Tag Archives: DC Comics

She’s Wanted And On A Great Cover

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Returning to my weekly blog (did you miss me?) just in time to showcase another great comic book cover as part of my monthly series focusing on some of the great covers in the history of comic books. This month I stay with DC Comics (last month I did a Superman: The Man Of Steel cover) to examine the cover of Wonder Woman #240 from February, 1978.

This cover is a little unusual for a super-hero comic. There’s no battle. Wonder Woman isn’t shown to be in any immediate danger. The villain, if that is what he is, seems to be either moving quickly or nervously. It’s difficult to tell if those motion lines depict rapid movement or a shaky hand. I think it’s a shaky hand.

And is that a star on the cuff of the man’s coat? Is this man a general? Does his military status, the top secret file, and the wanted poster mean the American government is after Woman Wonder? What has she done?

So many questions brought up by the cover.

The artwork is top notch. Drawn by one of DC’s best artists Jose Luis Garcia-Lopez and inked by DC’s inking machine Dick Giordano. Garcia-Lopez’s style is crisp and clean. His linework is simple and elegant. And his action and anatomy drawing is terrific.

There’s an attention to detail on this cover that is very impressive. The perspective drawing is solid as the artist shows us the top secret file and stamp, the wanted poster, the drawer, gun, and even the everyday items found on a work desk. Right down to the paper clips in the cup and the wood grain on the drawer. There’s even a nick in the drawer to show the desk have been lived in.

Even with all those details, the reader never loses sight of the cover’s action.

I think it’s a great cover.

Packing Peanuts!

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Images used under Fair Use.

Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books.

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This Month’s Great Cover Has A Lantern Jaw

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Just look at that!

In the January, 1993 issue of Superman (#75), our hero from the planet Kryton had died defeating what seemed to be an unstoppable foe: Doomsday. In the months that followed, as Superman lay “dead,” four characters stepped in to fill his sizable shoes. They were Eradicator, Superboy, Cyborg Superman, and Steel. Eventually, the real Superman rose from the dead (hardly anyone stays dead in comic books for very long) to take up the task of once again fighting for Truth, Justice, and the American Way.

This month’s great cover is from Superman: The Man Of Steel #25 (September, 1993). It was drawn by Jon Bogdanove and inked by Dennis Janke. Bogdanove had started working for Marvel Comics in 1986, then he hopped on over to DC Comics in 1991 and became part of the team that created the Man Of Steel title in an expansion of the titles featuring our hero from another world. Then, in the wake of Superman’s death, the team created a new hero named Steel to take over the title.

1993 was part of th23188at awful time period when comic book art began to drown in unnecessary linework. Lines! Lines! Lines! Marvel and Image Comics led the way in this era in which some artists forgot to leave room for color, adding more and more lines, while some inkers also abandoned the use of varying line weight to show the shape of things. Look at the cover of The Incredible Hulk #341 (March, 1988), drawn and inked by Todd MacFarlane, one of the artists who issued in this flood of undisciplined linework. Now, imagine there’s no color, it’s a black and white line drawing. Without the color it would be difficult to tell just what the hell is going on. So many unnecessary lines, which all have more or less the same weight to them.

Compare MacFarlane’s cover to this month’s great cover. Bogdanove and Janke use plenty of lines for shading, but the lines are disciplined. They are loose in their execution, but they are placed right where they are needed. There are thick and thin lines. They make sense. You can tell exactly what is going on. And they leave room for color, which was masterfully provided by Janke.

I love a good close-up and Bogdanove and Janke nailed this one. This, my friends, is how you draw an angry, determined, about-to-kick-your-butt Superman!

Packing Peanuts!

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Images used under Fair Use.

Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books.

Correction (12-5-18): I had the scope of the Superman: Man Of Steel title wrong. When the series started in 1991 it featured Superman. I had originally indicated the series was created to fill the void of the missing hero. The correction has been made.

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A Great Comic Cover From The Days Before Zombies Were Played Out. (They Are Played Out, Right?)

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The best month of the year has once again arrived. Seriously, it’s awesome. The weather, at least where I live, is so much more pleasant than any other time of the year. Baseball’s postseason kicks off and, boy, I hope the Hated Yankees lose. (You should, too!) My wife and I celebrate our wedding anniversary. And the best month is capped off by the best holiday – Halloween!

Come on! How could any month be better?

Since the capper is Halloween, it’s my tradition to declare a comic book cover that depicts the macabre as great. So, this October I declare the cover of Batman #453 (Late August 1990) to be great. It was drawn by one of my favorite artists Mike Mignola, with inks by George Pratt.

Mignola is one of those artists who when he first started in the field attempted to conform to a more traditional superhero drawing style. Fortunately, he began to draw the way he wanted to and his work got so much more interesting. At least, to me.

This cover of Batman came out during the later stage of his change over in his style. And it’s great. Batman is best when he’s depicted on the macabre side (Kelley Jones also excelled at the macabre Batman) and Mignola’s deceptively simple line work is on par with David Mazzucchelli’s work on the Batman: Year One storyline from 1987. (A terrific story arc!)

Just look at it! Stark contrast, muted colors, a graveyard with a demon-headed tombstone, the Dark Knight, and the undead! It’s great, I tell ya! Great!

Packing Peanuts!

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Images used under Fair Use.

Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books.

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Atlas/Seaboard Produced At Least One Great Cover

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Martin Goodman, founder of Marvel Comics, left his company in 1972 (he had sold it in 1968). He went on to form a new comic book and magazine publishing company called Atlas Comics in 1974. It’s referred to today as Atlas/Seaboard so as not to confuse it with Goodman’s other publishing company called Atlas that later became Marvel in 1961. He wanted to compete with the big two: DC Comics and, of course, his former company. He hired Stan Lee’s brother Larry Lieber as an editor and offered good money, along with rights to character creations and ownership of their artwork, to freelance artists to get them to come aboard.

He did get some of the big names in the field at the time. Steve Ditko, Neal Adams, John Severin, Russ Heath, and others all lent their considerable talents to the venture.

I can remember being excited about a new comic book company. I even bought a few of their comics. But, the mid 1970s was a rough time for comic books, even for the big two. Atlas just couldn’t compete and it folded in late 1975. None of their titles went more than four issues.

At least one great cover was produced in the upstart’s brief existence. This great cover isn’t by Adams or Ditko or any of the big name artists of the day. It’s also not by the then up and coming Howard Chaykin. No, this cover of the first issue of Targitt (March, 1975) was drawn and inked by Dick Giordano.

Giordano was more known for inking comics over at DC than for being an artist. But, as an artist, he was pretty good. You can see an influence from Neal Adams on this cover, most notably the arm of the bad guy wielding a knife. This makes sense, because Giordano inked a lot of Adams’ pencils for DC.

The Dutch angle might be a little on the severe side. I mean, they are obviously on a ship. Are the seas that rough? If so, why is the deck so dry? Oh. The bad guy’s “going down with the ship” comment isn’t just a pun? Well, the severity adds to the tension and impending action of the scene. Besides, I like Dutch angles.

I do think it was a mistake to have the guy with the speargun getting off a shot. He’s so close to a fellow standing stock still and yet he misses? Did he attend the Imperial Stormtrooper Academy™? Perhaps it’s just a warning shot.

I also like the idea of the character of Targitt. He’s an FBI agent bent on revenge against the Mob who was responsible for the death of his wife and child. There’s a whole Dirty Harry/Death Wish/Punisher vibe to the guy. But, Atlas decided over the next two issues to turn him into a costumed superhero. That was a mistake.

Atlas may have been short-lived, but they gave us this great cover.

Packing Peanuts!

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You- -You Can’t Resist This Month’s Great Cover

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He is considered one of the greats of the Silver Age (1956 – 1969) of Comic Books. He helped hone the image of DC Comics in an effort to compete with the upstart Marvel Comics. (Make Mine Marvel! Whoops. Sorry. I’m a Marvel kid, what can I say?) He was Carmine Infantino and I never really cared for his drawing style.

Yes, I acknowledge he was a good storyteller and overall a good artist. I was just never moved or excited by his work. Especially in the later years of his career, when I thought his people looked too stretchy.

As I enter stock into Nostalgia Zone’s online catalog, I get to check out lots of comic covers. I have had several catch my eye and I note them for future inclusion in my great covers series. Well, whose cover should have caught my eye just recently?

Carmine Infantino’s.

This month’s cover makes excellent use of the entire page with Infantino’s drawing of Death passing quite a ponderous amount of gas. Will The Flash be overcome? Will he die? Will he get the giggles due Death’s nasty farts?

Probably not any of those. (Well, maybe he’ll chuckle to himself a little.)

I also like the use of color. According to comics.org the colorist might be Jack Adler, but they aren’t sure. The green isn’t just one shade, nor is the figure of Death. Trading the traditional black outline look for using two shades of blue, with the darker blue replacing the black, gives the figure a ghostly feel. It’s a nice touch.

I may not be a fan of Infantino’s work in general, but I think this one (and several covers done for the Batman series) looks very good.

Packing Peanuts!

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The Transformation Of Four Artists

In comic books, if an artist is good (and maybe a little lucky) they can have long careers, sometimes decades. A lot of factors are at play. Can they draw? Can they convey the story visually? Can they meet deadlines? Do the fans like their work? Can they keep looking fresh?

Some artists change their style, which can cause some chagrin for some fans. Just a couple months ago, on a Facebook comic book fan group page, a member posted two images of the work of John Romita Jr. One was an early piece of his from an issue of The Dazzler, the other was a Superman cover from a few years later. The fan wondered what happened to Romita Jr.’s work. Why had it gotten so different and, in their opinion, so bad?

The thing about art is that it’s really subjective. It depends on what you like. The John Romita Jr. discussion fostered plenty of disagreement. Folks were arguing about which period of Romita Jr.’s work was better. There were lots of opinions attempting to justify each person’s position, making consensus difficult.

What do I think? Later John Romita Jr. illustration is better.

The answer to what happened to John Romita Jr.’s work, and I’m speculating here, is that he appeared to have decided to stop trying to conform to a formulaic comic book style and started drawing in his style. And, in my opinion, his work got so much more interesting.

Romita Jr. is one of four artists that come to my mind as examples of embracing their own style and achieving greater artistic heights. The others are Barry Windsor-Smith, Bill Sienkiewicz, and Mike Mignola. They are each examples of artists coming into the industry with a look that wasn’t especially interesting (not bad, just not interesting), and then developed into great and unique artists.

Barry Windsor-Smith

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So much Jack Kirby (and some Jim Steranko), but where is Barry Windsor-Smith?

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Some Windsor-Smith is beginning to break through.

Barry Windsor-Smith started working for Marvel in the late 1960s. His Jack Kirby-like style endeared him to Stan Lee. That got Windsor-Smith’s foot in the door, but then he began to adjust his style and moved away from producing work the looked like Kirby to work that had elements of Joe Kubert and Moebius, but was becoming more an more his own look. His progression in the ’70s and ’80s right through the 2000s is nothing less than astounding.

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Brilliant!

Bill Sienkiewicz

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It’s good, but very Neal Adams-ish.

When Marvel Comics’ character Moon Knight received his own title in 1980, Bill Sienkiewicz was the artist at the helm. He had done a few Fantastic Four issues as well and he had a decided Neal Adams style. As his work continued on Moon Knight, the Neal Adams influence began to fade and what Sienkiewicz began to produce would lead to a style that, although having similarities to illustrator Bob Peak’s work, really was all his own and very innovative in the field of comic books.

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Now that’s some Bill Sienkiewicz!

His work may not have pleased purists, but it brought comic book art into a whole new strata of illustration.

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Brilliant!

Mike Mignola

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It’s not quite right.

Mike Mignola started at Marvel in the early ’80s and I was buying Alpha Flight when he took over pencils after John Byrne left the book and I was… underwhelmed. Something just didn’t look right. Eventually, even while drawing superheroes, Mignola’s style began to come through. My whelmness increased. And when Hellboy debuted, I felt Mignola’s true style had fully revealed itself.

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Mignola’s uniqueness!

John Romita Jr.

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It’s not bad, it just doesn’t quite grab me.

This brings me to the artist I talked about at the beginning of this week’s blog. I think John Romita Jr.’s career has the benefit and difficulty of following in his father’s footsteps. The senior Romita cast a very large shadow. His influence on Marvel Comics in the ’60s and ’70s cannot be overstated. The man was a workhorse and he was a large factor in establishing the Marvel look.

So, I think, when Romita Jr. started he was pretty much locked in those giant footsteps of his father’s, but he began to allow his style to come out. His doing so, in my opinion, propelled his work beyond that of his father’s.

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Junior has emerged from his father’s shadow and I’m grabbed.

 

What these four artists have in common is they all started in the industry working in the style set down by their predecessors. They were all capable storytellers, but they lacked that certain something. When each artist shook off the establishment style and embraced they own way of drawing, their work became more fresh and exciting. They became innovators and they expanded the world of comic book art.

Packing Peanuts!

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Here’s A Few Things About Comic Books

This is going to be one of those round-up blogs, in which I comment on a number of comic book related topics. I have a few things to comment on, but not enough on each topic for a full write up, so…

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It’s real. It’s an actual comic book cover. The February 1966 issue of Lois Lane would finally address the issue of Clark Kent’s flimsy disguise. A nice suit and Buddy Holly glasses? Really? If I removed my glasses and donned a Superman costume, people would still know it was me. So, how did this disguise work in the comic books, TV shows, and movies?

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That’s me, holding the comic book in question. Geez! My toupee needs adjusting.

I read this issue (which you can buy at NostalgiaZone.com – $10 cheap!) and I’m going to spoil it for you. DC Comics doesn’t really explain how Superman keeps fooling the world.

The story in a nutshell: Editor Perry White has to leave the Daily Planet while he serves, temporarily, in the US Senate. His replacement is awfully handsome, a “dreamboat” according to Lois, but he also acts suspiciously. Lois goes on a date with him that first day after work and thinks there’s something up with the guy.

She learns he is the leader of S.K.U.L. (Superman Killers’ Underground League) and she gets roped into a plot to kill Supes. She gets Lana Lang to help her decode the instructions she had been given by this secret underground league. When the message is decoded, Superman bursts in on Lois and Lana and makes that declaration we see on the cover. Lana does admit they’ve had their suspicions.

Superman then removes his mask and he turns out to be the leader of the kill Superman club. But, he’s really an FBI agent trying to smoke out that League and he enlists Lois and Lana to help him. Continued next issue.

They don’t exactly explain how Superman/Clark Kent can fool the world with a suit and glasses.

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The sexism just oozes from the narration paragraph at the top. “The Daily Planet’s pretty reporter,” “cute nose.” Yuck!

While reading this comic book from 52 years ago, I was struck by how blatantly sexist it is in its treatment of women and Lois Lane in particular. Lane is an investigative reporter, yet she’s described as stumbling onto stories. Her immediate reaction upon meeting the new editor is to think of him as a dreamboat. And neither Lane nor Lang bring up the topic of marriage, yet that’s what “Superman” deems the best way to berate these women for their stupidity. Marriage must have been a major theme in the Lois Lane series, after all it was a “girl’s” comic.

Switching gears, a couple months back, on a Facebook comic book fan group page, there was a discussion of whether the cover of Marvel’s Fantastic Four #1 was an homage to or a rip-off of the cover illustration of DC’s The Brave and The Bold #28 (the first appearance of the Justice League Of America). Look below for a comparison.

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Compostionally the two cover are very much alike. I prefer the Fantastic Four cover, because I prefer Jack Kirby’s drawing to Mike Sekowsky’s. Although, Sekowsky’s anatomy drawing is better and FF #1 isn’t Kirby’s best cover. It’s good, just not his best.

(OK, I’m a Marvel kid. I’m required by the MMMS to always prefer Marvel covers. Even if drawn by Rob Liefe… NO! There’s no way I can do that! I must draw the line somewhere!)

At first, I thought it was coincidence. Then I learned that the Fantastic Four was the result of a mandate from Atlas Comics publisher, Martin Goodman, to Stan Lee and Jack Kirby to create a superhero group to compete with the Justice League of America, DC’s super team that debuted just about a year earlier. Learning that bit of history has me leaning toward rip-off.

What do you think?

Finally, as part of that JLA/FF discussion, someone brought up the practice of artists copying other artists in the creation of comic books. They provided an image (see below) that certainly is evidence of copying.

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Top frame: Jack Kirby • Middle frame: Gil Kane • Bottom frame: Rich Buckler

There’s no denying the second two frames were copied from work done by Kirby in the first frame, assuming that image is the original use of that punch. You will note that Gil Kane (second frame) made a couple changes to the pose: Captain America’s left arm is held differently and his hips are turned to the right. Kane’s variation, in my opinion, makes the pose a little on the awkward side, especially the lower part of his left leg.

Gil! If you’re going to copy the master, copy the master.

Someone in the group discussion claimed that Stan Lee, himself, would hand artists frames of comic art, usually drawn by Kirby, and instruct them to copy that frame. This revelation was offered without any source citation, so it may be untrue. And it may be a case of artists just copying other artists, in this case Kirby, because the other artists may have solved a difficult problem. When you consider how quickly artists had to get the work done with looming deadlines and the need to do as many pages as possible in a day to get decent pay, copying is understandable.

Artists were paid lousy. If you could only manage one page a day, you’d starve.

Packing Peanuts!

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