Tag Archives: DC Comics

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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Images used under Fair Use.

 

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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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Images used under Fair Use.

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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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It’s The Man’s 95th Birthday!

Stan-Lee.jpgThere is a podcast that my friend Douglas hosts, it’s called the Assault of the Two-Headed Space Mules. It’s a pop culture podcast examining music, television, movies, and all sorts of things from a Baby Boomer and a whatever that generation after the Baby Boomers is called perspective. From time to time, Douglas will gather a few contributing opinion-holders to have round table discussions on a given topic. He calls this group the “Gang Of Occasional Guest Hosts” or the GOOCH Squad. I count myself honored to be a member.

Earlier today, the GOOCH Squad, which for the purposes of this blog will include Douglas even though he’s the host and not a guest host, was chatting through Facebook, when I discovered today is the 95th birthday of a giant.

The Man.

Stan Lee.

I asked the fellows if they had any thoughts about the man who had such an influence on all of us. Each member of the squad is a life-long fan of comic books. And all of us were Marvel kids. I asked for their help in capturing just how important Stan Lee was to each of us and to several generations of comic book creators and fans.

Superhero comic books weren’t much of a thing in 1961. DC Comics pretty well had the market cornered. Their characters (Superman, Batman, Wonder Woman, The Flash, Green Lantern, and others) were selling well, but other comic book publishers just weren’t making much headway. Until, as he tells it, Stan Lee, a frustrated writer working for Atlas (formerly Timely) Comics, decided to quit. But, as a last hurrah and at the suggestion of his wife, he decided to take a chance and write something he wanted to write. Not some romance, jungle, western, crime, monster, etc. story, but a superhero story.

Atlas hadn’t done superheroes since the cancellations of Captain America, Sub-Mariner, Marvel Boy, and Human Torch in the early 1950s, closely coinciding Timely’s transformation to Atlas.

Stan’s last hurrah produced The Fantastic Four, created with more than a little assistance from artist Jack Kirby. With that publication came the birth of Marvel Comics. And the world was changed forever.

Now, that’s Stan’s version. But we’ve heard that Atlas publisher Martin Goodman had assigned Lee and Kirby to create a superhero group to compete with DC’s Justice League of America, which debuted a year before the FF. Curious how that detail doesn’t make it into Stan’s version of history.

We should also note that The Man is a man and that there are some less seemly aspects to the history of Marvel Comics. Lee gets the lion’s share of the credit for the creation of the FF, the Hulk, Iron Man, and, or course, Spider-Man. But the talents of Don Heck, Steve Ditko, and the aforementioned Kirby in the visual creation of those and so many other characters cannot be understated. Especially, Kirby and Ditko. At times, it feels as though Stan wants the world to just remember him as the creator.

Maybe that’s not very fair. Stan would say that much of the mistreatment of artists, rampant in the industry, was out of his control. But, as Douglas points out, he needed the talents of Kirby, Ditko, Heck, Gil Kane, Wally Wood, Bill Everett, John Buscema, and many others to reach the creative heights together that couldn’t be achieved each on their own. Lee needed their drawing skills and they needed his words. (Although, as some comic historians have pointed out, it seems that Jack Kirby had a much, much greater hand in the development of storylines than Stan would like to admit.)

And to give Stan a little more credit, it was Marvel Comics that made certain readers saw the names of the writers, artists, inkers, colorists, and letterers in each issue. The other publishers would follow his lead and the creators would at least get some credit.

I think Stan Lee’s genius breaks in three directions: Creation, relate-ability, and promotion.

Of course there was his prolific ability to come up with so many fascinating and exciting characters, both heroes and villains. Seriously! Is there a better comic book bad guy than Doctor Doom? And he created a fantastic universe for his characters to inhabit. Yes, he used real locations, such as New York City, but he also gave us his version of Asgard and Hades. And completely new worlds such as the Negative Zone and the Dark Dimension, where lived the dread Dormammu. (Or, maybe not. It’s also been suggested that that universe creation was more the work of Kirby and Ditko.)

Stan also knew how to turn a phrase. “It’s clobberin’ time!” “Avengers Assemble!” “The Hoary Host of Hoggoth!” Whatever that was. And there was his sign off for his Stan’s Soapbox columns: “Excelsior!” (Which had a direct influence on how I sign off my blog. Look up the meaning of excelsior and Packing Peanuts will make sense.) It was also Stan’s practice to use words that might have been just a bit over the heads of us kids, so out would come the dictionaries. In fact, Douglas credits Stan’s use of such words as “ersatz” and “quixotic” with helping him pass his SATs.

The second branch of his genius was his desire to make his characters relate-able. DC’s readers might have enjoyed Superman and Batman, but they just weren’t quite like us when not out supering. Stan’s characters were human, even when being super. The FF was essentially a family with a special dynamic due to that relationship. Spider-Man had troubles at home, girlfriend problems, and homework. As GOOCH Squad member Michael so eloquently put it, “[Stan Lee’s] signature brand of realism and foibles infused into the lives of The Fantastic Four, Spider-Man and others set precedents and added a heretofore untapped dimension of reader identification that raised the industry bar.” Indeed!

The third bit of his genius is something obvious, but still overlooked or underestimated by most folks. Stan Lee was the greatest promoter and cheerleader the comic books industry ever had. Fellow GOOCHer, Brian, called Stan the “comic book ambassador for the masses.”

This cheer-leading is something all of us noted, but I will take it just a little bit further. Think of DC, Dell, Harvey, Charlton. What creative genius comes to mind? Comic book folks might come up with the name of an artist or writer, but not that one name. Think Marvel. You think of Stan Lee.

I will go still further. It may be different today, but not long ago if you were to ask someone who wasn’t a fan of baseball to name a player the answer you were likely to get is Babe Ruth. He was such a giant of the game that his name became synonymous with it. Inseparable. Babe Ruth is baseball.

In the world of comic books, Stan Lee occupies that same exalted ground. Ask a non-fan to name a comic book creator. The answer is Stan Lee.

Happy 95th to the Man.

Packing Peanuts!

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And a special thanks to the GOOCH Squad for their assistance.

Update 1-19-18: I recently watched the excellent documentary series Robert Kirkman’s Secret History of Comics, the first episode of which examines the beginning of Marvel Comics. After watching that episode, I feel I may have been a little unfair toward Stan by suggesting he wanted all the credit. He lauds praise on Jack Kirby and Steve Ditko and he’s more nuanced about the creation of the Marvel Universe. He also acknowledges his editor assigning him to create a super-hero group to compete with the Justice League of America.

It’s a very good series. I highly recommend it.

 

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Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants! Variants!

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Look at it. Take a good look.

No, this isn’t my monthly installment in my great comic book covers series. A new cover will be declared great next week. My regular readers – do I have regular readers? – know it’s the first week of each month when I feature a great cover. This cover, although pretty good, is significant for another reason…

It is the very first variant comic book cover.

In 1986, someone at DC Comics hit upon the idea that if a variant cover was made available, collectors would buy two copies: One regular cover and one variant. That means more sales. They called it a “special collector’s edition.” Here’s a fun fact: Anything labelled as a “collector’s item” or “collector’s edition” probably isn’t going to be very collectable.

The sales must have increased, because by the 1990s the number of variant cover editions skyrocketed! Jim Lee’s new X-Men series for Marvel Comics, premiering in 1991, had five different covers for its first issue. One was a gatefold combination of the other four.

Well, a serious collector just had to buy all five.

One good aspect of the variant cover mania was that collectors couldn’t get the variants from the newsstands or from drugstores. They had to buy them from their local comic book stores or through mail order dealers. This was good for those dealers, because it would bring in customers.

But then the mania went even deeper. The comic book publishers came up with the idea to make very limited amounts of variants that comic book dealers could get if they ordered a certain number of the regular cover issues. So, if a store ordered 20 copies of a certain comic, they would receive one particular variant. If they ordered 25, they’d get a different variant and so on depending on how many copies were ordered. The more copies ordered the more limited the variant. Order enough copies and the store could get their name on the variant issue. In some cases, order an insane amount of copies and the store could get a variant with original art drawn directly on the variant cover. Oh, but of course, the stores still had to pay for the variant copies.

The variants would get progressively more limited in print runs the more regular issues were ordered. This led to comic book stores having buttloads of regular issues in order to get the rarest of variants. Chances were pretty good the dealers would be stuck with several regular copies, because not enough customers would buy them. So, the variants might have some value, but the value of the regular issues would be driven down and the stores could end up losing money. However, the comic book companies could claim big sales numbers, despite the fact those sales were to dealers rather than to collectors.

Personally, when I was still an active new issue collector, I did buy into getting the variant covers. For a while. Then the comic prices began to go up and up. (The next two lines should be read in cranky old man voice.) Why in my day, a kid could buy five comic books for a dollar! Now they’re lucky if they can get one for five dollars!

So, I didn’t stick with the “get those variants” practice. It was just too expensive. I soon lost interest in collecting the new comic books and, sometime in the early 2000s, I stopped buying them.

For the better part of the last two years, I have been working part time for Nostalgia Zone, an excellent comic shop in Minneapolis. Nostalgia Zone made the decision not to be a dealer of new comic books, instead we deal in back issues. You can get the newer books, but not as they are issued and we’re limited to what we can pick up through shows or customers selling to us.

My main job is to enter inventory into our online catalogue. I enjoy the work, especially when entering Marvel silver and bronze age issues. There are plenty modern age books that I enter along the way, and I discovered something about variant covers:

I hate them.

Oh, sure, there are plenty of excellent illustrations. And I’m all for artists getting work. (Hint, hint: dimland.com) But, when you are entering information for a comic book and you have to search and search to figure out which cover it is, it gets frustrating and time-consuming.

The other day, while entering some newer comic books, I came across Archie Comics’ Afterlife With Archie. I’m told it’s an excellent series. Well, that’s cool, but it didn’t help me when Comics.org listed 71 different covers for issue number one. SEVENTY-FREAKING-ONE! (Comics.org doesn’t even have all the covers scanned yet!)

But hold on there, Sparky! Marvel’s Star Wars series from 2015, for its first issue comics.org lists 77 covers! SEVENTY-FLIPPING-SEVEN!

Oh, for the love of Mike.

Check those bargain bins, kids. There’s bound to be dozens of the regular cover editions. For cheap!

Packing Peanuts!

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Another Great Cover By Neal Adams

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Neal Adams once again makes an appearance in my great comic book covers series. Hey, it’s Neal Adams. He’s gonna have multiple entries. His artwork had a vibrancy and a sense of excitement that other DC Comics artists lacked. Sure, Curt Swan was a really good artist, but his stuff was kinda… dull.

Adams’ work was exciting. His characters were full of movement and life. He had a command of dynamic anatomy that few artists could match. In fact, Gil Kane might have been the only comic artist in those days who could surpass Adams in that regard.

The cover of Superman #237 (May 1971) isn’t flawless. That right leg of Superman’s seems a tad too enlarged and distorted. But look at those “zombies.” Each face has its own story behind it. I’m very curious as to what the story is with the kid “zombie” on the far right, at the front of the mob. What’s with the grey hair and the male pattern baldness? Why does he look so old? Is he a kid or an old little person? Curious.

The white outline around Superman is a good touch, as well. It separates our hero from the mob and makes it appear as though he is popping off the page. That’s something all comic artists strive for. And here Adams achieves it with a simple white outline.

It may not be Neal Adams’ best cover, but it’s still great.

Packing Peanuts!

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