In my blog post yesterday I mentioned the recent Nubia: Queen of the Amazons four issue miniseries from DC Comics. I really wanted to take a closer look at it.
Nubia: Queen of the Amazons is written by Stephanie Williams, penciled by Alitha Martinez, inked by Mark Morales, John Livesay & Martinez, colored by Alex Guimarães and lettered by Becca Carey, with cover artwork penciled & inked by Khary Randolph and colored by Emilio Lopez.
It’s been a while since I’ve followed the Wonder Woman series regularly. I decided to get Nubia: Queen of the Amazons because it was penciled by Alitha Martinez, an artist whose work I really enjoy. Martinez has been working in comic books for over 20 years, and I really think she’s tremendously talented.
This is actually the second Nubia series Martinez has worked on with writer Stephanie Williams. The six issue Nubia & the Amazons came out last year… and I managed to completely miss it. Hopefully I’ll be able to find the collected edition soon.
Nubia is a character who has been around for nearly half a century, having been created by writer & editor Robert Kanigher and artist Don Heck in Wonder Woman #204, which was released in late 1972. In pre-Crisis continuity Nubia was Princess Diana’s long-lost fraternal twin sister. Kanigher’s writing is not what anyone would ever consider to be subtle & nuanced, to say the least. I mean, issue #204 infamously opened with Kanigher killing off a very thinly-disguised stand-in for his editorial predecessor Dorothy Woolfolk. But his introduction of Nubia did set up the idea of there being Amazons of other ethnicities. I guess that helped lay the groundwork for George Perez to introduce characters such as Philippus during his groundbreaking post-Crisis revamp of the Wonder Woman series.
Nubia only appeared a handful of times during the Bronze Age. The character was reintroduced to the DC Universe only a short time ago. In the current continuity she is the reincarnation of a warrior princess from the African island of Madagascar. While no longer Diana’s twin, the two women are close friends, and following the death of Diana’s mother Hippolyta, Nubia assumed the throne of Themyscira.
Williams does a good job with her writing, balancing the fact that her script features a large cast of characters & alludes to numerous past events while still making it accessible to readers such as myself who have not picked up the past installments.
The newly-crowned head of Themyscira travels to Brazil with her entourage to show support for environmental activists who are fighting against the destruction of the rainforests. Unfortunately this places Nubia squarely into the sights of a mysterious figure who wants her dead. At first I thought this woman, clad in armor & wearing a full metal mask, was going to turn out to be a new incarnation of old Wonder Woman adversary Doctor Cyber. But, no, this woman is actually Neser, a new character who is revealed to have ties to Nubia.
One of the distinctive aspects of Nubia: Queen of the Amazons is not only are nearly all the characters women, but the majority of them are non-white. Even longtime Justice Society member Hawkgirl is now shown to be Latina. I really appreciated that the cast was so diverse, as well as incredibly well-written. Williams does a fine job developing their different personalities.
Definitely the stand-out aspect of this miniseries was the incredible penciling by Martinez. Her layouts & storytelling on the various action sequences are genuinely animated & dynamic. She also does a very good job rendering the quieter, character-driven moments and dialogue scenes. Martinez’s depiction of Nubia is stunningly beautiful & regal.
Martinez’s line art works very well with Alex Guimarães’ rich, vivid coloring. The final page of issue #3 seen below is especially striking.
I also enjoyed Khary Randolph’s work on the covers for this miniseries. Randolph is another artist whose work I’ve enjoyed in the past. Several years ago I purchased a copy of his hardcover The Black Book which featured some very beautiful, sexy, hyper-detailed pin-up illustrations by him. I really appreciated how he was able to render women with different shapes & sizes. It definitely spoke to his versatility that, unlike some other artists, he enjoyed rendering women outside of the standard “tall, thin & big-boobed” body type you typically see in mainstream superhero comic books.
As with quite a few other DC Comics miniseries, the events of Nubia: Queen of the Amazons lead into another storyline. Unlike some other recent instances where the “endings” of various miniseries were literal cliffhangers — I’m looking at you, Justice League Incarnate #5 — here Williams manages to make Nubia: Queen of the Amazons relatively self-contained. Yes, the final issue sets the stage for upcoming events, but it still feels like a complete enough whole, as well. That was another quality of her writing I really appreciated, and it actually makes me more likely to get upcoming issues of Wonder Woman to find out what happens next.
I was very sorry to hear about the passing of legendary comic book creator George Perez on May 6th. Perez had announced back in December that he was suffering from with inoperable pancreatic cancer, and that he had approximately six months to a year left to live. We all knew this day was coming soon, but it doesn’t make it any less sad.
Perez had an incredibly lengthy, diverse career. As I did a week ago to mark the passing of fellow legend Neal Adams, I am going to refrain from even trying to put together any sort of comprehensive retrospective of Perez’s career, and instead just focus on my own impressions of his work as a fan.
I first started following comic books regularly in 1989 when I was 13 years old, so I missed Perez’s early work on Fantastic Four and Avengers for Marvel Comics in the late 1970s, as well as his wildly popular collaboration with writer Marv Wolfman on The New Teen Titans at DC Comics beginning in the early 1980s.
While I can’t be 100% certain, I think the first work by Perez that I ever saw were his covers for the “Batman: Year Three” and “A Lonely Place of Dying” story arcs that ran through Batman #436-442 in the summer and fall of 1989. I was immediately struck by Perez’s intricately detailed work and his complex compositions. His cover to #439 featuring Nightwing hanging on for dear life from the bell tower of a church in the midst of a fierce rainstorm, highlighted by the Bat-signal, especially stood out in my mind. Perez and colorist Anthony Tollin did absolutely stunning work in rendering that atmospheric image.
Within a couple of years I was following quite a few DC titles. War of the Gods was a major crossover that DC published in the summer & fall of 1991, and it tied in with Perez’s run on Wonder Woman. So I picked up Wonder Woman #58 which was written & cover-illustrated by Perez and the four issue War of the Gods miniseries for which Perez was writing, doing interior pencil layouts and drawing full covers. As I’ve mentioned before, this was an absolutely insane time for me to try to dive into Wonder Woman, because this was the culmination of a number of plotlines & character arcs that Perez had been developing over the past five years.
Three decades later I only remember three things about War of the Gods: 1) the evil sorceress Circe was the main villain, 2) I didn’t understand even half of what was going on, and 3) DC promoted the fact that for the cover of the final issue of the miniseries Perez set out to draw a cover featuring ONE HUNDRED different characters. That must have been my first exposure to Perez’s fondness for drawing literal armies.
At the exact same time Perez was also penciling another crossover, this time at Marvel. The Infinity Gauntlet was another “cast of thousands” cosmic extravaganza that ran for six double-sized issues. Truthfully, I wasn’t especially into writer Jim Starlin’s story for The Infinity Gauntlet, either, since it very predictably followed the arc of Thanos becoming a god and wiping the floor with everyone else in the Marvel Universe for half a dozen issues before finally losing the titular Infinity Gauntlet.
Nevertheless, Perez, paired with inker Josef Rubinstein, did a fantastic job drawing the cosmic spectacle… at least until working on two mega-crossovers simultaneously became too much for even someone of Perez’s talent & speed, and he had to bow out partway through issue #4, with Ron Lim taking up penciling duties for the remainder of the miniseries. To show support for Lim stepping into this high-profile assignment and having the unenviable job of following in his footsteps, Perez inked Lim’s pencils on the covers for the final two issues of The Infinity Gauntlet.
So, while I haven’t revisited The Infinity Gauntlet in the last 30 years, either, I definitely was impressed by the work Perez did on the first half of the miniseries. Certainly his intricate cover for the first issue, colored by John Stracuzzi, is one of the all-time greatest depictions of Thanos in the character’s half-century history. Heck, even Jim Starlin, the writer / artist who created Thanos, has used Perez’s cover artwork for The Infinity Gauntlet #1 for his own convention banner. Now that is respect.
Anyway, throughout the 1990s, when I was in high school & college, I went to a lot of comic book conventions, and bought a lot of back issues from the 1970s and 80s. Amongst these were several books that Perez worked on: Avengers, Justice League of America, The New Teen Titans, Marvel Fanfare, Crisis on Infinite Earths and Action Comics. I also had the opportunity to pick up a lot more issues of Perez’s epic, groundbreaking five year run on Wonder Woman, at last getting in on the earlier parts of his incredible, highly influential revamp of Princess Diana of Themyscira.
In the mid 1990s Perez penciled the first six issues of Isaac Asimov’s I-BOTS, written by Steven Grant, published by Tekno Comics / Big Entertainment. I took a look at Perez’s work on that series a few months ago as part of the most recent round of Super Blog Team-Up, in which the various contributors examined different parts of Perez’s amazing career.
In 1998 Perez had another opportunity to pencil Avengers, this time paired with writer Kurt Busiek. Perez remained on the series for three years. After the meandering, confusing events of “The Crossing” and the controversial Heroes Reborn that saw Rob Liefeld take over the book, Busiek & Perez’s run was warmly received by long-time Avengers readers.
Now here’s another one of those occasions when I am going to go against conventional fan wisdom. The truth is I wasn’t especially enthusiastic about Busiek’s writing on Avengers; I feel Busiek is an amazing writer on smaller, intimate, character-driven stories set against the epic backdrops of superhero universes, something he’s demonstrated again and again with his incredible work on Astro City. Same thing for Thunderbolts from Marvel, which was a very character-centric series. In contract, Avengerswas the epic superhero event book, and I just didn’t feel that Busiek quite had the faculty to pull off those sorts of stories. (Just my personal opinion, so feel free to disagree.)
That said, Busiek did really solid work on the character-driven subplots in Avengers involving the Scarlet Witch, the Vision, Wonder Man, and Carol Danvers / Warbird, as well as his own creations Silverclaw and Triathalon. And of course Perez did an incredible job illustrating Busiek’s stories, both the action scenes and the quieter character moments. I certainly appreciated the stunning costume Perez designed for the Scarlet Witch. And that bellydance sequence featuring Wanda from Avengers vol 3 #19 (Aug 1999) seen above was absolutely gorgeous, a superb example of Perez’s storytelling abilities.
In the early 2000s Perez signed an exclusive contract with startup publisher CrossGen Comics. Perez penciled the quarterly double-sized CrossGen Chronicles, followed by the monthly series Solus. I only read a handful of the CrossGen titles, but I picked up a couple of issues of CrossGen Chronicles specifically for Perez’s artwork.
One of the things I appreciated about the CrossGen books was that it was not a superhero-centric universe. CrossGen enabled Perez to stretch his boundaries and work in the genres of fantasy and sci-fi / space opera. He did some incredible work for them. Regrettably CrossGen only lasted a few years, going bankrupt in 2003.
Back in 1981 Perez had begun penciling a Justice League / Avengers crossover, but the project was left uncompleted due to editorial conflicts between DC and Marvel Comics. Two decades later, in 2002, the Big Two at last came to an agreement to work together and publish a crossover between their two superstar teams. Even though Perez was signed to CrossGen, he’d included a clause in his contract with them that if Justice League / Avengers ever happened he would be allowed to draw it. And so he was reunited with Kurt Busiek and colorist Tom Smith to produce the long-awaited meeting of the Justice League and Avengers in four double-sized bookshelf issues.
JLA / Avengers once again gave Perez the opportunity to draw his casts of thousands. The absolute highlight of the event was the wraparound cover to the third issue, on which Perez depicted every single member of both teams up to that point in time. Tom Smith recently recounted that it took him two whole weeks just to color that cover.
It seems like everyone has a George Perez story, so here’s mine: I met writer Marv Wolfman at a comic con in White Plains NY in June 2000 and had him autograph my copy of Crisis on Infinite Earths #8, the historic (and at the time absolutely permanent) death of Barry Allen, the Silver Age Flash. A few months later, at a store signing in Connecticut, I met artist Jerry Ordway, who had inked that issue,and I had him autograph it, too. He smiled and said “I’d better leave room for George Perez to sign it.” I responded that he didn’t have to do that, since I didn’t expect to ever meet Perez (and, really, I didn’t think I’d have the opportunity, because he was such an incredibly popular artist). Ordway just smiled again and autographed the book, leaving several inches space between his and Wolfman’s signatures.
Fast forward a few years, and low & behold none other than George Perez was a guest at a comic con in Manhattan. Of course I brought along my copy of Crisis on Infinite Earths #8, and Perez autographed it in between Wolfman & Ordway’s signatures. So, a big “thank you” to Jerry Ordway for his foresight.
I wish I could regale you with some fascinating anecdotes about my meeting George Perez. The simple fact is, in the couple of minutes I spoke with him he came across as a good person, and that’s it. From everything I’ve heard Perez was always like that; he always made an effort to be friendly to all of his fans, to greet them with a warm smile.
About a decade later Michele and I were at New York Comic Con. We ran into Perez when he was between panel discussions or something; I don’t recall the specifics. I just remember that Michele had had a copy of Wonder Woman vol 2 #19 with her, and she went up to Perez and asked him to sign it. I think he was talking with someone, or maybe he was on his way out of the room, but whatever it was he was doing he paused, turned to Michele, smiled, pulled out a sharpie, and autographed her comic. That’s the type of person Perez was, always making time for his fans.
George Perez was an incredible artist and a genuinely decent person. He will definitely be missed. I wish to offer my condolences to his family, friends and colleagues for their loss.
On April 5th prolific character actor Nehemiah Persoff passed away at the age of 102. Given his lengthy career and his long life, I wanted to share a few highlights about the man and his work.
Persoff, who was Jewish, was born on August 2, 1919 in Jerusalem, in what was then known as the British Mandate of Palestine. When he was 10 years old Persoff immigrated to the United States with the rest of his family.
Persoff initially trained as an electrician at the Hebrew Technical Institute in New York City, from which he graduated in 1937. However he was possessed of a love of acting, and when drafted into the United States Army during World War II he was part of an acting company that entertained soldiers overseas. In 1947 Persoff was accepted into the Actors Studio in Manhattan, and a year later he began his professional career.
As with many foreign-born actors in the American movie and television industry in the mid 20th Century, Persoff was cast as a wide variety of ethnicities & nationalities, and frequently portrayed villainous roles. Most notably, between 1959 and 1962 Persoff guest starred in six episodes of the Prohibition era crime drama The Untouchables, three of those featuring him as Jake “Greasy Thumb” Guzik, financial advisor and bagman to Chicago mob boss Al Capone.
Another of Persoff’s memorable television appearances was The Twilight Zone episode “Judgment Night” written by Rod Serling and broadcast in December 1959. He played Carl Lanser, a ruthless Nazi U-boat captain who is now doomed to spend all of eternity trapped on the British cargo liner he ordered destroyed in 1942.
Among the other genre roles Persoff was cast in were brilliant South American scientist Professor Moreno in the Wonder Woman episode “Formula 407” (1977), the supreme leader of the totalitarian Eastern Alliance in the Battlestar Galactica episode “Experiment in Terra” (1979) and Palor Toff, a very odd-looking alien merchant & collector of rare items in the Star Trek: The Next Generation episode “The Most Toys” (1990).
As he grew older, Persoff was afforded more opportunities to portray sympathetic roles, and was often cast as characters who shared his own real-life Jewish heritage, something that was of great personal importance to him. He played a Jewish refugee fleeing from Nazi oppression in the 1976 historical drama Voyage of the Damned and portrayed Rebbe Mendel, the father to Barbara Streisand’s character in the 1983 musical Yentl. Persoff later gave voice to another Jewish patriarch, Papa Mousekewitz, in the 1986 animated movie An American Tail and its three sequels.
Persoff’s acting career lasted thru 1999. After suffering from a stroke he retired, but he then took up watercolor painting, on which he spent the next two decades. He also wrote an autobiography, The Many Faces of Nehemiah, which was published in 2021.
Persoff met his future wife Thia during a visit to Israel in 1951. They married later that year and remained together until her own passing in 2021.
“It was a wonderful sixty years, but at this time in my life, I love solving problems on the canvas; trying to find the beauty and essence of a subject. It’s a fascinating, challenging, yet calming and most fulfilling process, finding colors that like each other, not only the basic colors, but the infiinite variations, starting with a fresh canvas and suddenly seeing it come alive. That gives one a tremendous feeling of satisfaction. I feel very fortunate in being able to continue my creative life; but this time without the tension, frustration and conflicts of an acting career.”
As with many, many other comic book fans, I was deeply saddened by the announcement this week that longtime artist & writer George Perez has been diagnosed with cancer, and has been given an estimated life expectancy of six months to one year. Perez is one of the all-time great creators to have worked in American comic books over the last four and a half decades.
While I have mentioned Perez on this blog in passing, regrettably I’ve never taken any sort of in-depth look at his art or writing before. I really want to rectify that now, while Perez is still among the living. And so I am going to showcase several examples of his work on one of the characters with whom he is most identified: Wonder Woman.
People like to throw around the word “definitive” but that is exactly the term I would use to describe George Perez’s iconic run on the Wonder Woman series from 1987 to 1992. In my mind, he wrote and drew one of the definitive versions of the character.
I had one heck of a time narrowing it down to just 10 examples!
Let’s start at the beginning. Here is George Perez’s beautiful cover for the first issue of Wonder Woman volume two (Feb 1987). Perez’s intricately detailed work superbly depicts Princess Diana, Queen Hippolyta, the Amazons, the Greek gods, and the island of Themyscira.
I really believe that Perez’s post-Crisis On Infinite Earths reboot / revamp of the Wonder Woman mythos is one of the primary reasons why the character of Princess Diana has subsequently become such a major character. Or, as acclaimed comic book writer Gail Simone put it:
“The hottest artist of the day, with a string of hits behind him, decided to cast his ridiculous talents on Wonder Woman. And it changed EVERYTHING.”
I don’t know if Perez deliberately set out to top the first issue’s cover when he illustrated the fold-out cover to Wonder Woman #10 (Nov 1987), the first chapter of “Challenge of the Gods,” but he definitely succeeded.
The introduction of the post-Crisis version of the villainous Silver Swan was heralded by Perez’s incredibly striking cover for Wonder Woman #15 (April 1988). Perez’s utilization of highly detailed work, an unsettling layout and negative space all combine to really make this one stand out. I wish I knew who did the coloring on this, because it certainly complements Perez’s work.
I would be absolutely remiss if I did not showcase an example of Perez’s interior work. “Who Killed Myndi Mayer?” in issue #20 (Sept 1988) finds Diana investigating the brutal murder of Myndi Mayer, her vivacious yet troubled publicist. On the final page of this story Diana at long last learns the tragic truth behind Myndi’s passing. Perez’s storytelling & dialogue combine to deliver a shocking, somber emotional moment.
“Who Killed Myndi Mayer?” was written & laid out by Perez, from an idea by Carol Flynn (Perez’s wife), with finishes by Bob McLeod, letters by John Costanza and colors by Carl Gafford. It was justifiably chosen for inclusion in the collection Wonder Woman: The Greatest Stories Ever Told published in 2007.
Another hyper-detailed Perez cover graces Wonder Woman Annual #1 (Nov 1988), in which Diana takes her good friend Julia Kapatelis and her teenage daughter Vanessa to visit the Amazons on Themyscira. John Stracuzzi’s vibrant colors enhance Perez’s work. Lettering is by Todd Klein.
A talented line-up of artists drew the different chapters of Perez’s story for Wonder Woman Annual #1. One of the more interesting artistic teams on the Annual was Silver Age Wonder Woman penciler Ross Andru inked by Perez himself. Andru is an underrated artist, and his storytelling on this chapter is solid, beautifully enhanced by both Perez’s inking and Carl Gafford’s coloring.
Kudos to Todd Klein for effectively lettering Perez’s script for this Annual. That was one of the great aspects about Perez’s Wonder Woman stories; they were very dense & intelligently written, the exact opposite of decompressed storytelling.
When I started reading DC Comics in the early 1990s, the 16 issue loose-leaf edition of Who’s Who in the DC Universe edited by Michael Eury was an absolutely invaluable resource. Eury recruited an all-star line-up of artists to create the profile images for the DC heroes and villains. Of course he asked George Perez to draw Wonder Woman, who was cover-featured in Who’s Who #4 (Nov 1990). Coloring is by Tom McCraw.
As I previously touched upon in my post on the 80th birthday of Wonder Woman, my first exposure to the series was during the “War of the Gods” crossover… which was probably the absolute worst time to start reading it! I was completely lost as to who these characters were and what was going on with these various different plotlines.
Nevertheless, Perez’s stunning covers, as well as the beautiful interior art by penciler Jill Thompson & inker Romeo Tanghal, caught my attention enough that when several months later DC Comics presented a jumping-on point for new readers with incoming writer William Messner-Loebs, I dove in. Soon after I started to read the earlier Perez stories via back issues and collected editions.
In any case, here’s Perez’s atmospheric cover for Wonder Woman #59 (Oct 1991) featuring guest appearances by Batman and Robin.
George Perez’s epic run on Wonder Woman came to an end with issue #61 (Feb 1992). Nevertheless, he has subsequently drawn Princess Diana on several occasions since then, and his return to the character has always been welcome. Here is one of those, the gorgeous pin-up Perez drew for the Wonder Woman Gallery special (Sept 1996). Coloring is by Tatjana Wood. I scanned this from my copy of the book, which I got autographed by Perez at a comic con in the early 2000s. I’m glad I got to meet him.
A few years ago on Twitter writer Gail Simone shared the first page of Wonder Woman #600 (Aug 2010) with the following explanation:
“When George Perez specifically requests you to write his farewell story to Wonder Woman and this is just the first page.”
Perez has an absolute penchant for drawing literal armies of characters, and that is definitely on display here! Diana leads some of DC Comics’ greatest female heroes into battle on this dynamic opening page. “Valedictorian” was written by Gail Simone, penciled by George Perez, inked by Scott Koblish, colored by Hi-Fi and lettered by Travis Lanham.
During an astonishing career that stretched from 1974 to 2019, Perez drew literally thousands of comic book characters. Nevertheless, his work on Wonder Woman will always be one of the absolute highlights.
Today is the 80th birthday of Wonder Woman, who was created by writer William Moulton Marston & artist H.G. Peter . The character made her debut on October 21, 1941 in the pages of All-Star Comics #8, published by DC Comics with a Dec 1941 / Jan 1942 cover date. The next month Sensation Comics #1 was published with Wonder Woman as the starring cover feature. Six months later, in the summer of 1942, Wonder Woman gained her own solo comic book series.
I imagine that, as with many who were born in the mid 1970s, my first exposure to the character of Wonder Woman was the Super Friends animated series and the live action Wonder Woman television series starring Lynda Carter that originally aired from 1975 to 1979.
To this day I agree with the sentiment that Lynda Carter as Wonder Woman / Diana Prince remains one of the most brilliant casting decisions in any live action adaptation of a comic book property. About a decade ago I bought the entire series on DVD, and it definitely still holds up, in large part due to Carter’s warm, empathetic, strong performance.
The first time I ever read the actual Wonder Woman comic book series was in 1991, towards the tail end of George Perez’s groundbreaking run. In retrospect this was probably not an ideal time to get into the series, as this was right at the start of the convoluted War of the Gods crossover. However, several months later, in early 1992, there came a perfect jumping-on point, when William Messner-Loebs took over as writer on Wonder Woman. I know some fans feel there was a decline in quality under Loebs. Nevertheless, it was the ideal entry for a brand-new reader such as myself who was unfamiliar with the character. Plus the stunningly beautiful cover artwork by Brian Bolland made Wonder Woman a must-buy each month.
In the early 1990s I did pick up a number of the earlier Perez issues at comic conventions, and I agree that they were extremely good. To this day Perez’s work on the character remains among the strongest in her 80 year history.
I followed the Wonder Woman series for the next seven years, for the entirety of Loebs’ run, and then for writer-artist John Byrne’s stint on the series. Although I stopped picking up the book regularly in late 1998, in the years since I’ve periodically returned to Wonder Woman on several different occasions.
I especially enjoyed the short six issue run by Walter Simonson & Jerry Ordway in 2003, the New 52 Wonder Woman by writer Brian Azzarello & artist Cliff Chiang that began in 2011, and the 17 issue revival of Sensation Comics featuring a variety of creative teams bringing their different approaches to the character that ran from 2014 to 2016. Most recently I’ve been enjoying the Sensational Wonder Woman series, which also features different creative line-ups each issue.
Without a doubt I can say that Princess Diana of Themyscira remains one of my favorite comic book characters.
William Moulton Marston was an outspoken feminist, and he created Wonder Woman to be a symbol of female strength & empowerment. Over the last eight decades the character has certainly served as a source of inspiration to many female readers, and to female audiences who have seen her adapted to television, animation and motion pictures.
Yesterday I wrote a short retrospective on comic book creator Steve Lightle, who passed away at 61 years old on January 8th. Lightle was a very talented artist who worked on numerous series during a career that lasted three and a half decades. I am going to spotlight some more examples of his artwork. Here are ten of my favorite Steve Lightle covers and pin-ups.
1) Bolt Special (Spring 1984) – Steve Lightle’s earliest published work was for Bill Black and AC Comics. He drew several covers for AC, including this one. In addition to the title character, this features Tara the Jungle Girl, who would soon co-star in AC’s flagship title Femforce. This cover really shows that Steve hit the ground running.
2) Tales of the Legion of Super-Heroes #342 (Dec 1986) – This is definitely a fantastic showcase of Lightle’s work on the Legion, fitting the entire mid-1980s lineup onto a single cover. He really captured the individual personalities of the various characters. The coloring is by Anthony Tollin.
3) Who’s Who: The Definitive Directory of the DC Universe #23 (Jan 1987) – Lightle co-created Legion member Tellus with writer Paul Levitz. Lightle revealed in interviews that in designing Tellus he wanted to come up with a completely alien, non-humanoid being, and he put a lot of thought into developing the character. This pin-up really illustrates what a unique character Tellus is.
4) Who’s Who in the Legion of Super-Heroes #1 (Apr 1988) – Lightle contributed wrap-around covers to the first two issues of this seven part spin-off from the main Who’s Who project. On this first one Lightle draws several members of the then-current line-up alongside a flashback to the team’s first tragic battle with Computo, a story originally recounted during the Silver Age.
5) Classic X-Men #36 (Aug 1989) – Lightle drew a number of incredible covers during his three year run as cover artist on Classic X-Men. The assignment gave him the opportunity to revisit, and reexamine, many of the already-iconic moments from the classic Claremont & Byrne run. Lightle seemed to be especially inspired on his covers for the reprints of “The Darth Phoenix Saga,” with this image of the X-Men and Phoenix being especially stunning.
6) Who’s Who in the DC Universe #14 (Nov 1991) – Lady Quark is a somewhat atypical female superhero, possessing a more athletic physique, harder features and short cropped hair (apparently her look was based on Scottish singer Annie Lennox). Lightle does a fine job illustrating Lady Quark in this profile pic, showcasing her as a powerful, formidable being. The coloring is by Tom McCraw.
7) Marvel Comics Presents #127 (Apr 1993) – This cover with Ghost Rider and Typhoid Mary works well to visualize the duality of the later character, with the Spirit of Vengeance caught between her two personalities . The coloring on this is also very effective, and is probably by Steve himself or his wife Marianne.
8) Wonder Woman Gallery (Sept 1996) – Lightle certainly did a very beautiful pin-up of Princess Diana for this special. It’s unfortunate that he did not have too many opportunities to draw Wonder Woman. The coloring is by Tom McCraw.
9) The Flash #161 (June 2000) – Lightle drew a lot of great pieces during his three year run as cover artist on The Flash, but many people (myself included) nevertheless consider this to be one of the best. This issue features a flashback to the honeymoon of the first Flash, Jay Garrick, and his wife Joan in Las Vegas in 1947, with Jay’s teammates in the Justice Society crashing the party. Lightle successfully evokes the feel of the Golden Age art styles from the original JSA stories. The lettering is by Todd Klein.
10) The Mighty Titan #3 (October 2014) – When writer Joe Martino was running the Kickstarter campaigns to fund The Mighty Titan he asked several established artists to contribute covers. Among them was Lightle, who drew the cover for issue #3. Lightle was a good person, and it was just like him to help an up-and-coming creator. I think it was Lightle posting this cover on social media that made me aware of The Mighty Titan in the first place, which led me to back the Kickstarter. The coloring is by Ross Hughes.
This list could easily have been twice as long. Steve Lightle drew so many amazing pieces of artwork during his lifetime. He will certainly be missed.
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.
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.
Longtime comic book & animation writer Martin Pasko passed away on May 10th. He was 65 years old.
Between 1973 and 1982 Pasko wrote a great many stories for the various Superman titles at DC Comics. On quite a few of these he was paired with longtime Superman penciler Curt Swan. In 1978 Pasko, working with artists Jose Luis Garcia-Lopez & Dan Adkins, launched the Superman team-up series DC Comics Presents with a well-regarded two-part story costarring the Flash.
In the mid 1970s Pasko also wrote Wonder Woman. The first part of Pasko’s run had him wrapping up “The Twelve Labors of Wonder Woman” storyline. Several issues later the series shifted focus to the Earth-Two’s Wonder Woman during World War II. This was an effort to align the book with the first season of the live-action television show starring Lynda Carter. Pasko’s final two issues, #231-232, were plotted by his friend Alan Brennert, his first work in comic books. Brennert & Pasko’s story, which was drawn by Bob Brown, Michael Netzer & Vince Colletta, had Wonder Woman teaming up with the Justice Society.
All of this was slightly before my time as a reader, as I was born in 1976. I have read some of those Superman and Wonder Woman stories in back issues or trade paperbacks. However, the first work by Pasko that I vividly recall from my childhood was his early 1980s revival of the Swamp Thing with artist Tom Yeates.
Pasko wrote the first 19 issues of The Saga of the Swamp Thing. He and Yeates created some genuinely weird, spooky, unnerving stories during this year and a half period. I vividly recall the two-part story from issues #6-7, which had Swamp Thing encountering a bizarre aquatic creature with eyeball-tipped tentacles that could transform people into one-eyed monsters. The shocking cliffhanger in issue #6 definitely seared itself onto my young mind and left me wondering “What happens next?”
I think Pasko’s work on Swamp Thing is often underrated, overshadowed by the groundbreaking Alan Moore run that immediately followed it. I know that I’m not alone in this estimation. A number of other fans also believe Pasko’s Swamp Thing stories are due for a reevaluation.
During this time Pasko was also working in animation. Among his numerous animation credits, he wrote several episodes of Thundaar the Barbarian, which had been created by fellow comic book writer Steve Gerber. It was Pasko who devised the name Ookla for Thundaar’s massive leonine sidekick. As he recounted years later, he and Gerber had been attempting to come up with a name for the character when…
“We passed one of the entrances to the UCLA campus and when I saw the acronym on signage, the phonetic pronunciation leapt to mind.”
I was a huge fan of Thundaar the Barbarian when I was a kid. I doubt I paid any attention to the credits back in the early 1980s, but years later, after I got into comic books, when I watched reruns of the show, the names of the various comic book creators involved in it, including Pasko, leaped right out at me.
Pasko was the writer on the first several issues of the revival of E-Man from First Comics in 1983, working with artist Joe Staton, the character’s co-creator. As I’ve previously written, I just don’t feel that Pasko was a good fit for E-Man. It really is one of those series that was never quite the same unless Nicola Cuti was writing it. Nevertheless, I’m sure Pasko gave it his best. There is at least one issue of E-Man where I think Pasko did good work, though. I enjoyed his script for “Going Void” in issue #5, which featured a brutally satirical send-up of Scientology.
Pasko got back into writing for DC Comics in late 1987, writing a “Secret Six” serial drawn by Dan Spiegel in Action Comics Weekly. He soon picked up another ACW assignment, featuring the revamped version of the Blackhawks conceived by Howard Chaykin.
This past January on his Facebook page Pasko recounted how he came to write Blackhawk in ACW. When asked to take over the feature from departing writer Mike Grell by editor Mike Gold, Pasko initially accepted it only because of the lengthy, ongoing strike by the Writers Guild…
“I took the assignment because I had no choice–I needed the money–but it turned out, in the end, to be the most fun I ever had writing comics. I haunted the UCLA Research Library, immersing myself in everything I could learn about the post-WWII era in which the series was set, making Xeroxes of visual reference for the artist and having the time of my life.
“But my greatest thanks are reserved for that artist, my fantastic collaborator, the impeccable storyteller, Rick Burchett. Which is why this stuff is tops among the work of which I’m most proud. That stuff was all YOURS, Rick.”
Pasko & Burchett returned to the characters with an ongoing Blackhawk comic book that launched in March 1989. It was a really enjoyable series, and it’s definitely unfortunate that it only lasted a mere 16 issues, plus an Annual.
In 1992 Pasko became a story editor on Batman: The Animated Series, working on 17 episodes of the acclaimed series. He wrote the episode “See No Evil” and co-wrote the teleplay for the episode “Paging the Crime Doctor.” Additionally, Pasko co-wrote the screenplay for the 1993 animated feature Batman: Mask of the Phantasm, which was released theatrically.
In the later part of his career Pasko contributed to several nonfiction books. He also wrote the occasional comic book story for DC. Among these was the special DC Retroactive: Superman – The 1970s penciled by Eduardo Barretto, which gave Pasko the opportunity to write the Man of Steel and his Bronze Age supporting cast one last time.
I never had an opportunity to meet Martin Pasko. I narrowly missed him at Terrificon a few years ago. Fortunately, Pasko was very active on Facebook, and I was one of the many fans who he enthusiastically interacted with there. He wrote some really great stories in his time, and will definitely be missed.
Prolific actor David Hedison passed away on July 18th at the age of 92. I always enjoyed seeing him appear on numerous television shows and movies throughout the years. He acted in several memorable productions.
Albert David Hedison Jr. was born on May 20, 1927 in Providence, RI. Hedison first became involved in acting when he appeared in a school play in Junior High School. He attended Brown University in Providence, where he majored in English. Hedison subsequently studied at the Neighborhood Playhouse and the Actors Studio in New York City.
Under the name “Al Hedison” he appeared in various stage productions throughout the 1950s, including the 1956 Broadway production of A Month in the Country directed by Michael Redgrave. This brought him to the attention of 20th Century Fox, who signed him to a contract. His first job for the studio was a supporting role in the 1957 movie The War Below starring Robert Mitchum.
Hedison’s next role was in The Fly (1958). Directed by Kurt Neumann, The Fly was adapted from the short story by George Langelaan. Several actors passed on the role of scientist André Delambre, since the character would spend much of the movie with his face hidden beneath a mask. Hendison, however, was very taken with the screenplay by James Clavell and enthusiastically signed up. The Fly was an incredibly well produced movie, one of the classic sci-fi / horror films, and it featured a very moving & tragic performance by Hedison. It would become one of the most memorable entries in his lengthy career.
In 1960 Hedison was cast in the Cold War adventure series Five Fingers on NBC. Probably the most noteworthy aspect of this short-lived show was that NBC insisted Hedison change his name, as they apparently felt “Al” was not distinctive enough. Hedison decided to go with his middle name, and for the rest of his career he was billed as “David Hedison.”
From 1964 to 1968 Hedison starred as Captain Lee Crane in the sci-fi / adventure TV show Voyage to the Bottom of the Sea. Despite repeated entreaties by series creator Irwin Allen, Hedison was initially uninterested, but he was finally won over when he learned Richard Basehart would be his co-star, portraying Admiral Harriman Nelson. As Hedison recounted in a 2013 interview with Classic Film & TV Café:
“I had never met him, but I admired Richard’s work very much. I got his number from the studio. I called him up, and we agreed to meet at his house. He liked my enthusiasm, we hit it off and we worked really well together. We made the show work. Richard and I had real chemistry. He taught me so much about being camera ready when I needed to be. Television filming is so very fast, we always had to keep moving on. Voyage shot in six days–we filmed at a very fast pace.”
Voyage to the Bottom of the Sea was very much a product of its time, and of Allen’s production style. It was totally story-driven, with stand-alone episodes and no real character development. The first season, shot in black & white, was fairly serious, with a lot of gritty Cold War-type plotlines and a fair amount of location work. Once the show transitioned to color with season two, it started to become over-the-top and silly, with most of the episodes featuring a monster of the week, and pretty much everything being shot in the studio. The show also started reusing a lot of props from Lost in Space and other Allen productions.
Despite these drawbacks, Voyage is a fondly remembered series. Hedison and Basehart’s performances definitely played a large part in that, and they often helped to carry some of the more far-out episodes.
Among Hedison’s other memorable roles were his two appearances in the James Bond movie franchise. He played CIA agent Felix Leiter in Live and Let Die (1973) with Roger Moore as Bond. Hedison becoming the first actor to play Leiter twice when he reprised the role 16 years later in License to Kill (1989), this time with Timothy Dalton as Bond.
I’ve always felt that having Hedison return as Leiter in License to Kill was a smart move. In the original Ian Fleming novels Leiter was a close ally of Bond, but this never really carried across to the movies, because each time Leiter showed up he was played by a different actor. The plot of License to Kill involves Bond going rogue and seeking vengeance against the South American drug lord who nearly kills Leiter. This becomes much more believable if you have Leiter played by someone who has previously appeared in the role, someone who the audience has an existing connection to. Even though Bond was now played by Dalton, having Hedison return as Leiter really helped sell the idea that these two men were longtime friends, and that Bond would go to hell & back to avenge him.
Hedison also found work in television soap operas. Throughout the 1990s he was a regular on Another World, and in 2004 had a recurring role on the soap opera The Young and the Restless.
Although Hedison seldom received starring roles later in his career, he nevertheless worked regularly through the decades. According to the New York Times, Hedison appeared in more than 100 movie and television roles during his lengthy career.
Among Hedison’s noteworthy television guest roles, he appeared in a January 1964 episode of The Saint. Also guest starring the lovely Suzanne Lloyd, “Luella” has Hedison playing a newly-married friend of Simon Templar’s whose wandering eye & overactive libido gets him ensnared in a blackmail scheme. This was definitely one of the most humorous episodes of The Saint, and Hedison really threw himself into it with an energetic performance. This was Hedison’s first time working with Roger Moore, and the two became good friends.
Another memorable turn for Hedison was “The Queen and the Thief,” an October 1977 episode of the Wonder Woman series starring Lynda Carter. Hedison portrayed suave international jewel thief Evan Robley. The episode guest starred Juliet Mills and John Colicos. It’s certainly one of the more low-key episodes of Wonder Woman, but Hedison definitely sells it with his portrayal of the smooth, charismatic master criminal.
“I think I do comedy best. I think I’m very good at comedy. I’ve done a few comedy things in stock and whatever, and I’m very good at that. You wouldn’t know that from Another World because I’m so grim and serious, as I was as well in Voyage to the Bottom of the Sea, but I do like comedy. I would love to do a comedy, and I’m sure I will someday.”
Given his fondness for comedy, I’m sure Hedison appreciated his guest roles on The Saint and Wonder Woman, as they enabled him show a much more humorous side than usual.
Hedison also possessed a great love for theater. He appeared in numerous stage productions throughout his career. In the 1990s and early 2000s he was a regular presence in regional theater throughout the New England area.
Hedison was married Bridget Mori. They met in Positano, Italy in 1967, and were married in London a year later. They had two daughters, Alexandra and Serena Hedison. David and Bridget were together until her death from breast cancer in 2016. I’ve always thought that was very romantic & sweet, that they were married for nearly five decades.
I was fortunate enough to meet David Hedison once, at a comic book convention in New York City in September 2009. I got an autographed photo of him as Felix Leiter from License to Kill. He appeared to me to be a very warm, friendly individual. At the time I also thought he looked much younger than 82 years old.
Due to his appearances in so many popular movies & series, Hedison was a frequent interview subject. In October 2007 he penned a humorous foreword to the informative non-fiction book The Fly at Fifty: The Creation and Legacy of a Classic Science Fiction Film by Diane Kachmar & David Goudsward. Hedison always came across as lively and enthusiastic, possessing a wry sense of humor. Even when he was in his 80s he still brought a lot of energy to his interviews & appearances.
David Hedison will certainly be missed by his many fans. He had a good, long life, working in a career he loved. We should all be so fortunate.
It’s been a few years since I’ve regularly followed any DC Comics titles. However, over the past several months I have bought a number of DC trade paperbacks.
I eventually noticed a general theme to these TPBs: They had stories that were set on Earth 2, or in the future, or in alternate realities. I’ve come to realize that while I like a lot of DC characters, I long ago got tired of monthly titles where there is a never-ending illusion of change. On the other hand, stories set on other Earths, or eras, or that fall under the “Elseworlds” umbrella provide creators with opportunities to present different takes on familiar characters, and tell stories that are more self-contained, with somewhat greater consequences.
(It’s funny… When I was a teenage comic book fan I was hung up on continuity, on whether or not stories were “real” and actually “counted.” Nowadays I just want to read an enjoyable, intelligent story, and it doesn’t matter to me if it takes place on Earth 67 or Earth B or whatever.)
This past June artist Lynne Yoshii was a guest at the Women in Comics convention at the Brooklyn Public Library. I was not previously familiar with Yoshii, but the art she had on display looked incredible, so I purchased one of the issues of Gotham City Garage which contained her work. I was pleasantly surprised at how much I enjoyed it, and subsequently got the first TPB. The second one finally came out last month.
Gotham City Garage is written by Collin Kelly & Jackson Lanzing. After the majority of the Earth was devastated by an environmental catastrophe, Lex Luthor seized control of Gotham City, which he has rebuilt as a domed city called the Garden. Aided by a fascist Batman and an army of robots known as “Gardeners,” Luthor implanted “Ridealongs” within the brains of the population. These implants pacify negative emotions and instill loyalty to Luthor.
Only a handful of individuals escaped becoming brainwashed zombies in Luthor’s dystopia. They are now based out of the Gotham City Garage, a safe haven in the wastelands built by Natasha Irons.
Kelly and Lanzing utilize the teenage Kara Gordon as the audience identification figure. Seemingly a loyal member of Luthor’s staff, Kara has to hide the fact that her Ridealong does not work. Outwardly she smiles brightly and chants “Lex loves you” but inwardly she is miserable, the only person with free will in a city of lobotomized slaves.
The first issue opens with the Gardeners finally rumbling to Kara’s secret. She is only saved by the intervention of Jim Gordon, who tells her to flee the Garden. He also informs the shocked teenager that she is not actually his daughter, that he adopted her when she was an infant to protect her from Luthor. Escaping the city, exposed to yellow sunlight for the first time, Kara quickly realizes that she has superpowers, and is in fact an alien.
Fleeing the Gardeners, Kara encounters chopper-riding rebels from the Garage: Big Barda, Harley Quinn, Catwoman, and Silver Banshee. Initially suspicious of her, the women nevertheless help Kara defeat the Gardeners and bring her to their headquarters. Although naïve and inexperienced, Kara / Supergirl joins the rebels, quickly becoming an important ally in their struggle to stay free from Luthor’s control.
Gotham City Garage is a female-driven book. The majority of the protagonists are women. Kelly and Lanzing do excellent work writing Supergirl, Batgirl, Big Barda, Wonder Woman, Catwoman, and the other heroines.
I enjoyed the student & mentor relationship they set up between the young, idealistic Kara and the embittered Barda, who all these years later still suffers PTSD from her horrific upbringing on Apokolips. The voices that Kelly & Lanzing give to both Kara and Barda feel authentic.
The series offers up interesting and visually striking re-imaginations of a number of DC’s iconic characters. One of the most effective of these is Harley Quinn, not just visually, but also conceptually. Although incredibly popular, Harley Quinn can nevertheless be a problematic figure. She is a woman who was manipulated by, and is in an abusive relationship with, the psychotic Joker. After she migrated from DC’s animated universe into its mainstream continuity and spun off into a solo title, Harley Quinn’s ties to the Joker were often downplayed. Obviously the writers & editors at DC realized that it would be awkward to have a series starring a character who was a disciple to a mass murderer. Nevertheless, you still had a character whose origins were rooted in emotional abuse and Stockholm Syndrome.
The way that Gotham City Garage improves upon Harley Quinn is by providing her with an agency lacking in her mainstream counterpart. In this reality Dr. Harleen Quinzel was recruited by Luthor to develop the Ridealongs. Agreeing to work with Luthor as much for self-preservation as to satisfy her scientific curiosity, Quinzel perfects the system that gives Luthor control of the city’s populace. Too late realizing that she has enabled Luthor to turn the people into mindless drones, Quinzel rebels. Attempting to both sabotage the Ridealongs and free herself from Luthor’s control, Quinzel deliberately scrambles her own brain patterns. This results in a new, humorously irreverent, sarcastic personality with a penchant for extreme violence.
In what is an effective turn-around, it is Harley who creates the Joker. She inspires Lloyd, one of her former patients who she liberated, to adopt her outrageous sense of fashion and her dedication to cartoonish acts of anarchy.
The twelve issue series is a more or less complete arc that reaches a definite conclusion that nevertheless leaves open the possibility of future stories. There was at least one dangling subplot, namely what happens to Zatanna and Silver Banshee, but perhaps Kelly & Lanzing were leaving that for another day.
The artistic line-up for Gotham City Garage is impressive. Certainly I have to give much praise to Lynne Yoshii, who got me interested in this series in the first place. Yoshii has a really fun, dynamic style. She also does really good work with her storytelling, her layouts delivering both action and emotional character moments. Yoshii’s pencils for issue #2, which are inked by Jose Marzan Jr, were both exciting and humorous. I hope that we see more from her in the near future.
I also like the artwork by Brian Ching. He has a style somewhat reminiscent of Kieron Dwyer and Dan Panosian. Ching’s work has a gritty tone that is also slightly cartoony & exaggerated, which is perfect for the post-apocalyptic setting.
Another effective contributor to Gotham City Garage is Aneke, who illustrates “Bad Seeds” in issue #3, which spotlights Harley Quinn, and flashes back to reveal her origin. Plus I love how Aneke draws Harley’s wacky pet hyenas.
As I observed in the past, it appears to take a particular skill set to work on these “digital first” titles. A penciler needs to be able to lay out the pages so that the top and bottom halves work as separate pieces on the computer screen, but also work together as a single, uniform page in the print edition. I feel that most of the pencilers who contributed to Gotham City Garage did a fairly good job at accomplishing this.
The covers are mostly of the pin-up type. I usually am not fond of these types of covers, since they reveal little about the actual contents inside the books. Unfortunately that seems to be the default style for DC (and Marvel) cover art in the 21st Century. At least most of them are well drawn. Dan Panosian’s variant cover for issue #1 featuring Wonder Woman is certainly striking, and it was a good choice to re-use to for the first collected edition.
Also along for the motorcycle ride are colorist Kelly Fitzpatrick and letterer Wes Abbott, both of whom do good work.
Gotham City Garage is a fun series with good artwork, an enjoyable and thoughtful alternate take on the DC universe.