Greg Goldstein's Comic Art Gallery

Author: Greg Goldstein

Greg Goldstein is a veteran publishing and media executive; most recently, he was the Chief Operating Officer, President and Publisher of IDW Publishing, managing all aspects of the company’s book and games business from 2008 to 2019. Throughout his career, Greg has developed creative and profitable publishing programs for dozens of the world’s best-known entertainment brands including Star Wars, Transformers, Star Trek, James Bond, TMNT, Spider-Man, Batman and Godzilla. In 2013, Greg led IDW’s acquisition of Top Shelf, an independent publisher best known for Congressman John Lewis’ March trilogy, which has become the most lauded non-fiction graphic novel series in the history of the medium. In 2011, Greg won an Eisner award for his editing on the first-ever collection of Bob Montana’s Archie newspaper comic strips. (Published under IDW’s Library of American Comics imprint.) Prior to joining IDW, Greg was VP of Entertainment and Gaming for Upper Deck, responsible for the company’s blockbuster slate of games, including Yu-Gi-Oh, World of Warcraft and The VS Superhero system. During his tenure, he created Marvel Ultimate Battles, the first-ever trading card game that focused exclusively on Marvel’s popular mass media characters. As VP of Brand Development for Activision from 2000-2002, Greg established strategic partnerships with the largest Hollywood studios, and worked closely with Marvel Entertainment to successfully develop Spider-man into one of the biggest blockbuster licensed videogame brands in interactive history. Greg’s career has also included a successful stint at Topps, where he helped launch and manage Topps Comics in the mid 1990s. Additionally, Greg serves as an adviser for to the Comic Book Legal Defense Fund (CBDLF). He is also a frequent guest lecturer at San Diego Sate University and has presented at dozens of panels and conferences throughout the US. He is also a well-known collector of original comic book art and rues the day he sold his collection the first time around in the late 1990s.

Dan DeCarlo — Iconic (Part 2)

Original Art and The Artists

Pep #148, August 1961

One of my first DeCarlo pages is sill one of my favorites.

To say Dan infused the storytelling and character personality here with pizazz is an understatement. In fact, this page is a typical DeCarlo classic: Simple, clear, fun — and completely engaging.

The third panel (Archie’s close-up) is a classic summation of the dizzying nature of the character’s life overall, not just in this story.

I like that headshot so much I use the published version as my icon for this blog, as well as in other places too.

Dazed and confused? I’m pretty sure I can relate.

Dan DeCarlo — Iconic (Part 1)

Original Art and The Artists

Archie Giant Series #153, Original Pin-up, reworked for cover, June 1968

Archie and his gang fully hit their stride with the baby boom generation, and no one was more responsible for that than cartoonist Dan DeCarlo.

Bob Montana created the original appearance of the gang, and DeCarlo modernized it — and never stopped tweaking the appearance (he had a very keen eye for fashion) and the personalities of the beloved characters for more than forty years. 

I loved Montana’s work — I even edited a hardcover collection of Montana strips — but DeCarlo’s clear and expressive art fully imprinted on my young reading eyes in the 60s and 70s.

So… to continue Archie’s 80thcelebration, we’ll feature just the tip of the iceberg of Dan’s great work this week.

And we will start with a fun anomaly: A gag that was redesigned — and rewritten — before it morphed from a pin-up page to a full cover.

Which one works better? I think I can come up with pros and cons for each, although from a comics code perspective, it’s possible the published cover might be slightly more acceptable than the original. It’s a bit more open to the imagination as to whether Archie is painting Veronica’s shirt — or her actual body.

In the unpublished version, it’s pretty much a no-brainer.

Gray Morrow — Modern West

Original Art and The Artists

Adventure #422, August 1972

The Golden Age hero The Vigilante (Greg Sanders) returns to his own feature in The Bronze Age — albeit briefly — in a two back-up stories in Adventure Comics in 1972.

Like some other back-up features from that ran in the oversize 25-cent issues and the “supersize” 100 pagers, this material has never been reprinted. (This specific story ended up in a regular size issue after the larger format was eliminated) It’s too bad, because some of it, including this rare Gray Morrow Vigilante art is quality material.

I always thought the great Gray Morrow was stronger at illustration than storytelling but his two DC Vigilante stories showcase his talents across the board.

Vigilante started as a back-up feature in Action Comics #42 (with art by the great Mort Meskin), and finally made a rare cover appearance along with the rest of the Action gang 10 issues later.

Tim Truman — The Weird West

Original Art and The Artists

Lone Ranger and Tonto #2, September 1994

I have three personal favorite series from my days at Topps Comics:

• Dracula by Roy Thomas, Mike Mignola and John Nyberg.

• Jurassic Park by Walter Simonson, Gil Kane and George Perez.

• Lone Ranger and Tonto by Joe Lansdale,Tim Truman and Rich Maygar.

The first two have been discussed previously — here — and here.

The third has never been reprinted by any other publisher— definitely a miss, considering how much fun the series is. 

It’s definitely the Weird West, with odd characters and supernatural elements (along with a refreshing sense of humor) as only Lansdale and Truman (Jonah Hex) can envision it. 

Also, it starts off with Tonto punching Lone Ranger in the face, and revisits the Ranger cannon with a “modern” (1993) approach.

Tim gave me this great page (I guess I have a thing for nervous characters with cigars) many years later, when I casually asked him if he had any left for sale. They rarely seem to pop up. 

In other words, it’s now in the permanent collection. Permanently.

Truman’s great wraparound comer for the Topps TPB collection of the mini-series.

Luis Dominguez — Blowing Up the Cover

Original Art and The Artists

Jonah Hex #19, Unused Cover, December 1978

No contest — this Luis Dominguez unused Jonah Hex cover is much nicer than the final published version. 

The main problem appears to be that the unused version doesn’t match (no pun intended) the editorial narrative of the story. In fact, spoiler alert, the cover actually suggests the complete opposite. Based on the story (see below) Hex isn’t really interested in saving our explosive friend at all.

It’s fascinating that this cover was completely ready to go, with DC production logos and type fully pasted up when it was changed. Equally fascinating is that DC changed formats (reducing page count and lowering price) of the issue before the final version was printed, apparently at the last minute

Which leads me to wonder if it was cart before horse:  

“Hey Luis, we have to redo the cover anyway, so how about you make the art better match the story. Sorry about any confusion. Also, we need it yesterday.”

All idle speculation, of course. But to reiterate the main point: The unpublished version is much better, and a keeper.

Welcome to our second annual “Out West” week. See you on Thursday.

Erik Larsen — Marvelous Melee

Original Art and The Artists

Defenders #11, January 2002

Erik Larsen (With help from Sal Buscema and Kurt Busiek) has some fun with the Defenders on this frenetic splash, as they clobber the undersea warlord Attuma and his feckless fish men. The Defenders are celebrating their 50th anniversary this year.

I only learned recently the reason that Doctor Strange replaced Silver Surfer between their first “unofficial” appearance in Sub-Mariner, and their official launch in Marvel Feature later in 1971. Apparently, Stan Lee was feeling precious about the Surfer, and didn’t want anyone else to write stories featuring him.

Eric solves that line-up problem here by including both of them, along with original stalwarts Hulk and Sub-Mariner.

(Many of the latter members of the group — Nighthawk, Valkyrie, et al — are along for the ride as well.)

All in all, a fun 20-year-old mini-series that has yet to be collected as far as I can tell.

Paul Ryan & Al Williamson — Eternals, Avengers, Oh My!

Original Art and The Artists

Eternals #12, September, 1986

This “sequel” Eternals series couldn’t have gone quite as planned.  

Peter Gillis launches as writer, but Walter Simonson takes over mid–stream. Sal Buscema starts us off on pencils, (ands in some case, inks) but the art team shifts a few times too with a variety of Bullpen artists from the era, until we finally get here, the double-sized last issue, with pencils by Paul Ryan and inks (mostly) by Al Williamson, with assists fromSam de la Rosa.

All pretty odd stuff for a limited-series.

That aside, this is dynamic page featuring Eternals and Avengers working together to defeat their common foe. And hey, based on the film trailers alone, it’s obvious the Eternals exist in the greater MCU, so a crossover like this down the road is not the craziest idea you’re going to hear today. (It’s still early, so trust me on this.)

Eternals opens in theaters on Friday. (Well, technically tonight in many locations.)

Who’s Who in the Eternals? Convenient scorecard presented above.

John Romita Jr. — The Coming Of The Celestials

Original Art and The Artists

Eternals #1, August 2006

Jack Kirby’s Celestials walk the earth, courtesy of Neil Gaiman and John Romita’s 2007 mini-series, as detailed previously here.

And finally, after a year or so of pandemic-related delays, they (presumably) walk on the big screen this Friday.

Early buzz on the film is quite good, but if I’m guessing, regardless of story and cast performance, Kirby fans will judge the film on whether the cinematic realization of the Celestials matches — or even amplifies — Jack’s giant vision.

In a few days, we will all see for ourselves

Oddly enough, Arishem (the greatest of the Celestials, apparently) appears on the final page splash in many of the first few issues as the tease for the following issue. The only hiccup is that he doesn’t typically appear in any of the following issue’s action.

Wayne Howard — The Master’s Disciple

Original Art and The Artists

Midnight Tales #18, May 1976

Wayne Howard studied as an assistant under Wally Wood and then went full-on Wood with his creator driven book Midnight Tales which lasted 18 issues in the early mid -70s.

(The Iron Man is the final story in the final issue of the series. No relation to Tony Stark.)

And, of all of Woody’s assistants, Howard made no bones about his referential approach to Wood’s style.

The comic was a unique creation at Charlton (or anywhere, actually) and featured nearly exclusive Howard-drawn stories. Charlton promoted Howard’s concept on the cover — and in the fan press and at conventions.

A young African American in an industry still mostly dominated by (older) white men, Howard himself was a unique member of the comics creative community. He was known to be somewhat shy, and he was also known for conservative views, again a striking contrast to many of his industry peers.

When Howard left comics, he rarely spoke about his work; He passed away at the much too early age of 58 in 2007.

Gabriel Rodriguez — Supernatural Talent

Original Art and The Artists

Locke and Key: Keys To The Kingdom #1, August 2010

Locke and Key has returned with a second season on Netflix this past week, and I’m looking forward to catching up to it shortly. As we wrote about previously, it was a long and tortuous road to get here, and I’m glad that the show performed well enough to get picked up for additional seasons.

Regardless, in this case at least, the graphic novel will never be improved upon by another medium and it remains one of IDW Publishing’s greatest achievements.

This cool page has Bode dealing with his transformation into a character that looks a bit like Calvin from the classic Calvin and Hobbes comic strip. Too much like Calvin in the original pencils, if I recall correctly.

But I digress.

Some of the page was created and edited digitally (see below) so the original art is clean and lean — and captures Gabe’s terrific storytelling and draftsmanship that makes the story so compelling.