The Flash TV series (CW) explores DC’s multiverse legacy in creative and often reverential ways. Today’s post concludes our special feature “The Flash of Two Worlds,” as well as our five-part Flash series.
I see this cool pinup and imagine a retro moment in the DC original continuity when the two Flashes have already met, worked together, and appreciate the fact that, in each of their respective multiverses, they are indeed the fastest man alive.
That said, I never asked John what he envisioned when he drew the piece. And, I don’t think I will. It’s easier to continue to imagine the backstory to fit in with my own vision of the “pre-Crisis” DC universe.
Two legends team up, and tell the tale of two legends teaming up.
This fabulous story page comes to us courtesy of DC Universe Legacies, a ten-part 2010 series written by Len Wein that provides an overview of DC history (in contemporary continuity) through the eyes and life story of a one man. The series features an all-start line-up of DC art talent including Joe Kubert, Jerry Ordway, Dan Jurgens and many others.
The page here, showing the Flashes meeting for the first time, contains retroactive continuity (retcon), as both characters exist in the same universe — which is the established “post-Crisis” narrative. Also, in the original Flash #123, the Flashes have already met and teamed up when they get to the construction worker.
Garcia Lopez and Gibbons are a terrific pairing, and I was fortunate enough to find this great page before someone else did.
In the original story (Flash #123) The two Flashes have already met — and started working together — when the construction accident happens.Flash read Flash Comics? Gardner Fox was” tuned in” to the alternate universe? Wait… What?
The Flash of Two Worlds — DC Comics Classics Library, 2009
The Flash TV series (CW) explores DC’s multiverse legacy in creative and often reverential ways. Today’s post, along with the next two, feature “The Flash of Two Worlds.”
Flash #123, “The Flash of Two Worlds” is one of the most important comic book milestones of DC’s silver age, establishing the DC multiverse and paving the way for countless crossover storylines that ultimately lead up to 1985’s Crisis on Multiple Earths. Its 1961 cover follows as one of the most iconic images of the era.
But, when DC went to reprint the earliest Flash crossover stories in a special collection, the original art and layout didn’t quite work within the new cover design.
So, the editors turned to the very talented (and very underrated) Rodney Ramos to recreate (and reconfigure) the iconic imagery, in the Infantino/ Murphy Anderson “style.”
He nails it — and you could be headed for a career in the FBI’s counterfeit investigations unit if you can immediately tell the published cover is not Infantino / Anderson.
(As seen below, the final published piece crops the image significantly, and also digitally manipulates the two Flashes even closer together.)
Apparently it all started here… and Flash #123 is actually an homage to this cover of Our Fighting Forces by Jerry Grandenetti
Following Carmine Infantino on the Flash was obviously no easy assignment to begin with, but it appears Ross Andru and Mike Esposito had the deck stacked against them.
At the starting line was a fun issue, Flash #175, the sequel race between Superman and the Flash. Shortly thereafter is Carey Bates’ offbeat tale in Flash #179 that introduces Earth “Prime” — our earth— into the DC multiverse.
But, after that… we get: Giant-headed Flash, Flash with a broken toe, Flash color-blind, etc. Plus: Flash fighting hippies, sea creatures, lizards, demons, aliens, oh my. Samurais? Seriously?
WTF? How about the rogues, who only make a handful of minor appearances during this run, with only Captain Cold, warranting a cover? Where’s Grodd? What about Flash of Earth-2? And, if you’re going to have a Green Lantern team-up (#191) how about putting him — or at least a blurb — on the cover?!
I count seven writers —seven! — during this 20-issue run. It’s no wonder the character couldn’t get any traction. As a kid, on a kid’s budget, it was difficult not to give up on everything but the 25-cent reprints at that point. My allowance screamed: Run Away!
Still, the art can transcend the material, and does so here. On this unusual page, Andru, who always had a great sense of space and time, delivers a fascinating layout as Flash races from one point to the next in Central City. (Plus, as fans of Andru’s latter Spider-Man run can confirm, Ross loved drawing buildings, and he’s definitely warming up on this page.)
It’s also a reminder of what could have been accomplished artistically with better material to work from — and less questionable editorial choices.
Special Note:
DC needs to reprint the entire Robert Kanigher/Andru/Espo Wonder Woman run — about 73 issues — in an Omnibus. Only the first dozen comics have ever appeared in color since their original publication about 60 years ago. (Also, Metal Men needs a similar treatment… But I digress.)
The Flash returns to THE CW shortly for its sixth TV season, so the Scarlett Speedster receives his own multi-part blog series this week.
Some of the most talented superhero storytellers in comics couldn’t figure out what to do with the narrative and exposition elements that move the story along when no one is wearing spandex or a cape.
Many comics were once filled with pages and pages of standard medium-angle shots of talking heads. Six panels per page. Rinse. Repeat.
Not Carmine Infantino’s pages. His innovative sense of panel composition and design, and use of varying and dynamic camera angles, made the “yada yada” part of the story much more engaging than most of his peers.
In this very early Flash story from issue #112 (inks by Joe Giella) he even manages to innovate a phone call. We take narrow “widescreen” (horizontal) panel layouts for granted now, but in 1960? Not so much. A page design like this is revolutionary 60 years ago.
Of course, superhero comics are ultimately about conflict and action, and re-reading these early Flash stories, his innovative style really jumps out. Those crazy speed lines that help give the illusion of 3D motion in a 2D medium. That sleek space age costume… designed before the space age really began.
And those amazing covers? Carmine gave up pencilling The Flash when he was promoted to DC’s art director. His cover on the final full issue of his 11-year run as Flash artist blew my mind as a kid in 1967 — and still does today.
What else would you expect from the designer of the Silver Age of Comics?
First Appearance of The Flash, Siver Age Version
First Issue of The Flash in his own series
An exercise in futility when I tried this at home…Infantino’s final pencilled issue of the Flash ended with this show-stopping cover.
Upper Deck, Marvel VS. System TCG: Web of Spiderman, Card #162 — Surrounded, 2004
Concluding a multi-part look at Spider-Man vs. Mysterio in honor of Spider-Man: Far From Home landing on digital streaming platforms this week.
Some of the most tantalizing art ever created for Marvel and DC characters is hiding in plain sight — on trading cards… and trading card games.
In fact, the Upper Deck Vs. TCG System, started in 2004, and lasting in its original incarnation through 2009, is home to hundreds, if not thousands, of original artworks by some of the industry’s leading talents.
Except for a handful of the key art pieces, which includes illustrations by Alex Ross and Drew Struzan, all the TCG images were printed at postage stamp size only. (Some, like this one, were cropped ruthlessly to fit the printed image area.)
Sigh.
Steve “The Dude” Rude illustrated number of cards in the various VS series, and this one, featuring Spider-man vs. multiple Mysterios, is a favorite.
Steve’s clean and dynamic superhero rendering typically feels like a fascinating cross between Jack Kirby and Joe Schuster — with storytelling influences from Alex Toth , and yet here, he channels some John Romita for good measure.
Most trading card is created at a relatively small size, but fortunately this Rude original is drawn on traditional comic board, with the live image area just slightly smaller than most standard modern art.
Just enough room for all those Mysterios.
Too many Mysterios — or too much Spider-Man. Either way, Spidey is in a jam. This great panel by John Romita from ASM # 67 is a classic.
We interrupt our multi-part look at Spider-Man vs. Mysterio in honor of today’s “Batman Day” (9/21) celebration. Our regularly scheduled programming will continue tomorrow.
Neal Adams first Batman story appeared more than 50 years (!) ago in World’s Finest Comics #175. The art blew my mind then, and still does today. Happy Batman Day, Neal, and thanks for all of it!
Tomorrow, we conclude our multi-part look at Spider-Man vs. Mysterio with none other than “the Dude” — artist Steve Rude.
Continuing a multi-part look at Spider-Man vs. Mysterio in honor of Spider-Man: Far From Home landing on digital streaming platforms this week.
Scott Koblish as a person?: Engaging. Upbeat. Energetic. Witty. Et al.
Koblish as an artist?: Engaging. Upbeat. Energetic. Witty. Et al.
Rarely does a creator’s artistic style so match his personality. Hell, there are great cartoonists, past and present, with lively and bright art aesthetics, who are darker personally than Van Gogh on a bad day. (No I will not be naming names. That’s what the rest of the Internet is for.)
Scott’s mostly zany artistic approach to Deadpool is perfectly on point for the character. (And that’s not taking anything away from Ed McGuinness, a fantastic artist whose work I absolutely love — or any other Deadpool illustrator for that matter.)
In this “flashback” issue of Spider-Man/Deadpool, Scott draws the entire issue in classic “Steve Ditko” style. It’s clearly done with affection and reverence, and the finished issue, complete with simulated old-school coloring, “bad” printing (out-of register) and aged paper, is old-school fun.
How “classic” is the art style here, you ask? Review the middle panel on this page. It is most definitely… Classic Ditko! (In fairness, the rest of the issue features more original Ditko interpretations as well. Koblish was clearly having a bit of extra fun here.)
Spider-Man Adventures #5, Unused Cover, April 1995
Spider-Man: Far From Home landed on digital streaming platforms this week, so the next few posts feature — who else? — Spider-Man and Mysterio.
Spider-Man Adventures, a ‘90s comic book title, existed mainly to support Spider-Man: The Animated Series, which ran on Fox Kids from 1994 – 1998. In fact, the first thirteen issues of the comics are direct adaptations of the first-season episodes.
The episodes themselves are adapted (albeit loosely in some cases) from original Spider-Man comic books.
So…
Issue #5, featuring Mysterio, is an adaptation of Episode #5 of the TV series, which in turn, is adapted from Mysterio’s very first comic book appearance — by Stan Lee and Steve Ditko — in Amazing Spider-Man #13. (1964).
A comic book adaptation…. of a TV show adaptation… of a comic book story. That trick definitely trumps anything up Mysterio’s sleeve.
Alex tells me that his original cover was rejected because the editors wanted more emphasis on Mysterio —and for the character to be more “dramatic and menacing,” and I think he delivered. (See below.) Still, I like Alex’s original take, especially with that iconic Spidey image.
Alex’s creative spin on the wall-crawler has lasted more than 30 years. He drew the Web of Spider-Man comic book for seven years, and then the full Spider-Man Adventures run, and then the Spidey newspaper strip from 1997 to its end earlier this year.
Nothing mysterious about that longevity — Alex’s passion for, and understanding of, the Spider-Man character is obvious anytime he puts pencil to paper.
Fan art of a Far From Home Poster that looks a LOT like the unpublished cover. It appears Alex was well ahead of his time.
Jose Luis Garcia-Lopez and Wally Wood only teamed up for six issues of the short-lived Hercules Unbound. Garcia-Lopez moved on, and Walter Simonson took over with Issue #7. (Wood only stayed on for one additional issue.)
Walter’s art style, like many of his generational peers (Chaykin, Wrightson, etc.) is very distinctive. Manhunter. Thor. X-Factor. Ragnarok. Et al. Typically, when you see a Walter Simonson penciled page, you know it.
Not here though. As noted earlier, Wood’s inks typically put so much lush polish on the pencils, It’s not that easy to sort out the penciller’s own style. When I first scanned this issue, I didn’t immediately catch that Garcia-Lopez was off the book. (Once you know, and compare against the earlier issues, you can definitely see some differences.)
Here’s an extra cool thing about this great Herc page. I luckily acquired it at a convention where Walter was a guest of ours at IDW Publishing, and I asked him to inscribe it. It reads:
“Another bucket list check mark — my layouts — Wallace Wood inks!”
Footnote — More creative shuffling: After two issues inked by Bob Layton, Walter provided both pencils and inks on the final two issues. As evidenced below, Walter’s work again looks like… Walter!
