Happy birthday to Joyce Chin

It’s definitely time for a change of pace.  I’ve penned too many obituaries in the last several months.  I need to make more of an effort to write about the people whose work I enjoy while they are still among the living.  In the past I’ve done the occasional birthday tribute to a few of my favorite comic book creators; I’m going to try to make that more of a regular feature on this blog.

I wanted to wish a very happy birthday to comic book artist Joyce Chin, who was born on July 31st.  Some of Chin’s earliest work was for DC Comics in 1995, penciling Guy Gardner: Warrior, a fun, underrated series written by Beau Smith.  A couple of years later Smith and Chin were reunited, with Chin becoming the first artist to pencil the adventures of Smith’s creator-owned character Wynonna Earp, the beautiful federal marshal who battles supernatural criminals.

I think the first time Chin’s work really stood out to me was on a short story she penciled for the Dark Horse Presents Annual 1999.  It featured an adventure of Xena: Warrior Princess during her teenage years.

Chen and inker Walden Wong did a good job rendering a younger incarnation of Lucy Lawless’ iconic heroine.  I think the black & white format of DHP, as well as the fantasy setting, enabled me to really notice and appreciate all of the intricate detail that Chin put into her artwork.

The point at which I really became a fan of Chin was in early 2015 when I saw the three covers she had drawn for Dynamite Entertainment’s female-driven crossover Swords of Sorrow.  I was especially impressed by Chin’s cover for the prologue issue Swords of Sorrow: Chaos! Prequel which featured Purgatori, Chastity, Bad Kitty and Mistress Hel in an homage to mid 20th Century pulp magazine cover artwork.

I think I’ve observed in the past that women often make the best pin-up artists.  It’s probably to do with the fact that they understand how women’s bodies actually work in the real world, which enables them to give their drawings of female characters a certain weight or verisimilitude, so to speak, that is sometimes absent when male artists try to draw sexy females.  Whatever the case, I’ve always enjoyed how Chin renders female characters.

Chin is married to Arthur Adams, another artist who specializes in artwork containing an insane amount of detail with a genuine gift for rendering lovely ladies.  Chin and Adams have collaborated on a handful of occasions, always to good effect.  Here is one of those times, the cover to Action Comics #820 (December 2004) which is penciled by Chin and inked by Adams.  It features the supernatural villainous Silver Banshee, who Chin has drawn a few times over the years.

Another of Chin’s passions is dogs, specifically Silken Windhounds.  Chin has several of these majestic, beautiful dogs.  I always enjoy seeing the photos of them she posts on Facebook.  Naturally enough the Silken Windhounds have found their way into some of Chin’s artwork.  Here’s an example of her depiction of these stunning animals, which was published in her 2018 convention art book. Chin’s work has been likened to Art Nouveau pioneer Alphonse Mucha, and that quality is certainly apparent in this piece.

I was fortune enough to meet Chin a few times at New York Comic Con.  I had been hoping to get a convention sketch from her for several years.  I finally asked her to draw a piece in my Mantis theme sketchbook when she was at NYCC 2019.  Chin did a beautiful color drawing, as seen in the photo below.  She really invested the character with personality, a feature of her work.  Hopefully once this pandemic is finally over and comic conventions start being held again I will have an opportunity to obtain another sketch from her.

I hope we will be seeing more artwork from Joyce Chin in the near future.  She’s a very talented artist.  Also, having conversed with her on Facebook and met her at NYCC, she really comes across as a good person.

Comic book reviews: Frankenstein Agent of S.H.A.D.E. # 1-8

As I’ve mentioned previously, I’m a fan of Italian artist Alberto Ponticelli, who drew the Godzilla: Gangsters & Goliaths miniseries last year.  As it turns out, Ponticelli is also the artist on one of DC Comics’ New 52 titles.  But I did not find this out until recently.  With that many new series coming out, it fell through the cracks that he was drawing Frankenstein Agent of S.H.A.D.E.  I happened to come across a few of the recent issues on the shelves at the comic shop and saw his name on them.  Fortunately, a trade paperback, War of the Monsters, had been published, collecting the first seven issues.  I purchased that, as well as a copy of issue #8.

Agent Frankenstein is, of course, the immortal creature created by Mary Shelley in the classic gothic horror novel Frankenstein.  For the past century, Agent Frankenstein has been working with S.H.A.D.E., the Super Human Advanced Defense Executive, a government agency that combines science and the supernatural to develop operatives & technologies to combat unearthly menaces.  As the first issue opens, Frankenstein has been on vacation, and returning to work finds that a number of dramatic changes have taken place at S.H.A.D.E.  This is a very clever way for writer Jeff Lemire to introduce the series’ cast, concepts, and settings through the protagonist’s eyes, by having him discover these new developments along with the reader.

The idea for S.H.A.D.E.’s new headquarters is an amazing conceit by Lemire.  The Ant Farm is an entire high-tech city miniaturized to fit within a three inch flying metal globe utilizing the technology of scientist Ray Palmer (who in the old DC continuity was the size-changing Atom), accessible only by teleportation.

Frankenstein makes for a compelling protagonist.  He is an interesting combination of introspective philosopher and violent brawler, a study in contrasts.  One minute he’ll be quoting John Milton’s poetry, the next he’ll be hacking through a horde of demons with a honking big sword.

I liked the new Creature Commandos team designed by Lemire & Ponticelli as Frankenstein’s field team.  They are a truly bizarre lot: a gung-ho werewolf soldier, a vampiric smart-ass, an enigmatic Egyptian mummy, and a fish-woman, the last of whom was the scientist who created the Commandos for S.H.A.D.E.  And there’s also Lady Frankenstein, the gun-toting, four-armed green femme fatale who is the estranged wife of Agent Frankenstein.

Frankenstein Agent of S.H.A.D.E. trade paperback

If I had to describe Frankenstein Agent of S.H.A.D.E. in one sentence, it might be “H.P. Lovecraft meets Arnold Schwarzenegger.”  A succession of disturbing, unnatural menaces is fought off by Agent Frankenstein & the Commandos with a combination of brains and brawn, with plenty of action & violence resulting.

At the same time, Lemire remembers one of the central conceits of Mary Shelley’s original novel.  Frankenstein and his fellow S.H.A.D.E. operatives may appear hideous, but beneath their grotesque exteriors they often are tormented beings with tragic pasts.  In the end, it is often the “normal” human beings who are the real monsters.  This is seen throughout the first eight issues.  Lemire drives home this point quite effectively on a number of occasions.

Ponticelli’s artwork is amazing, gloriously spectacular with its over-the-top monster action sequences.  I really loved the mass-carnage battle sequences on the “monster planet” in issue #4, featuring literally a cast of thousands.  Yet at the same Ponticelli’s work also contains very quiet moments when needed.  Issues #s 6 and 8, in particular, feature some magnificent storytelling that really communicates the emotional, tragic moments.

One of the things about comic book artwork that is often neglected is the contribution of the inker.  I believe this is because for the casual reader, it can be difficult to discern where the penciler’s work ends and the inker’s begins.  Frankenstein Agent of S.H.A.D.E. provides an excellent opportunity to witness the importance of the inker to the creative process.  On the first six issues, Ponticelli inks his own pencils.  For the next two issues, Walden Wong provides the inks, and you can really see the difference.  In both instances, the penciling is clearly Ponticelli’s, but Wong’s inking gives the art a more polished, less rough finish.  I would not say I prefer one over the other, because both look really good.  I only point it out because it’s a perfect example if you wish to demonstrate just how much of an impact the inker has on the finished artwork.

Frankenstein Agent of S.H.A.D.E. #8 page 15

The cover artwork for the first seven issues is provided by the magnificently talented J.G. Jones.  He does such amazing work.  I believe he works in ink wash.  It’s always a pleasure to see his art gracing the covers of a series, and his seven cover illustrations for Frankenstein Agent of S.H.A.D.E. are all winners.

(On a side note, Jones is also a writer.  In addition to drawing covers, he penned an exciting story for DC’s Doc Savage series entitled “Raise the Khan.”  Well, that is to say, the first five chapters were great, but I cannot make any judgment about part six, because DC abruptly canceled the book, leaving the final installment unpublished.  I really hope that one of these days it finally makes it into print.  Does DC still have the publishing rights to Doc Savage?  If so, they should release a “Raise the Khan” trade paperback containing the missing chapter.)

With issue #8, Ponticelli & Wong take over as cover artists.  It’s a really striking piece and, as much as I missed Jones, they are such a great art team, so I cannot complain.

I would be remiss if I did not mention the contributions of colorist Jose Villarrubia.  He has to be one of the best colorists currently working in the comic book industry.  His coloring on Frankenstein Agent of S.H.A.D.E. is a perfect match for Ponticelli’s illustrations.  It was especially effective on the emotionally charged issue #8, really contributing to the somber, tragic atmosphere of the story.

It was definitely a pleasant surprise to discover Frankenstein Agent of S.H.A.D.E.  It is without a doubt one of the strongest titles to come out of the New 52 reboot.  I’m really looking forward to picking up the remaining issues that are already out, and then seeing what comes next.  Lemire, Ponticelli, and their collaborators have created such an amazing blending of superheroes and horror with strong characterization.  I highly recommend picking this up.