Original Art and The Artists – Page 52 – Greg Goldstein's Comic Art Gallery

Kevin Maguire — Heroes and Villains

May 23, 2020 Greg Goldstein Original Art and The Artists

Superman Poster, 2017

For those movie buffs who think that the action blockbuster crowding out other films is a modern phenomena, let’s discuss June 1981.

6/12 — Raiders of the Lost Ark opens.

6/26 — James Bond: For Your Eyes Only opens.

And the week in between?

6/19 — Superman 2 opens.

All three pretty good, and one certifiably one of the greatest adventure films ever made. (I don’t have to say which one, do I?) That’s pretty much the entire summer, right there.

I’ve always had mixed emotions about the first two Superman films. (No mixed opinions about films 3 and 4. They are terrible.)

Christopher Reeve as Superman AND Clark Kent, is terrific of course, and some of the action sequences and effects are great in both. And, as a dyed-in-the-wool New Yorker, I enjoyed the location filming, especially the actual Daily News building standing in for the Daily Planet. Plus, Lex Luthor and the Phantom Zone criminals. (I loved the Phantom Zone.)

Some of it, however, is pretty cheesy. Even by 1978/1981 standards. If these films were meant to cleanse the palate of the completely camp 1966-68 Batman TV series, they didn’t completely accomplish it. There are definitely some groaners in here. (Miss Teschmacher!)

But… Would I rather watch these films as say compared to the modern film versions of Superman? Ha. Easy choice. It’s not nostalgia clouding my judgment when I say that.

The first two films capture the spirit of the Superman character in a joyous way. And although character has often been terrifically well-represented television since then (Superman Animated, anyone?) the recent films are mostly… ugh. Just ugh.

Someday, a reboot will fix that. You can’t keep a good Superman down.

Until that time, we will always have art, including this magnificent poster by Kevin Maguire featuring Supes and most of his key villains. Love the art, dislike the coloring. Over-rendered, and not well executed, specifically on Superman’s facial features. (Almost looks like a completely different face.) Modern coloring is like film CGI. Less is usually more.

Great art, though. Who said everything looks worse in black and white?

Alex Maleev — A Long Time Ago…

May 21, 2020 Greg Goldstein Original Art and The Artists

Star Wars: Princess Leia #2, March 2015

Forty years ago today, life was definitely simpler. All I had to do was how to figure out how to get to the opening night of Empire Strikes Back.

Well, maybe not that simple.

Big films often did not open “wide” in those days, which meant ESB would not be playing anywhere near my college town of Binghamton, New York. Closest theater? In Syracuse. 75 miles away.

Fortunately, I had a car. Gas was (relatively) cheap. And finals had just ended.

That was the good news.

The bad? No on-line ordering. (Ha. We were still using punch cards and booking computer time in the lab.) No advance orders by phone. This was 1980. Horse and buggy era, tickets and technology wise. And in those days, no bank was offering credit cards to broke college students anyway.

So we had to wing it. The “we” in this case, my buddy Bob and I, pretty much the only people that hadn’t packed up for the semester.

Off we went. Up through farm country on Interstate 81. Somehow, even though we didn’t leave that early, and the legal speed limit was still 55mph, we made it to the “purchase tickets” line, and then the “entry” line in time, and had reasonable seats.

Good thing, too.

We had waited three years. I didn’t really want to wait another day.

I enjoyed it. A lot. Despite the fact that the story had been “spoiled” for me by the Marvel Comics adaptation, because I didn’t have the discipline to avoid reading it. (Lesson learned there. I never made that the mistake again, including, and especially, for Return Of The Jedi. Hell, I’ve occasionally forced friends who work on films into vows of silence.)

Alex Maleev’s beautiful painted cover features of one my favorite things about ESB: The battle on Hoth. I have a distinct memory of the first time I saw the Empire trailer tacked on to a Star Wars re-release in 1979. The audience absolutely lost its mind at the Hoth tease. (Well at pretty much everything, I guess.) And the finished battle did not disappoint, stop-motion and all.

Where was I? Oh yes. Great cover. Terrific artist. Wonderful memory.

And somehow Bob and I made it back before the cows came home. But not by much, I imagine.

*All three main original ESB posters are terrific.*

Jim Mahfood — Alien Visions

May 19, 2020 Greg Goldstein Original Art and The Artists

Alien (1979) Book Commission, 2015, Unpublished

Alien remains one of the all time great films in two genres — horror and SF — an opinion that reinforces itself on every viewing. I rewatched it a few days ago, and wow, does it hold up. It’s brilliant on so many different levels, and virtually a one-film marketing campaign for why modern CGI is more often a detriment than not to quality filmmaking.

It’s also a great summer film. Like space itself, it’s often cold and dark. If it doesn’t give you more than a few chills to cool down your evening, perhaps nothing will.

Summer movies? It doesn’t feel like summer without them. This will be the first May I haven’t been to a theater since at least 1977, when I repeatedly drove from Atlantic Beach to Mann’s in Hicksville (not kidding) Long Island, on a freshly minted driver’s license, to see Star Wars multiple times.

I’ve also seen Alien and its first sequel (Aliens), many times. As for the others in the franchise, I’ve yet to see one I’ve liked well enough to watch more than once. I’m downright hostile to the opening of Alien 3, and most of the rest of it, too.

Jim Mahfood has fun with Sigourney Weaver and her “conquest” in this great unpublished piece for a book featuring multiple Alien “visions” subsequently cancelled (or on INDEFINITE hold) from publisher Udon.

I’m a big fan of Mahfood’s uniquely imaginative takes. We were fortunate to publish three books of his art at IDW, and a few more of his originals will likely pop up on the blog in the near future.

Alien premiered in the US on May 25, 1979.

*The original 1978/79 posters promoted the intrigue more than anything else, but by the time of the 15th anniversary (far right), the creature was out of the egg, so to speak.*

*The Alien graphic novel , by Goodwin and Simonson, remains one of the gold standards of film to comics adaptations.*

*Jim Mahfood’s artcollections from IDW publishing.*

Paul Gulacy — Kung Fu Fighting

May 16, 2020 Greg Goldstein Original Art and The Artists

Master of Kung Fu #20, September 1974

By now, we should be in the next phase of the Marvel Cinematic Universe, but unfortunately, we have a six-month delay. So, for the first time in a dozen years, no Marvel film to launch the summer movie-going season. But, we won’t let that delay slow us down here — this week, we’re looking at some comics art related to the next three scheduled films.

Marvel’s ability to spot trends, and capitalize on them, definitely helped their their 1960s rise from second (more like fifth) banana to publishing powerhouse in the 60s and 70s.

Case in point: Martial arts and specifically “Kung-Fu.”. First flooding film houses, and then television, the craze rapidly spread through pop-culture in the early 1970s. Bruce Lee — and dozens of imitators — had clearly caught the public’s imagination.

Marvel quickly launched three genre series in late 1973 and early 1974. First up was Shang-Chi, originally by Steve Englehart and Jim Starlin, and shortly thereafter by Doug Moench and Paul Gulacy.

Shang-Chi’s backstory was intriguing — in the comics, he’s the son of Dr. Fu Manchu, famed villain from the Sax Rohmer novels. This plot detail, ultimately a rights issue, helped derail Marvel from reprinting the series for more than 40 years.

And, it’s been changed apparently for the Shang-Chi film now scheduled for May, 2021. He’s re-written now as the son of the Mandarin, an early Marvel (Iron Man) mastermind who was “impersonated” in Iron Man 3. We will see how that plays out.

As for this page itself: Shang- Chi barely makes an “appearance”, but so what? It’s a cool example of Gulacy’s Steranko-influenced storytelling.

And, as for the criticism that perhaps Gulacy’s style was too influenced by Jim Steranko in these early issues? I say, so what to that too. Jim had already bowed out of comic book stories by then, and if you liked his work, this was possibly the next best thing.

*Marvel leaps out of the Kung-Fu gate , with Shang_Chi, The Deadly Hands magazine, and Iron Fist in 1973 and 1974.*

John Romita Jr. — Eternally Yours

May 14, 2020 Greg Goldstein Original Art and The Artists

Eternals #1, August 2006

Jack Kirby’s Eternals was a natural extension of Jack’s interest and abilities in all things cosmic — Norse Gods, New Gods, et al. In my mind, this series was the most engaging of Jack’s efforts during his brief return to Marvel in the mid 70s.

When Jack left Marvel again in 1978, Eternals went into mothballs and only made a brief reappearance in 1985 (without Kirby) before disappearing again.

Then in 2006, another take, this one, a mini-series (7 issues) by Neil Gaiman and John Romita Jr. appeared. It seemed like an odd team-up — the Vertigo “alternative” star writer, paired with the more “meat and potatoes” (superheroes) star artist. But ultimately, the talents meshed and it’s a well-done series, bringing the Eternals into the “modern” Marvel Universe, with some twists.

If anything did the series a disservice, it was the main covers by Rick Berry. Berry is super talented artist of course, and in a vacuum the covers are wonderful paintings. But they don’t match the stylistic content of the stories. I’m guessing he was hired because the editors wanted the covers’ artistic style to match the established Gaiman “brand” – despite the fact the stories are so much more traditional than Neil’s Sandman work.

Nonetheless, great Romita Artwork is still great Romita artwork, and this splash of Ikaris and Thena (inks by Danny Miki) is one of the best pages in the series. The page (pencils version) was used as the cover for a sketchbook from the series.

Eternals (the movie) is currently (re)scheduled to open February 2021.

*Jack Kirby’s original series, followed seven years later by a second series by Peter Gillis and Sal Buscema. (Cover of that first issue by Walter Simonson.)*

Gene Colan — The Widow’s Sting

May 12, 2020 Greg Goldstein Original Art and The Artists

Daredevil #82, December 1971

But, we won’t let that delay slow us down here — let’s take a look at some of characters from the next three scheduled films this week.

From the trailer(s) for the Black Widow film, now releasing this November, it appears that many elements from Natasha Romanoff’s 55-year comic book backstory will make into the film. (No surprise, as that has been the Marvel M.O. since day one).

Of course, an exception will be her relationship with Daredevil, which lasted a few years in the original comics. Not sure what the entertainment rights status is for Daredevil and the other Netflix Marvel characters (now since cancelled), but I’d fall right out of my seat if any of them showed up in the cinematic universe in the near future.

This very cool Daredevil page from the great Gene Colan comes from early in the relationship between DD and the Widow; in fact they don’t actually have a relationship at this point in the chronology, but they soon will, and ultimately team-up and move to San Francisco together.

In fact, the comic book changes its cover nameplate to Daredevil and The Black Widow for more than a year.

Let’s see: Matt Murdock suddenly ups and moves to Frisco. Daredevil — suddenly — is now fighting in the Bay Area. No one figures the connection out? Really?

*Amazing Spider-Man #86 serves as a “#0” recap and revamp issue (before they had those) for Natasha’s short-lived solo series in Amazing Adventures.* *Words and pictures by Stan Lee and John Romita.*

*Black Widow’s first solo series, her first appearance in Daredevil, and a recent collection of her earliest appearances — with a recolored cover drawn by the legendary Bill Everett.*

Alex Ross — Justice Is Served

May 10, 2020 Greg Goldstein Original Art and The Artists

Giclee, Warner Brothers Store, 1997

Concluding our three-week tribute to the 80th anniversary of the JSA, with one special bonus post.

Alex Ross presents pretty much the entire classic Justice Society of America (16 heroes) in one fantastic image.

As noted earlier, I rarely post anything other than actual originals, but this piece is so great, it deserves its own showcase.

Other than perhaps the irony of Superman and Batman in the forefront (they barely appeared in the Golden Age JSA), this is everything you want, and more, in a exceptional photorealistic painting.

There seem to be many versions available of his image; mine is the large canvas, which I believe was limited to either 10 or 100. Unfortunately, the numbering was handwritten in sharpie marker, and like my Mickey Mantle and Sandy Koufax autographs (seriously), the numbering has faded into oblivion.

I sure hope I find that “certificate of authenticity” someday.

(A smaller version of the image is available for purchase here, and other versions have appeared in auction at Heritage and other houses.)

*Superman and Batman make their rare cover appearance in the original All-Star Comics, and Alex Ross paints a gorgeous “modern” incarnation of the JSA*, *with none of the “big three” (Superman, Batman, Wonder Woman) in sight.*

Howard Chaykin — JSA At War

May 9, 2020 Greg Goldstein Original Art and The Artists

Superman #226, April 2006

Continuing our multi-week celebration of the 80^thanniversary of the Justice Society of America.

This is great action splash from Howard Chaykin, and a rare treat to see him illustrate classic superheroes.

As part of the Infinite Crisis storyline, Supermen from two different universes clash, each one living the life the other. When one goes to halt the Nazi atrocities of World War 2, he learns the difficult truth about Hitler’s super stalemate courtesy of the Spear of Destiny.

It took more than 35 years to tell the origin of the Society, and Paul Levitz created a plausible scenario that explained why America’s heroes simply didn’t use their powers to end the war in favor of the Allies quickly and decisively. Spoiler alert: It involves magic.

Roy Thomas and other writers ultimately ran with (and expanded) the concept, and writer Joe Kelly incorporates this premise into this Crisis Crossover.

This is the final issue of this specific volume of Superman, launched nearly 20 years prior, as part of the “John Byrne reboot.”

One of my favorite single issues from the late 70s (DC Special #29) tells the “untold origin” of the Justice Society and explains why they can’t simply destroy the Axis Powers. The “magic” theme would carry into other stories as well.

Mark Bagley — Beware My Power

May 7, 2020 Greg Goldstein Original Art and The Artists

Justice League of America #43 (2006 Series), May 2010

Continuing our multi-week celebration of the 80^thanniversary of the Justice Society of America. This specific post, featuring the Golden Age Green Lantern (Alan Scott) is an updated version of one of our earliest blogs from August, 2019.

The super-talented Mark Bagley has only spent three years (so far, at least) of his 30-year career at DC. But during that tenure, he worked on the weekly Trinity book as well as JLA/JSA, so he drew many of the DCU’s mainstay characters — some with multiple versions.

On this great splash page, we see Alan Scott, the Green Lantern of Earth 2 having a power surge issue. (With terrific inks by Norm Rapmund, and ultimately, when printed, great colors by Pete Pantazis.) I love the camera angle that Mark chooses here, enhancing the drama.

Earth 2, Earth 3, Earth Prime, Earth 616, whatever. Bring them on. I’ve been fascinated by the multiverse concept ever since I purchased my first JSA/JLA crossover annual event off the racks in the summer of 1967. Even when it gets confusing, I’m still a fan.

And while we are at it, bring back Fringe. Sliders, too.

The early team-ups of Golden Age and Silver Age superhero “versions” usually featured a clash as evidenced in the groundbreaking Green Lantern #40, above. The DC record album, a tie-in to the Superman / Aquaman animated series, featured the Golden Age origin! of Green Lantern as well.

Fred Hembeck — Gil Kane, Meta Human

May 5, 2020 Greg Goldstein Original Art and The Artists

Atom #36 Re-creation, May 1968 (original), 2010

Continuing our multi-week celebration of the 80^th anniversary of the Justice Society of America, with each new post featuring a different classic JSA character.

I’m pretty sure this wasn’t the first meta cover to break the fourth wall, and it is most definitely not the last. But it is definitely my favorite.

My young brain exploded when I first saw this amazing Gil Kane cover at the candy store in 1968. I appreciated its cleverness immediately. That’s one helluva punch.

Ultimately, as I later began to differentiate artists and art styles, I came to recognize this specific punch composition as a Kane trademark. Given Kane’s voluminous published output, there must be dozens, if not hundreds of similar examples. The issue itself features the same composition in its interior, with the Atoms reversed.

As always, Fred captures the spirit of the cover perfectly in his trademark re-do style. He tells me this was the first time he took a stab at this one.

Not sure when/if the Kane original will be offered for sale again, and in all likelihood out of my budget range regardless. So… the Hembeck recreation will do nicely.