The Daily Comic Book Coffee, Part Five

The challenge by Comic Book Historians group moderator Jim Thompson: Pick a subject and find a different artist every day for that subject.

I chose “coffee” for my subject.  From the work of how many different artists can I find examples of people drinking coffee?  I guess we will just have to see.  I posted these daily on Facebook, and now I’m collecting them together here.  (Please click on the “coffee” tag to read the previous parts of the series.)

coffee pot

21) John Buscema & John Romita

The art team of penciler John Buscema and inker John Romita join with scripter Stan Lee to tug on those heartstrings in “I Love Him – But He’s Hers!”  This tale of torrid passions appeared in Our Love Story #2, published by Marvel Comics with a December 1969 cover date.

With her father having died unexpectedly and her brother serving in Vietnam, young Anne must work as a waitress to pay for college.  Anne’s difficult circumstances are constantly rubbed in her face by her rich snob doom roommate Cynthia.  Soon cruel Cynthia ups her taunts by showing off her handsome boyfriend at every opportunity.  “This is Art Nelson, little woman – and he’s all mine! So you may look — but don’t touch!”  Anne is, of course, instantly attracted to Art, but she dares not make a move, fearful of Cynthia’s temper.  Cynthia’s taunts eventually back fire on her as Art, realizing what a horrid person she actually is, dumps her for the sweet, down-to-Earth Anne.

John Buscema has been referred to as “the Michelangelo of comics.”  He was incredibly talented, one of the top artists at Marvel Comics for three decades, from the late 1960s to the late 1990s.  Buscema was, however, not actually fond of drawing super-heroes, something he admitted to on several occasions throughout the years.  He much preferred drawing Conan the Barbarian to any of Marvel’s spandex-clad crimefighters.

Given his dislike for super-heroes, perhaps he saw romance stories as  a refreshing change of pace.  It definitely drew on one of Buscema’s strengths, namely his ability to render beautiful women.  He certainly does a damn fine job on this splash page, drawing Anne waitressing in a coffeehouse populated by a colorful crowd of hip java-drinkers.

Of course, Buscema was also vocal about his dislike for most of the inkers / finishers he was paired with, as he felt most of them overwhelmed his work with their own styles.  So we can only guess how he felt about being inked by John Romita on Marvel’s romance stories, especially as the later’s style is very much in evidence.

Having acknowledged all that, from my perspective as a reader, this really looks stunning.  I feel the combination of the two Johns results in a deft, effective blending of their signature styles.

A big “thank you” to colorist supreme José Villarrubia, who spotlighted this page on his FB feed.

Our Love Story 2 pg 1

22) Ron Frenz & Sal Buscema

Amazing Spider-Girl #15, penciled by Ron Frenz, inked by Sal Buscema, written by Tom DeFalco & Ron Frenz, lettered by Dave Sharpe, and colored by Bruno Hang, published by Marvel Comics, cover-dated February 2008.

Her name is May “Mayday” Parker, and she is the daughter of Spider-Man.

Yes, it’s a “Mayday” post, which would have been absolutely perfect for May 1st.  Instead I posted this on FB on May 2nd.  Oops.  As the man used to say, “Missed it by THAT much!”

AHEM!  Spider-Girl is the daughter of Peter Parker and Mary Jane Watson, from a reality where their newborn baby was rescued from the clutches of the diabolical Norman Osborn.  Now a teenager, Mayday has inherited both her father’s powers and sense of responsibility.  Assuming the identity of Spider-Girl, Mayday attempts to fight crime and save innocent lives while juggling high school classes, an active social life, and a pair of parents who are understandably very concerned that their daughter is following in her father’s web-swinging footsteps.

Spider-Girl is the little comic book that could.  Originally making her debut in a one-off story by DeFalco & Frenz in What If #105 (Feb 1998), Mayday graduated to her own ongoing series just a few months later.  DeFalco, first paired with penciler Pat Olliffe, and later reunited with Frenz, did a great job developing Mayday and her supporting cast.  Spider-Girl gained a relative small but very enthusiastic fanbase and ran for 100 issues, followed by Amazing Spider-Girl, which lasted another 30 issues.  Mayday then migrated to several issues of Spider-Man Family and Web of Spider-Man, and then a Spectacular Spider-Girl miniseries, with DeFalco & Frenz bringing her story to a close with the Spider-Girl: The End special in October 2010.  Of course, that was still not the curtain for Mayday, who has continued to pop up here and there.  You can’t keep a good Spider-Girl down!

Mayday and her friends often hung out at Café Indigo, a coffee shop in Forest Hills, Queens.  As per Ron Frenz:

“Café Indigo was introduced by Pat Olliffe, as a tribute to his wife’s architectural design business at the time.”

In Amazing Spider-Girl #15 the gang gathers at Café Indigo to welcome back their pal Moose, who had to move away for several months due to his father’s illness.  Frenz does a great job with this sequence, giving it moments of both characterization and comedy.  I love the facial expressions.  Frenz is such a strong storyteller, as this page demonstrates.

Inking is provided by the legendary Sal Buscema, who has been working with Frenz regularly since 2003.  They make a great art team.

Amazing Spider-Girl 15 pg 7

23) Bill Sienkiewicz & Klaus Janson

May 3rd was artist Bill Sienkiewicz’s birthday.  To celebrate the occasion, I took a look at two coffee-themed pages of artwork by Sienkiewicz featuring Moon Knight.

The first page is from the Moon Knight back-up story in the The Hulk magazine #17, penciled by Sienkiewicz, inked by Klaus Janson, written by Doug Moench, and colored by Olyoptics, published by Marvel Comics with an October 1979 cover date.  The second page is from Moon Knight #23, drawn by Sienkiewicz, written by Moench, lettered by Joe Rosen, and colored by Christie Scheele, with a September 1982 cover date.

On the first page we have Moon Knight stopping in at Gena’s Diner, the Manhattan coffee shop he frequents while sniffing out info on illegal activities in his guise of cabbie Jake Lockley.  Sienkiewicz was only 21 years old when he drew this story.  His work here definitely brings to mind Neal Adams, who Sienkiewicz has cited as a major influence.

Even with the obvious stylistic similarities, we can see that Sienkiewicz was already starting to utilize some interesting layouts in his storytelling.  Janson’s inking goes well with Sienkiewicz’s style here, giving it a grittier edge that suits Moench’s writing.

Moon Knight Hulk Magazine 17 pg 50

On the second page we have Moon Knight, Frenchie, Marlene and her brother Peter having fled to Maine in the dead of winter, hiding out in an isolated house in the woods Moon Knight owns in his Steven Grant persona.  They are fleeing from Moon Knight’s old foe Morpheus, the so-called “Dream Demon” who has the ability to possess people in their sleep, and to create horrifying nightmares.  In order to stay awake and prevent Mopheus from controlling them Moon Knight and the others are gulping down copious amounts of black coffee.

Morpheus utilizes his psychic connection to Peter to learn their location.  He invades the house and seizes control of both Marlene and Peter.  Moon Knight and Frenchie are unaware of any of this, as they are busy trying to rig up a generator in the basement as a defense against Morpheus.  Marlene comes down to join them, ostensibly to bring them some much-needed coffee.  Too late they realize that Marlene is now in Morpheus’ thrall.  Eyes ablaze with madness, Marlene strikes a match and tosses it onto the generator, with explosive results.

This issue of Moon Knight was drawn by Sienkiewicz only three years after that story in The Hulk magazine and, WHOA, what a difference!  Sienkiewicz’s work grew by absolute leaps and bounds in that short period of time.  This page is a really good illustration of how much he developed.  His work has become very stylized and atmospheric.  His layouts are striking, and he utilizes inking and zip-a-tone to superb effect.  You can see here that Sienkiewicz has begun his evolution to the stunning abstract artwork that he would soon be creating in the mid 1980s.

Credit must also go to the coloring by Christie Scheele on this story.  Her work complements Sienkiewicz’s art so very well.

Moon Knight 23 pg 10

24) Wallace Wood

This artwork is from the story “The Probers” in Weird Science #8, drawn by Wallace Wood, written by Al Feldstein & Bill Gaines, lettered by Jim Wroten, and colored by Marie Severin, published by EC Comics with a July-August 1951 cover date.  I scanned this from the hardcover The EC Archives: Weird Science Volume Two, issued in 2007 by Russ Cochran and Gemstone Publishing.

Growing up in the early 1980s, I discovered the classic EC Comics via reprints.  I was never overly fond of EC’s horror titles, since I found the pun-slinging hosts sort of cheesy.  But I was absolutely enthralled by the sci-fi stories in Weird Science and Weird Fantasy, with their insightful examinations of the human condition, their grimly ironic twist endings, and their realistic, detailed artwork.  Looking back on these, I realize that many of the EC stories that made the biggest impression on my young self were those drawn by Wallace Wood.

Wood, known to his friends as “Woody” (reportedly he disliked being called “Wally”), was an absolutely incredible artist, with his intricately detailed spaceships & technology, bizarre aliens, and stunningly beautiful women.  Wood is rightfully remembered for his brilliant work, and the word “classic” is deservedly used to describe the stories he drew for EC.

“The Probers” is a typical EC tale of cosmic karma. Interestingly the story takes nearly a page detour to showcase young Lawrence Cavips’s futile attempt to drink coffee in outer space.  Captain Scott provides us with a demonstration of the correct way do things, using a straw to sip up the free-floating bubbles of coffee.  Scott guesses this must be Cavip’s first mission, which the young man confirms, telling him “Right! I just graduated two months ago!”

What?  Just graduated?  Cavip went to Astronaut Academy (or whatever they call it) and no one there bothered to explain to him the behavior of liquids in zero gravity?  What are they teaching kids these days?  Ehh, the young punk was probably slacking off, too busy hanging out with girls and listening to that newfangled rock & roll.  Why in my day…

Weird Science 8 coffee

25) Gilbert Shelton

“I Led Nine Lives!” written & drawn by Gilbert Shelton, appeared in the underground comic The Fabulous Furry Freak Brothers #3 published by Rip Off Press in 1973.  It was reprinted in Fat Freddy’s Cat #1, released by Rip Off Press in 1988.

The Fabulous Furry Freak Brothers are a trio of San Francisco potheads: Freewheelin’ Franklin Freek, Phineas T. Phreak and Fat Freddy Freekowtski.  Fat Freddy has an orange tabby cat, the so-called “Fat Freddy’s Cat,” although the cat is (unsurprisingly) much smarter than his human, and often poops on Freddy’s possessions, especially if he’s late getting fed.

Fat Freddy’s Cat occasionally recounts his supposed adventures to his three nephews, and “I Led Nine Lives!” he regales them with his time as F. Frederick Skitty, federal agent.  Skitty is assigned by “the Chief” to stop a nefarious plot to poison the nation’s water supply with a drug nicknamed “Hee Hee Hee.” When asked what exactly “Hee Hee Hee” does, the Chief gravely replies “It turns you queer!”

Skitty parachutes into to the mountain headquarters of the “Hee Hee Hee” manufacturers.  After accidentally shooting up the nudist colony next door, Skitty confronts the flamboyant terrorists, who inform them that he is too late, because “We already mixed the drug in the nation’s coffee supply!”  Skitty guns down the terrorists and races back to Washington DC to warn everyone, only to find the Chief already drinking his morning coffee and softly giggling “Hee Hee Hee” to himself.  Skitty shoots the Chief, reasoning “It was my patriotic duty.”  He then realizes that by now everyone else in the country has probably also had coffee.  “So I shot myself, too” he tells his nephews.  However he quickly assures them that everything turned out fine because “I still had eight more lives.”

Fat Freddys Cat 1 pg 7

Of course that extra-long nose we see Fat Freddy’s Cat sporting in the last panel hints that perhaps his thrilling account might not have been entirely accurate, to say the least!

I scanned this from my girlfriend Michele Witchipoo’s copy of Fat Freddy’s Cat #1. She was probably my intro to Gilbert Shelton. Michele is very much into independent and underground comics, and she’s broadened my knowledge & interests considerably.

Nicola “Nick” Cuti: 1944 to 2020

Longtime comic book writer, editor & artist Nicola Cuti passed away on February 21st.  He was 75 years old.

E-Man 1 cover smallCuti, 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.

Moonchild Comics
Moonchild Comics #2 by Nicola Cuti, published by San Francisco Comic Book Company in 1969

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.

Haunted 36 pg 11
“The Night of the Demon” by Nicola Cuti and Tom Sutton from Haunted #36, May 1978

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.

Charlton Arrow vol 2 1 pg 2
The origins of E-Man and Nova Kane, as retold by Nicola Cuti and Joe Staton in The Charlton Arrow vol 2 #1, 2017

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.”

Charlton Arrow vol 2 1 cover smallOn his own blog my friend Nick Caputo wrote a detailed retrospective of Cuti’s career which I hope everyone will check out.

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.