014
Rachel Dukes’ mini comic Frankie Comics is absolutely adorable, a really cute look at quirky cat behavior. I met Dukes a couple of times at Mocca Fest, where I picked up copies of the first and third issues. I still need the second one.
In this two page sequence Dukes demonstrates that Frankie has a very cat-like approach to “helping” out his humans.
Dukes showed me a photo of the real-life Frankie, who looks very much like one of my two cats, Nettie Netzach. Judging by the antics Dukes portrays in her comic, they also act alike. Michele suggested they could be long lost sisters. You never know.
Bob Brown & Don Heck
Daredevil #109, penciled by Bob Brown, inked by Don Heck, written by Steve Gerber, lettered by Artie Simek and colored by Petra Goldberg, published by Marvel Comics in May 1974.
This is not technically a cat page as it does not feature any examples of Felis catus, aka the domestic cat, but I am showcasing it anyway. Because, honestly, the dramatic arrival of the stunning Shannah the She-Devil accompanied by her pet leopard and panther is a pretty damn impressive cat-related image.
Bob Brown is one of those good, solid artists from the Silver and Bronze Ages whose work often flew under the radar, but who you could always count on to turn in a professional job. Over the years I’ve developed more of an appreciation for Brown’s work. He is effectively inked here by Don Heck, another talented, underrated artist.
Doctor Who: The Tenth Doctor #13, written & drawn by Rachael Smith, published by Titan Comics in August 2015.
I’ve been a fan of Doctor Who since I was eight years old. Over the decades a few different cat-like aliens have shown up on the British sci-fi series, as well as in the various comic book spin-offs.
Several issues of The Tenth Doctor comic book series contained a humorous back-up strip featuring the Doctor and his cat Rose by Rachael Smith. Yes, the Doctor named his cat Rose; he really was hung up on Billie Piper, wasn’t he? In this installment Rose convinces the Doctor to try speed dating. Of course, this being Doctor Who, things go horribly, hysterically wrong.
British artist Rachael Smith has also written & drawn several creator-owned graphic novels.
Joe Staton & Freddy Lopez Jr.
Back Issue #40 cover drawn by Joe Staton and colored by Freddy Lopez Jr, published by TwoMorrows Publishing in April 2010.
Back Issue is a magazine edited by Michael Eury that takes an in-depth look back comic book from the 1970s, 80s and 90s. Each issue has a theme, and BI #40 spotlighted “Cat People,” i.e. cat-themed characters of the Bronze Age. One of the characters examined in this issue was, of course, Catwoman.
The cover illustration of Catwoman and her black cat prowling the alleys of Gotham City is by one of my favorite artists, the incredible Joe Staton, who had previously penciled two key Catwoman stories, DC Super Stars #17, the origin of the Huntress, the daughter of Batman and Catwoman on Earth 2, and The Brave and the Bold #197, which revealed how Bruce Wayne and Seline Kyle fell in love and married.
Staton has drawn a few cats in various stories throughout the years. I’ve always liked how he rendered them, with his cartoony style always giving them genuine personality. That’s certainly the case here with Selina’s feline companion. Freddy Lopez Jr’s coloring is very effective, as well.
Josie and the Pussycats #54, drawn by Dan DeCarlo and written by Frank Doyle, published by Archie Comics in April 1971.
“The Cat Woman” is drawn by Josie and the Pussycats co-creator and longtime Archie Comics artist Dan DeCarlo. This story sees the scheming Alexandra becoming convinced that her cat Sebastian is being taken by Josie as “bait” to lure in handsome Alan M. After all, Alexandra deduces, that is exactly what she would do if the tables were turned. Tsk tsk, jealous people are always projecting like that!
It turns out that the real reason why Sebastian keeps wandering over to Josie’s house is because she has a wall calendar with a photograph of a beautiful female cat!
DeCarlo always drew cute gals, and as seen here he also did a good job with cats (the actual four-legged furry kind, as opposed to the kind who play musical instruments) investing Sebastian with a lot of personality.
Max Meow: Cat Crusader, written & drawn by John Gallagher, published by Penguin Random House in 2020.
In the great city of Kittyopolis, aspiring feline journalist Max Meow takes a bite out of a giant meatball from outer space and gains super powers. Donning a costume, Max becomes the heroic Cat Crusader, who protects Kittyopolis from menaces such as giant killer cheeseburgers. However, being a hero is not as easy as it might appear, something that Max must learn the hard way. Will Max save the day, or will the Cat Crusader be defeated by that rotten rodent, the despicable Agent M?
Max Meow: Cat Crusader is a funny, adorable graphic novel for younger readers by John Gallagher, who previously worked on Buzzboy and Roboy Red. He is also he is art director for Ranger Rick magazine, published by the National Wildlife Federation. As explained on the Max Meow website:
“John learned to read with comics, so he is more than excited to share the magic of reading, fun, and imagination with the young readers of the world.”
Curt Swan & Stan Kaye
Action Comics #266 cover penciled by Curt Swan and inked by Stan Kaye, published by DC Comics in July 1960.
Curt Swan was the primary artist on the various Superman titles from the mid 1950s to the mid 1980s. It’s inevitable that at some point or another during that lengthy period Swan would be called upon to draw Streaky the Supercat. Here is Swan’s cute rendition of Streaky zipping through the sky, along with Superman, Supergirl and Krypto the Superdog.
The inks are by Stan Kaye, who had previously been the regular inker over Wayne Boring’s pencils on Superman for a decade and a half. Swan and Kaye were often paired up in the late 1950s and early 60s, drawing numerous covers for Action Comics, Adventure Comics, Superman and World’s Finest.
The identity of the colorist for this cover is probably lost to time, which is too bad, because whoever it was did a really nice job.
I hope you found these interesting and informative. Please remember to check out First Comics News for the rest of the Comic Book Cats entries, as well as for the Daily Comic Book Coffee archives.
Legendary comic book artist Joe Sinnott passed away on June 25th at the age of 93. Sinnott had such a long and distinguished career as an artist that I really could not do him justice in a short blog post. I will touch upon a few highlights, but for a much more detailed examination of his career I strongly urge everyone to get a copy of Brush Strokes With Greatness: The Life & Art of Joe Sinnott written by Tim Lasiuta from TwoMorrows Publishing.
Joe Sinnott was born in Saugerties, NY on October 16, 1926, and he lived in that area for almost his entire life. Following service in the U.S Navy during World War II, Sinnott attended the Cartoonists and Illustrators School (now known as the School of Visual Arts).
One of his instructors was artist Tom Gill, who asked Sinnott to work as his assistant. Sinnott assisted Gil for nine months in 1949.
In 1950 Sinnott decided to find work on his own, and he was soon receiving regular assignments from Atlas Comics, the precursor to Marvel. Atlas editor Stan Lee assigned numerous stories for Sinnott to illustrate which saw print in the company’s war, horror, science fiction and Western anthologies.
In 1957 Atlas experienced a severe contraction due to its distributor American News Company being shut down by the federal government in an anti-trust case. Sinnott was one of the many freelancers let go by Atlas, and so he had to find work elsewhere. He worked for a number of clients, including Treasure Chest of Fun & Fact, an educational, Catholic-oriented comic book published by George A. Pflaum that was distributed to parochial schools in North America.
Stan Lee asked Sinnott to return to Atlas in 1959. Within two years the company had transformed into Marvel and begun its successful superhero revival. During this period Lee first had Sinnott work as an inker over Jack Kirby, initially on stories for Atlas war and monster anthologies, and then on some of the early Marvel superhero books, such as Fantastic Four #5 (July 1962) the first appearance of Doctor Doom, and Journey Into Mystery #83 (Aug 1962) the first appearance of Thor. Sinnott also contributed the full artwork for some of the early Thor stories that appeared in Journey Into Mystery in 1963.
Lee had actually wanted Sinnott to become the regular inker over Kirby on Fantastic Four following issue #5. However at this time Treasure Chest assigned Sinnott to draw the 65 page biography “The Story Of Pope John XXIII, Who Won Our Hearts,” which was serialized in nine issues between September 1962 and January 1963.
Soon another ambitious project was assigned to Sinnott, a biography of the British rock band the Beatles published by Dell Comics in 1964. Sinnott was given a mere month within which to illustrate the entire 64 page book. It speaks highly of both his talent and professionalism that he turned in the job on time while doing quality work. And, as I’ve observed before, drawing likenesses can be very tricky. All things considered, I think Sinnott did a fair job capturing the appearances of the Fab Four.
Following the completion of these two biographies, Sinnott began to work for Marvel almost exclusively. He also continued to illustrate stories and covers for Treasure Chest up until the title came to an end in 1972.
Sinnott did finally became the regular inker over Jack Kirby on Fantastic Four beginning with issue #44 (Nov 1965). The art team of Kirby & Sinnott on FF in the second half of the 1960s is highly acclaimed. As historian Mark Alexander stated in his book Lee & Kirby: The Wonder Years (TwoMorrows, 2011)…
“In an uncanny stroke of luck and perfect timing, just when Kirby gained the time to improve his artwork, Joe Sinnott became the FF’s regular inker. Sinnott was a master craftsman, fiercely proud of the effort and meticulous detail he put into his work. … That slick, stylized layer of India ink that Sinnott painted over Kirby’s pencils finished Jack’s work in a way that no other inker ever would. Comic fans had never witnessed art this strange and powerful in its scope and strength.”
Following a falling-out with Marvel, Kirby departed Fantastic Four with issue #102 (Sept 1970). Sinnott, however, remained on as the FF inker / finisher for 15 years, until issue #231 (June 1981). In the post-Kirby decade Sinnott inked pencilers John Buscema, Rich Buckler, George Perez, Keith Pollard, Bill Sienkiewicz and John Byrne on Fantastic Four. It’s generally regarded that Sinnott helped maintain artistic consistency on the title during the Bronze Age.
Sinnott became a much in-demand inker / finisher at Marvel from the mid 1960s thru the early 1990s. He was paired with numerous pencilers during this 27 year period. As longtime Marvel editor Tom Brevoort explained on his blog:
“Joe Sinnott defined the look of the Marvel art style as much as anybody this side of John Romita, and more than any other inker in the business. His smooth linework and clean finish gave a pristine, sleek, modernistic flavor to any assignment he worked his brush over, regardless of the penciler. He’s absolutely my favorite inker of all time, a guy who improved the quality of any series he was working on. Additionally, Joe is an absolute professional, and a hell of a nice guy.”
Sinnott’s last regular assignment for Marvel was Thor, paired with penciler Ron Frenz from 1989 to 1991, another wonderful collaboration. In 1991 Sinnott made the decision to retire from monthly comic books, although over the next 28 years he continued to contribute to various miniseries, special editions, pin-ups and other projects, and to ink the Sunday installment of the Spider-Man newspaper strip. In March 2019, at the age of 92, he FINALLY made the decision to completely retire as a professional artist, although he continued to draw for pleasure until nearly the end of his life.
The news of Sinnott’s passing this week was met with sadness. This was not only because he was an incredibly talented artist who worked on hundreds of great comic book stories, but because he was also a genuinely good person, beloved by friends, colleagues and fans alike. As comic book writer & historian Mark Evanier opined on his blog this week:
“If you were in a crowd of folks who worked in the comic book industry and announced, “Joe Sinnott was the best inker who ever worked in comics,” you wouldn’t get a lot of argument. If you said, “Joe Sinnott was the nicest guy who ever worked in comics,” you’d get even less.”
I was one of the many fans who was fortunate enough to meet Joe Sinnott when he was a guest at comic book conventions. He always came across to me as friendly, warm and down to Earth.
Sinnott was one of those people whose work I enjoyed before I met him, but afterwards I became even more of a fan by virtue of the fact that he was such a good guy.
Joe Sinnott leaves behind a rich, creative legacy, and he will definitely be missed. I wish to offer my condolences to his family and friends for their loss.
Longtime comic book writer, editor & artist Nicola Cuti passed away on February 21st. He was 75 years old.
Cuti, who was known to his friends as “Nick,” is best known for co-creating the superhero / sci-fi comic book series E-Man with artist Joe Staton at Charlton Comics in 1973. I’ve blogged about E-Man on several occasions. Although I did not discover the series until 2006, I immediately became a HUGE fan. The combination of Cuti’s brilliant, clever, imaginative writing and Staton’s animated, cartoony artwork resulted in a series that was exciting, humorous, poignant and genuinely enjoyable.
However, there was much more to Cuti’s lengthy career than just E-Man. He was a versatile creator.
A longtime science fiction and comic book fan, Cuti began self-publishing his own black & white comic book series Moonchild Comics in the late 1960s. The three issue series featured the outer space adventures of the voluptuous wide-eyed Moonchild the Starbabe.
Cuti was a huge fan of the legendary Wallace Wood, and on a chance telephoned the artist. Woody agreed to look over Cuti’s portfolio, and he asked the young creator to work as one of his assistants.
While he was at Woody’s studio Cuti learned there was an opening for an assistant editor at Derby, Connecticut-based publisher Charlton Comics. Tony Tallarico, an artist who was doing work for Charlton at the time, urged Cuti to apply. Cuti interviewed with editor George Wildman, who offered him the job.
In an interview conducted in 2000 by Jon B. Cooke for Comic Book Artist magazine from TwoMorrows Publishing, Cuti described his role at Charlton:
“Basically, I was the production department, myself and another guy by the name of Frank Bravo… The two of us handled the entire production department which meant that when artists would send in completed stories, we would look over the artwork, proofread it, and if there were any spelling mistakes, we corrected them. And if there were any pieces of artwork that had to be corrected for one reason or another, we would do that.”
Cuti also worked as a freelancer for Charlton, writing numerous short stories for their various horror anthologies throughout the 1970s. In addition to Staton, Cuti collaborated with a diverse line-up of artists that included Steve Ditko, Tom Sutton, Wayne Howard, Sanho Kim, Don Newton and Mike Zeck. Cuti was a regular writer on the licensed Popeye comic book that Charlton published, as well as penning several stories for their Space 1999 comic book adaptation. He also worked on Charlton’s romance titles. As he would later explain in the interview with Comic Book Artist, one of the highlights of working for Charlton had been the opportunity to write for diverse genres, to tell various different types of stories.
In addition to his work at Charlton, Cuti was also a regular contributor to the black & white horror magazines from Warren Publishing. Regrettably I am not all that familiar with Cuti’s writing for Warren, although I am sure that he did quality work there, just as he did for Charlton.
I encourage everyone to head over to fellow WordPress blog Who’s Out There? Last year Gasp65 spotlighted the crime noir story “I Wonder Who’s Squeezing Her Now?” Co-plotted by Cuti & Wallace Wood, scripted by Cuti, penciled by Ernie Colan, and inked by Woody, the story was originally written & drawn in 1971, finally seeing print in the fifth issue of the Warren anthology title 1984 in February 1979. Cuti’s scripting on this tale, especially the ending, demonstrates what a thoughtful and intelligent writer he was.
In the early 1980s, following the demise of both Charlton and Warren, Cuti worked as an assistant editor for DC Comics. In 1986 he moved to California and began working in television animation, a field he remained in for almost two decades. Beginning in 2003 he worked on a number of independent films featuring characters he created such as Captain Cosmos and Moonie.
It is regrettable that Cuti was never able to establish himself as an especially successful comic book writer outside of Charlton and Warren, because he was, as I said before, an incredible writer. Fortunately he established both a creative rapport and a friendship with Joe Staton early on, and over the succeeding decades the two men periodically reunited at several different publishers to chronicle the further adventures of E-Man, his girlfriend & crime-fighting partner Nova Kane, and scruffy hardboiled private detective Michael Mauser. Cuti and Staton really did have a wonderful creative collaboration, and I definitely enjoy their work together.
Unfortunately I never had the opportunity to meet Cuti, although I was able to correspond with him on Facebook. From everything I have heard from those who did know him, he was a genuinely good person. After his passing numerous heartfelt tributes were penned by his friends and colleagues.
I am going to quote in full longtime DC Comics editor Paul Levitz’s lovely tribute to Cuti on Facebook:
“You can learn something about a creator’s personality from their work, but it isn’t always a completely reliable guide. If you read Nick Cuti’s work you’d get the feeling that this was a man with a generally positive outlook on life. His characters were playful, joyful even. But you’d still be underestimating the cheerful glow that Nick broadcast.
“As an editor, he ignored the moribund state of Charlton Comics and recruited talent who would go on to be industry leaders—John Byrne, Joe Staton, even my buddy and prolific DC scribe Paul Kupperberg broke into pro ranks at Nick’s hand and encouragement. And he created—with Joe Staton —Charlton’s last great series, E-Man, a hero who charm reflected Nick’s own.
“At DC for a number of years he was a relentlessly cheerful presence, and a guardian of the old humor treasures from our vault, making them available to a new audience.
“As a cartoonist he could blend smiles with sexy, and give us his Moonchild.
“The announcement of his death today after a battle with cancer leaves the world with less smiles…and hopefully his spirit in the world of his starry children.”
If you are unfamiliar with Nicola Cuti’s work, I hope this will prompt you to check it out. A lot of the Charlton comics can be found relatively inexpensively in the back issue bins at comic conventions and shops that carry older back issues. Most of the E-Man comic books are also relatively affordable. The original Charlton series, which ran for 10 issues, was reprinted by First Comics in the miniseries The Original E-Man and Michael Mauser. Cuti wrote the final two issues of the E-Man run published by First in the mid 1980s. Between 1989 and 2008 various E-Man and Michael Mauser comics by Cuti & Staton were released through Comico, Apple Press, Alpha Productions, Digital Webbing, and Argo Press.
Nicola Cuti & Joe Staton’s final E-Man and Nova story was serialized in The Charlton Arrow vol 2 #1-3, which can be purchased through Mort Todd’s Charlton Neo website, along with a number of other cool titles. As I’ve said before, I am glad Nick and Joe had one last opportunity to reunite and bring the curtain down on these wonderful characters.
Thank you for all of the wonderful stories throughout the decades, Mr. Cuti. You will definitely be missed by all of your fans, friends and colleagues.
Happy New Year! To celebrate the occasion, today I am taking a quick look at the comic book adventures of Machine Man and Iron Man in the distant, far-off future year of, um, uh, 2020 AD… Okay, yeah, I can’t believe it’s 2020 already, either!
Machine Man was created by none other than the legendary Jack Kirby himself, debuting in, of all places, the 2001: A Space Odyssey comic book series, which had been inspired by the film / novel by Stanley Kubrick and Arthur C. Clarke. First known as Mister Machine, aka X-51, he appeared in 2001: A Space Odyssey #s 8-10 published in mid 1977.
Mister Machine was a robot who gained sentience, with one of the mysterious alien Monoliths from the movie playing a role in his evolution towards becoming almost human. Following the cancellation of the 2001: A Space Odyssey comic book, the character, renamed Machine Man, received his own ongoing series in early 1978. Kirby wrote & penciled Machine Man for nine issues, with Mike Royer providing inks.
By late 1978 Kirby had become disenchanted with mainstream comic books, and he left Marvel Comics to go into the animation field. The storyline begun by Kirby in Machine Man was concluded by writer Roger Stern and penciler Sal Buscema a few months later in Incredible Hulk #s 234-237. This was followed by a revival of the Machine Man ongoing series, picking up from the original numbering, with another Silver Age legend, Stave Ditko, as the artist. Issue #s 10-14 were written by Marv Wolfman, with Tom DeFalco then writing #s 15-19.
In the early 1980s Machine Man made the occasional guest appearance here and there. He was once again given the spotlight in 1984 with the Machine Man four issue limited series, set three and a half decades in the future, in the year 2020. Tom DeFalco returned to wrote X-51’s future adventures. The first three issues had pencils / breakdowns by Herb Trimpe, with finished art & colors by Barry Windsor-Smith, an unusual pairing that nevertheless worked very well. BWS took over the full art chores for Machine Man #4, also co-plotting that final issue. Michael, Higgins, Diana Albers, Janice Chiang and Jim Novak lettered an issue apiece, and the whole thing was edited by Larry Hama.
DeFalco’s story is set in a dark industrialized dystopia where corrupt corporations have seized political power (so, yeah, not too different from our actual real-world 2020, amiright?) and bands of anarchist scavengers hope to find a free, independent existence under the radar. One of these groups of Midnight Wreckers, searching through a dumping ground belonging to Baintronics Inc, discovers a box containing the dismantled Machine Man. Evading the Baintronics security forces, the Wreckers return to their base and re-assemble Machine Man.
Baintronics is run by Sunset Bain, an industrialist & socialite who moonlighted as the masked arms dealer Madame Menace, clashing with Machine Man on more than one occasion back in the day. Now in 2020 she is allied with Miles Brinkman, a former US Senator who is another old foe of X-51. Brinkman had previously waged a McCarthy-esque campaign of fear-mongering against Machine Man, hoping to ride a wave of robotphobia to greater political power.
DeFalco has an interesting approach to the future incarnations of Bain and Brinkman. At this point they have basically won, having amassed tremendous political & financial power, yet they are seemingly unable to enjoy their spoils, having grown old & tired, reduced to worn-out shadows of their former selves. And once they learn that Machine Man has been reactivated they are consumed by uncontrollable paranoia that this former adversary will seek to destroy them. The pair are defeated as much by their own failings as they are by Machine Man and the Midnight Wreckers.
DeFalco shows that Machine Man is actually more human than either Sunset Bain or Miles Brinkman, who in their fear and panic project upon him their own ugly motivations of hatred and vengeance. Machine Man, as well as his onetime love, the silver robot Jocasta (rebuilt by Bain to be her aide, but ultimately serving as her conscience), are more capable of feeling compassion and expressing forgiveness than their human foes.
The miniseries introduced Arno Stark, descendant of Tony Stark, the Iron Man of the year 2020. Arno is an amoral mercenary, and he is more than happy to accept an assignment from Sunset Bain to hunt down & destroy Machine Man. Iron Man clashes twice with Machine Man, and in both encounters he is defeated by his robot opponent.
This leads into the events of the Iron Man 2020 special, which was published a decade later, in 1994. It was co-plotted, by Bob Wiacek & Walter Simonson, scripted by Simonson, penciled & inked by Wiacek, with Will Rosado penciling the second half of the book over Wiacek’s layouts. This was one of the all-too-infrequent penciling jobs by Wiacek, who is best known for his work as an inker / embellisher. Rosado, who was early in his comic book career, also did good work here. The special was lettered by John Costanza and colored by Christie Scheele.
As a tie-in, Marvel re-issued the Machine Man miniseries as a two double-sized issues. That was certainly helpful to me, as I hadn’t been reading comics regularly in 1984, and so missed the original release.
The Iron Man 2020 special opens very soon after the events of the miniseries. Much like Bain and Brinkman before him, Arno Stark is a haunted man: haunted by his defeat at Machine Man’s hands, haunted by the burden of keeping the financially weakened Stark Enterprises afloat, and haunted by the seeming impossibility of living up to the legend of his ancestor, Tony Stark, the original Iron Man. As the old saying goes, heavy hangs the head that wears the crown.
Desperate to save his company, Arno accepts an offer from Marcus Wellington, one of his biggest competitors. Arno is hired to rescue Wellington’s daughter Melodi, who has been kidnapped by terrorists and is being held for ransom. Arno dons his Iron Man suit and sets course for the terrorists’ island stronghold. Of course, as is often the case with corporate machinations, the situation is much more complicated than it initially appears, and Arno soon finds himself in the middle of more than one double cross.
The end result of these events are that they push Arno Stark towards, well, not necessary becoming a hero, by any means, but at least to start walking a slightly less avaricious, brutal path.
Hey, everyone loves a good redemption story. Certainly Wiacek & Simonson make this one more believable than most by showing that it’s only just the beginning of Arno Stark’s path away from villainy.
I’ve met Bob Wiacek on a few occasions at comic book conventions. A decade ago at a February 2010 show he did a drawing of Iron Man 2020 in my villains sketchbook. It is a distinctive costume, a sort of retro future look, almost steampunk with those big gears, and he renders it well.
I didn’t want to get into too many specific details about either the Machine Man miniseries or the Iron Man 2020 special, because I think they are both worth tracking down and reading. Marvel published an Iron Man 2020 trade paperback in 2013 collecting both, along with several other stories.
Also, for those interested in Machine Man’s various Bronze Age incarnations (the original Kirby stories, the Ditko-drawn revival, and the 1984 miniseries) I recommend checking out Back Issue #25 from TwoMorrows Publishing. “Call Me Mister… Mister Machine!” written by Allan Harvey is offers a wealth of behind-the-scenes info concerning Machine Man’s adventures in the 1970s and 80s.
And of course, since it’s now 2020 in the real world, Marvel Comics is bringing back Arno Stark. It seems that Tony Stark is going to die (what, again?!?) and Arno, who in “mainstream” Marvel continuity is Tony’s long lost twin brother (yes really!), will become the new Iron Man… at least until the inevitable resurrection. Still, with writing by Dan Slott & Christos Gage, it sounds like it could be a fun ride.
Once again, happy new year to all of you. Let’s hope 2020 is a good one. Or, as the Midnight Wreckers might have put it, “YAH-ZOO!”