The Daily Comic Book Coffee, Part 14

Welcome to the 14th edition of Comic Book Coffee. I previously posted these daily in the Comic Book Historians group on Facebook. The challenge posed by group moderator Jim Thompson was to pick a subject and find a different artist every day for that subject.  The subject I chose was Coffee.

66) Ramón Torrents

“Good to the Last Drop” was drawn by Ramón Torrents and written by Martin Pasko.  It appeared in Vampirella #36, released by Warren Publishing in September 1974.

Christina Kavanaugh, heiress to the Miller Foods fortune, has been having an affair with Bill Wright, VP of Product Improvement.  Unfortunately her husband Jim, current President of Miller Foods, has just found out.  As we see, Jim reacts badly to the news, brutally slapping Christina while she is having her morning coffee.  Jim slaps his wife so hard that she hits her head against the grandfather clock, causing her death.  This leads the grieving, still-jealous Jim to embark on a very twisted plot to gain revenge on Bill Wright, a scheme that centers on Miller Foods’ production of freeze dried coffee.  Fortunately by the end of this grim little tale karma has boomeranged back on Jim, leading him to a fitting end.

“Good to the Last Drop” appears to have afforded Martin Pasko an opportunity to let his very skewed, offbeat sense of humor go extremely wild.  The story is effectively illustrated by Ramón Torrents, a Spanish artist who had previously worked for British publishers Fleetway and D.C. Thompson on several romance titles in the 1960s, followed by short horror stories for American publisher Skywald in the early 1970s.  Torrents drew a number of stories for Warren that saw print in Vampirella, Creepy and Eerie and between 1973 and 1979.  Reportedly he left the comic book field at the end of that decade.

67) Dan DeCarlo & Rudy Lapick

“Power Shortage” from Sabrina the Teenage Witch #60, penciled by Dan DeCarlo, inked by Rudy Lapick, written by Frank Doyle, lettered by Bill Yashida, and colored by Barry Grossman, published by Archie Comics in June 1980.

Sabrina and her boyfriend Harvey are walking home from school when they see a flying carpet whiz by carrying groceries.  Sabrina rushes home and demands to know why her Aunt Hilda is using a flying carpet during the middle of the day.  Hilda explains that she forgot her weekly magical recharge again.  She doesn’t have the power to just “zap” some groceries home like she usually does, and needs to rely on the carpet.  To demonstrate her weakened power, Hilda attempts to levitate her coffee cup over, and it crashes to the floor.  Sabrina tells her Aunt she had better get a recharge soon.  Hilda then realizes that she forgot to pick up lemons at the market, and she sends the flying carpet out again.  Naturally enough, hilarity ensues.

Dan DeCarlo was definitely adept at drawing comedy.  His style was very well suited to Archie Comics, where he did great work for nearly half a century, from the early 1950s to the late 1990s.  For many years DeCarlo’s art served as the basis for the company’s house style.  Sabrina the Teenage Witch was one of the characters he had a hand in creating.

68) Mike Zeck & Denis Rodier

Damned #3, penciled by Mike Zeck, inked by Denis Rodier, written by Steven Grant, and colored by Kurt Goldzung, published by Image Comics in August 1997.

Damned features the recently-paroled Mick Thorne, who is attempting to deliver a message to the sister of his deceased cellmate Doug Orton.  Unfortunately, New Covenant crime boss Silver believes that Mick knows the location of the fortune that Doug stole from the mob before going to prison.  Mick has to avoid Silver’s thugs while trying to locate Doug’s elusive sister.

In this scene Charlotte Dahl of the State Parole Office is working late, attempting to track down Mick, as well as figure out who murdered Mick’s parole officer.  Drinking coffee to keep awake, Charlotte and her assistant begin looking through the files of other ex-cons who are now in New Covenant, searching for any kind of link to Mick.

Damned was a four issue crime noir miniseries that reunited Steven Grant and Mike Zeck, the creative team that had successfully launched the Punisher into super-stardom a decade earlier.  Damned was collected together by Cybrosia Publishing in 2003 with a new epilogue by Grant & Zeck and behind-the-scenes material.  The collected edition was reissued in 2013 by BOOM! Studios.

I’m a huge fan of Zeck, and I really enjoyed his work on this miniseries.  Rodier’s inking was a good fit for the tone of the story.  I definitely recommend picking up the trade paperback.

69) Art Saaf & Vince Colletta

“Never a Bride to Be” from Falling In Love #117, penciled by Art Saaf and inked by Vince Colletta, published by DC Comics in August 1970.

Another coffee page from a romance story?  What is it with people drinking coffee in romance comics?  Maybe that’s why everyone is so emotional and melodramatic; too much caffeine!

Lisa, the boss’ daughter, has invited young, handsome British engineer Derek over to dinner with her family.  It’s all part of a plan to try to get Derek interested in Lisa’s shy sister Dottie.  Derek and Dottie are soon dating, but Dottie is worried that Lisa is going to try to steal him away.  Indeed, Lisa soon realizes that she is attracted to Derek after all.  What’s a girl to do?

Art Saaf’s career stretched back to the Golden Age.  He did a great deal of work for Fiction House throughout the 1940s, and then for Standard Comics in the late 1940s and early 50s.  In the mid 1950s Saaf began working in television; among his jobs was creating storyboards for The Jackie Gleason Show.  He did feelance advertising work throughout the 1960s, and returned to comic books at the end of the decade.  Between 1969 and 1974 he drew a number of romance stories for DC Comics, several issues of Supergirl, and a handful of war and horror tales.

Saaf is paired here with Vince Colletta, one of his regular inkers at DC.  Colletta’s inking is fairly heavy, but you can still perceive Saaf’s expert storytelling and use of facial expressions & body language to establish the personalities of the characters.  He certainly does an excellent job differentiating between the outgoing Lisa and introverted Dottie here.  I like the awkward humor of those bottom two panels and Lisa and her parents none-too-subtly leave Dottie and Derek to have coffee alone together.

Saaf and Colletta both excelled at drawing beautiful women, so pairing them up was perhaps an inspired choice, after all.  Romance comics historian Jacque Nodell expressed a fondness for their collaborations on her blog Sequential Crush.

70) Sergio Cariello & James Pascoe

Here are two coffee-drinking pages from Azrael: Agent of the Bat penciled by Denny O’Neil, penciled by Sergio Cariello, and colored by Rob Ro & Alex Bleyaert, from DC Comics.  Issue #83 was inked by James Pascoe and lettered by Ken Bruzenak, published December 2001.  Issue #99 was inked by Cariello and lettered by Jack Morelli, published April 2003.

On the first page Lilhy, a member of the sinister Order of St. Dumas, seeks to understand the nature of evil.  She visits the Joker, currently incarcerated at the maximum security prison the Slab, to see if the insane super-villain can offer any insights.  Unfortunately she arrives just as the Joker releases a modified form of his “Joker venom” that transforms everyone in the Slab into doppelgangers of the Clown Prince of Crime.

The now-Jokerized Lilhy returns to Gotham City, where she meets with the psychiatrist Bryan.  Over coffee Bryan attempts to explain to Lilhy that humanity has struggled to understand the nature of evil throughout its entire existence.

On the second page Azrael, aka Jean-Paul Valley, is meeting with Dr. Leslie Thompkins, who has recently been treating him.  Due to the genetic manipulation and brainwashing inflicted upon Jean-Paul in his childhood by the Order, he has been experiencing serious health issues, as well as another bout of mental instability.  It appears that at long last Jean-Paul has finally stabilized, both physically and psychologically.  Over coffee with Leslie, the directionless Jean-Paul wonders what to do next.  She urges him to try to live his own life, and find happiness.

“The Evil Men Do” and “Last Respects” are written by the legendary Denny O’Neil, who passed away in June at the age of 81.  O’Neil co-created Azrael and wrote the entirety of the character’s solo series, which ran for 100 issues.  He appeared to have a fondness for the character.  Interviewed about Azrael in 2009, O’Neil had this to say…

“I wish I’d done one or two things differently, and I think the series kind of lost its way for a while in the middle of the run.  But all that aside…I don’t think there’s ever been a character exactly like Az before or since and I generally enjoyed working on him.  I wish the 100th issue could have been stronger, but it was wonderful of Mike [Carlin] to let me write it; I was only weeks past major surgery at the time and maybe a ways from my best.”

O’Neil was an intelligent and contemplative individual, qualities that were frequently present in his writing.  Although the “Joker: Last Laugh” crossover was a ridiculous event, O’Neil appears to have used this tie-in issue to briefly touch upon the subjective nature of human morality, and our struggles to understand if our actions are ethical.

Likewise, as I recently discussed on this blog, O’Neil utilized Leslie Thompins, another character he created, as a counterpoint to Batman and Azrael.  Leslie is passionately dedicated to fighting for social justice, but she is an avowed pacifist.  In the last storyline of this series O’Neil had Leslie calling out Batman for dragging the emotionally damaged Azrael further into a life of endless violence, and she works closely with Jean-Paul hoping that she will get him to see that he can walk his own path.

Brazilian-born Sergio Cariello penciled Azrael from issue #69 to the finale in issue #100.  He was initially paired with James Pasco, who inked the series for seven years.  On the last nine issues Cariello inked his own work.

Cariello was a student at the Joe Kubert School, and he later taught there.  Thinking about it, I suppose you could describe Cariello’s work as a cartoony version of Kubert’s style.  The Kubert influence certainly became more apparent in the issues where Cariello did full artwork.  It’s another good demonstration of how different inkers affect the look of the finished art.

I actually did another 30 of these Daily Comic Book Coffee entries on the Comic Book Historians group for a grand total of 100. At some point I may re-post the rest of them here on my blog. However, all of the entries have already been archived by Rik Offenberger at First Comics News. Rik is also responsible for the nifty Daily Comic Book Coffee banner seen at the top of this blog post. Thanks again, Rik.

First Comics News is currently presenting my Comic Book Cats posts, as well. I hope you will check them out.

The Daily Comic Book Coffee, Part 12

Welcome to the 12th edition of Comic Book Coffee. I posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

56) Judit Tondora

Wonder Woman ’77 Meets The Bionic Woman #2, drawn by Judit Tondora, written by Andy Mangels, lettered by Tom Orzechowski & Lois Buhalis, and colored by Roland Pilcz, published by Dynamite Entertainment and DC Comics in January 2017.

This was a fun miniseries co-starring television’s top two heroines from the late 1970s.  Andy Mangels is probably the foremost expert on Wonder Woman, and he must have had a real blast writing a team-up of Princess Diana and Jamie Sommers.

Hungarian artist Judit Tondora did a great job rendering both the television version of Wonder Woman and the Bionic Woman, along with both their supporting casts and their small screen rogues galleries.  Likenesses can be very tricky, but I feel that Tondora really captured most of them pretty accurately.  Her depictions of Diana and Jaime were certainly beautiful.  Tondora’s art for this miniseries was very lively.  I hope we see more of her work appearing in comic books in the near future.

In this scene Diana Price and Steve Trevor of the IADC are meeting with Jaime Sommers and Oscar Goldman of the OSI.  Over coffee the four agents are discussing the ongoing investigation into the terrorist cabal Castra, an alliance of the IADC and OSI’s deadliest adversaries that has hijacked a shipment of experimental nuclear missiles.

Wonder Woman ’77 Meets The Bionic Woman was a really enjoyable read.  I definitely recommend it.

57) Brad Gorby & Mark Heike

Femforce #93, written & penciled by Brad Gorby, inked by Mark Heike, and lettered by Christie Churms, published by AC Comics in May 1996.

While Femforce is basically a serious title, it also has a sense of humor about itself.  The main storyline running though these issues involves Jennifer Burke, the daughter of the original Ms. Victory.  Due to the manipulations of the military and a series of personal tragedies Jen’s life has completely fallen apart.  Going rogue, Jen adopts the identity of Rad which her mother previously assumed.  The government, realizing that Rad possesses a wealth of top secret information from her time leading Femforce, dispatches a group of genetically engineered assassins to eliminate her.

While this very intense plotline is taking place, writer / penciler Brad Gorby takes a brief detour to a more lighthearted setting.  It is morning and the ladies of Femforce are having breakfast.  Ms. Victory is once again drinking coffee, obviously a favorite of hers.  The incredibly-powerful yet often-absentminded Synn is trying to find out who ate all her sprinkle donuts and pop tarts, prompting the sorceress Nightveil to conjure up some for her.

I enjoy these types of “downtime” scenes in Femforce that explore the personal lives of the characters, and which allow for somewhat more goofball sequences. 

Gorby did a good job penciling this scene, giving each of the characters their own personalities, making them stand out from one another.  The inking is by Mark Heike.  Gorby and Heike are both longtime AC Comics contributors, as well as very talented artists.  Grey tones are by Christie Churms, who also lettered this issue.

58) José Beá

“Recurrence” was drawn by José Beá and written by Steve Skeates.  It appeared in Vampirella #34, released by Warren Publishing in June 1974.

The beautiful young protagonist of “Recurrence” thought she had it made.  She had pushed her husband into an elevator shaft, collecting $10,000 from the insurance company for his “accidental” death.  But then came the dreams, night after night, of being pushed off a cliff and falling endlessly.  Was it a guilty conscience… or a premonition?  Now she drinks coffee in the middle of the night desperate not to fall asleep again.

Spanish artist José Beá illustrated a number of stories for Warren between 1971 and 1976.  These were published in Warren’s three main comic book magazine series, Creepy, Eerie and Vampirella.  Following his time at Warren, Beá did a great deal of work in the European comic book field.  Among these were a number of erotic stories, some of which at the time unfortunately garnered a great deal of controversy.  Beá also wrote several science fiction novels for young adults.

59) Peter Krause & Dick Giordano

The Power of Shazam #36, penciled by Peter Krause, inked by Dick Giordano, written by Jerry Ordway, lettered by John Costanza and colored by Glenn Whitmore, published by DC Comics in March 1998.

During a crossover with the Starman series, Billy and Mary Batson have to work with Jack Knight to help clear the name of World War II hero Jim Barr, aka Bulletman, who has been framed for treason by neo-Nazis.  In his Captain Marvel identity Billy initially clashes with Jack, until the more level-headed Mary Marvel convinces him to calm down.  The trio heads to the home of Nick & Nora Bromfield, who have adopted the orphaned Mary and Billy.  There they find the Bromfields having coffee with Jack’s father Ted, the original Starman, as well as Jim Barr himself, with everyone attempting to figure out what their next step should be.

The Power of Shazam was such an amazing, fun, underrated series.  I came into it a bit late, in the second year, but I immediately became hooked, and I soon got caught up on the Jerry Ordway graphic novel and back issues.  Ordway wrote some great stories.  He successfully achieving the very tricky feat of simultaneously updating Billy, Mary and the rest of the Marvel Family cast for the 1990s while retaining a great deal of the charm from the original Golden Age stories.

Peter Krause did really good work penciling the series.  Due to the prevailing styles in super-hero comic books at the time, I think his work here was unfortunately overlooked by many.  Krause deftly balanced the serious and cartoony elements of the characters.  On the later issues of the series Krause was inked by the legendary Dick Giordano.

60) Amy Reeder

Rocket Girl #2, drawn & colored by Amy Reeder and written by Brandon Montclare, published by Image Comics in November 2013.

DaYoung Johansson, a fifteen year old police officer from the high tech future year of 2013, has traveled back in time to 1986.  DaYoung is convinced that her miraculous world should not exist, that it was created when the monolithic corporate juggernaut Quintum Mechanics sent its own technology back in time 27 years to its founders to give them a vast advantage.  DaYoung, armed with her jetpack and her teenage zeal, is determined to thwart this crime against time, even if it means erasing the very future from which she came.

Montclare & Reeder’s ten issue Rocket Girl series is a wibbly wobbly, timey wimey tale of temporal paradoxes, corporate intrigue and youthful idealism.  I previously reviewed the first five issues. The ending to Montclare’s story ultimately left me feeling ambivalent, for a few different reasons.

What I was not ambivalent about was Reeder’s stunning artwork.  She did a superb job drawing both the sci-fi New York City of 2013 and the historically accurate Big Apple of 1986.  Her layouts for Rocket Girl were incredibly dynamic, and the amount of detail she put into her pages was astonishing.

As Reeder recounts in the text feature from issue #7…

“In Rocket Girl I am responsible for making two worlds; an 80s vision of the future, and actual 1980s New York.  At first I expected the futuristic world would give me the worst trouble — I thought coming up with a city out of thin air would be a bit overwhelming.  But I should have known better: I get carried away with accuracy, and the 1980s New York is heavily documented, often talked about, and well remembered by many.  So bar none — 80’s NYC is the harder of the two worlds to draw.  I just HAVE to get it right.  And, honestly, it’s pretty fun to get it right.  (Or close!)”

On this page from issue #2, the recently arrived DaYoung is bunking with Annie Mendez and Ryder Storm, two graduate students who work for Quintum Mechanics in 1986.  Annie and Ryder awaken to find the hyperactive DaYoung has whipped up a huge stack of pancakes and brewed a pot of coffee, all the while pondering how to change the course of history.

Saturday at the East Coast Comicon

For the last few months I was trying to decide if I should attend the East Coast Comicon that was going to be held on April 11th and 12th in the Meadowlands Exposition Center.  It sounded like it would be a cool show with a lot of great guests.  Unfortunately my finances were shaky, so I reluctantly came to the conclusion that I should skip it.

Then a few weeks ago 13th Dimension, who were organizing the show, announced a contest for free tickets plus Planet of the Apes action figures.  I entered the contest and then promptly forgot about it, since I was busy stressing about work and personal stuff.  That is until April 2nd when Dan Greenfield from 13th Dimension e-mailed me to let me know that I was one of the winners.  Okay, so I guess that meant I was going to the show after all!

East Coast Comicon banner by Cliff Galbraith

Michele and I went to the convention on Saturday.  Due to that aforementioned “personal stuff” both of us were exhausted and got a late start.  And once we got to the Port Authority the bus to the Meadowlands was running a half hour behind schedule.  So we didn’t get to the show until 3:30 PM, which gave us two and a half hours to try to take in as much as possible.

One of the first people we saw was cartoonist Rick Parker.  He is a really cool guy with an insane sense of humor.  I’ve met him at a few shows in the past, and we’re also friends on Facebook.  The last time I actually saw him in person was May 2011, when he was generous enough to give me a ride from the train station to the Hawthorne High School Comic Con.  I’m happy that I got to see him again after all this time.

Rick Parker East Coast Comicon

Rudy Nebres was another guest.  As I’ve mentioned before, I am a big fan of his work.  He was at the show with his family.  He and his wife are always friendly.  This time I also met his son Mel, who I’m friends with on Facebook.  It’s always nice when you get to actually meet FB friends in person.

One of the guests I was really looking forward to meeting was Arthur Adams.  I’ve been a fan of his work for years but I’d never met him before.  Adams’ work is amazing.  He puts an absolutely insane amount of detail into his art.  Michele wasn’t familiar with Adams, but once she some of his work she was instantly impressed.

I brought along a few comics for Adams to sign, along with The Official Godzilla Compendium, for which he contributed a number of illustrations.  Adams is a lifelong fan of Godzilla.  He also really enjoys drawing gorillas.  Given those two passions, I mentioned to him that it was too bad Toho Studios does not like to have their Godzilla character appear in crossovers, because he would be the perfect guy to illustrate a graphic novel version of King Kong vs. Godzilla.  Adams actually responded that in the mid-1990s when he was involved with the Godzilla comic published by Dark Horse he pitched a “Superman vs. Godzilla” crossover.  DC Comics was all for it, but Toho had zero interest, and so it went nowhere.  Too bad, that could have been amazing.

Arthur Adams East Coast Comicon

Another creator I was happy to see at the convention was Ann Nocenti.  I’ve reviewed some of her work on this blog before.  Nocenti is one of the most distinctive writers in the comic book biz.  She brought with her unique sensibilities and an unconventional outlook when she began writing for Marvel Comics in the 1980s, which led to a number of memorable stories.  I look back very fondly on her run writing Daredevil in the late 1980s.

I’ve actually met Nocenti before, a couple of years ago when she was doing a signing at Jim Hanley’s Universe.  But that was pretty crowded, and I didn’t have much of a chance to talk to her.  At the East Coast Comicon there was much more of an opportunity to share my thoughts about her work and ask her some questions.  Nocenti was definitely very generous with her time.

Ann Nocenti East Coast Comicon

Also among the guests who Michele and I got to meet  were underground cartoonist John Holstrom, current Heathcliff comic strip creator Peter Gallagher, the amazingly funny Fred Hembeck, longtime Marvel writer & artist Bob Budiansky, and Ren & Stimpy co-creator Bob Camp.  There were a bunch of other guests there, as well, but we just didn’t have enough time to catch everyone.

I was glad that at towards the end of the show I did have a few moments to stop by Eric Talbot‘s table.  Talbot has a long association with the Teenage Mutant Ninja Turtles comic book.  I was a huge fan of the series back in high school, and I fondly remember his work on it.  Most of my collection is packed away in storage but I was able to bring along a few issues of the more recent Tales of the TMNT anthology series that he contributed to and have those autographed.  I wish I could have afforded to get a sketch from Talbot because he was drawing some amazing pieces at the show.

Eric Talbot East Coast Comicon

Fortunately I was able to obtain one sketch at the convention.  Rudy Nebres drew a beautiful pencil head sketch of Vampirella for me.  I’ve really enjoyed his work on the character in the past so I was happy to be able to get this.

Actually It’s been a while since I’ve been to a convention and gotten more than one or two pieces of artwork, anyway.  I guess nowadays, with my finances being more limited, I’m concentrating on quality over quantity.

Vampirella Rudy Nebres

There were a lot of cosplayers at the convention.  Some of the costumes were fantastic.  Since we were rushing around Michele unfortunately didn’t have the opportunity to take too many pictures.  As we were on our way out, though, she was able to take a great photo of this “Spider-Family.”  From left to right that’s Venom, Scarlet Spider, Spider-Woman aka Spider-Gwen and the original Spider-Man.

Spider-Man cosplayers East Coast Comicon

Oh, yes, one last thing… Michele is a huge fan of Planet of the Apes.  Last year she rented all the movies from the original series and we watched them over a five day stretch.

In addition to winning two tickets to the convention, I also won two Planet of the Apes action figures.  One was Charlton Heston himself, Colonel Taylor, who wishes those damn dirty apes would keep their paws to themselves.  The other was a gorilla soldier who looks ready to hunt down some of those pesky humans.  Sadly neither figure came with a half-buried Statue of Liberty, but despite that deficiency they are still very cool.  Of course I gave them to Michele, who I knew would appreciate them.

Planet of the Apes action figures East Coast Comicon

Despite only getting to the convention for less than half a day, and being on a really tight budget, Michele and I both had  a lot of fun.  Hopefully we will be able to make it again next year.

A big “thank you” to 13th Dimension publisher Cliff Galbraith for organizing the East Coast Comicon.  By the way, that’s his artwork on the cool banner up top of Darth Vader cosplaying as Doctor Doom.

(All photos are courtesy of Michele Witchipoo and her wonderful smartphone.)