Greg Goldstein's Comic Art Gallery – Page 41 – Panels and Pages… Art and Artists… Creators and Conventions… Musings and Memories…

Paolo Rivera — Origins

January 9, 2021 Greg Goldstein Original Art and The Artists

Mythos: Fantastic Four #1, December 2007

I don’t own another page like this one. In fact, I’m not certain I can recall seeing another page like this one.

I’m pretty sure there must be some out there, but four vertical page-length panels is definitely an atypical layout.

And here, it’s perfect. Four astronauts — Sue Storm, Reed Richards, Ben Grimm and Johnny Storm — blasted by cosmic rays, and, well, you know the rest: They become… fantastic.

This page is an example of great visual storytelling by the terrifically talented Paolo Rivera. I love the character reactions and facial expressions here. Even though the team will shortly have superpowers, it certainly looks like a painful origin process to get there.

And for one member of the team, those powers might be more curse than blessing.

After all, his moniker is the Thing.

*Stan Lee and Jack Kirby’s original cosmic origin of the Fantastic Four in 1961.*

Jack Kirby — Happy Anniversary

January 7, 2021 Greg Goldstein Original Art and The Artists

Fantastic Four #42, September 1965

Jack Kirby. The Fantastic Four. A great action page from near the beginning of the peak three-year period of the comic that launched a cultural phenomenon.

Not much more to add here.

Except…2021 is the 60th anniversary of “The World’s Greatest Comics Magazine” and the “Marvel Age of Comics.”

60 years. That’s a big deal. Much more on the Fantastic Four to come during the next few weeks.

Paul Gulacy — Toys For The Holidays (Part 3)

December 31, 2020 Greg Goldstein Original Art and The Artists

GI Joe Special Missions #4, June 2013

When I was a kid, G.I. Joe never looked like this.

Of course, there’s an easy explanation for that. I grew up with the original Joe’s somewhat vanilla representations of America’s fighting forces. I loved them, as did most of my friends, but character development was not in the 60s line-up.

Characters like “bad girl” Baroness here were the result of Hasbro’s re-introduction and revamp of the brand in 1982. Marvel Comics was essentially paid to create colorful heroes and even more colorful bad guys. And they delivered, mainly with the creativity and guidance of writer Larry Hama.

The rest, as they say (Ok, I say it a lot) is history.

IDW became publisher of record shortly after I cane on board in 2008, and has had some terrific success with various iterations during the last dozen years.

This Special Missions series is a fine example, with script by Chuck Dixon and terrific visual storytelling by fan favorite Paul Gulacy.

I acquired a few pages from this series, including this dynamic splash, but another one of these pages comes with a unusual annecdote, which I will share down the road. (I’d bet you can’t wait, but I’d lose.)

And so, 2020 finally comes to an end. Whew. Here’s looking forward to a much better 2021. We will be back on Thursday, January 7, with a special year-opening series on… well… that will be telling. See you soon, and thanks again for visiting.

The original G.I. Joe included a desert jeep and related gear, capitalizing on the brief success of the Rat Patrol television series. I was obsessed with this vehicle.

*Cobra’s Baroness started out as a sexy character back in the 80s, but became even sexier as figure design and sculpting moved into the digital age.*

Gil Kane and Wallace Wood — Toys For The Holidays (Part 2)

December 29, 2020 Greg Goldstein Original Art and The Artists

Captain Action #3, May 1969

Can lightning strike twice in the toy biz? Inventor Stan Weston thought so, and I for one, became proof of concept.

Weston had created the original 12” G.I. Joe “doll” for Hasbro in 1964 and younger baby boomers like myself quickly became obsessed with the figures and all their wonderfully detailed accessories.

Next up: Weston took his invention to Ideal Toys in 1966, and turned it into a superhero concept, capturing the zeitgeist of the era. Captain Action was born, and despite the goofy name, its dozen licensed superhero costumes were a terrific gimmick.

Kids could turn the good captain into a number of well-known characters including Superman, Batman, Spider-Man, Captain America and Aquaman.

And the best part? The costumes and accessories worked just fine with existing G.I. Joes, so any crafty kid (we were all crafty, FYI) could create a multiverse Justice League without buying multiple Captain Action figures.

The toy line burned brightly, but briefly, and by 1968/69, the product was heading to the closeout racks. That apparently didn’t concern DC, which licensed the character for yet another brief comic book series.

Fortunately, visual storytelling chores were handled by Gil Kane and Wally Wood, making for some great original art. (Wood drew issue #1 solo, and then inked Gil on issues #2, #3 and #5. Gil scripted, penciled and inked issue #4.)

This cool page features the origin of “Dr. Evil,” main nemesis to the good Captain. Remember when I said the Captain Action name was goofy? I have no words for naming a villain “Dr. Evil.”

Alex Toth — Toys For The Holidays (Part 1)

December 27, 2020 Greg Goldstein Original Art and The Artists

Hot Wheels #2, June1970

Mattel’s introduction of Hot Wheels in 1968 brought the 60s Cultural Revolution into miniature toy cars.

I had casually collected matchbox cars previously, and enjoyed them, but Hot Wheels’ souped up designs and colors were game changers. I couldn’t get enough.

And those crazy bright orange track sets and accessories? Near the top of my list for Hanukah 1969 and 1970, if I recall correctly.

DC jumped into the Hot Wheels business with a short-lived (six issues) licensed comic book series based on the animated TV series. Alex Toth, who knew both comics and cars well, and had developed the look and feel of the TV series, drew many of the stories.

I’ve tried for years to collect those six issues into a deluxe hardcover. In fact, I’ve had multiple meetings with senior execs at Mattel who all agree that it absolutely should be collected. Then, when push comes to shove, a contract never appears. My theory, and it’s based on similar situations, is that no one wants to take responsibility for the legal time and money spent on a project that ultimately doesn’t have much revenue potential in the scheme of things.

Sigh. Alex Toth’s art should never, ever remain in limbo.

*Hot Wheels advertising dominated nearly all comic book publishing in the late 60s and early 70s.*

Tom Derenick — At Long Last, Wonder Woman

December 25, 2020 Greg Goldstein Original Art and The Artists

Wonder Woman: Come Back To Me #5, 2019

Tom Derenick helps us celebrate that, at long last, Wonder Woman1984 opens today in theaters and starts streaming on HBO Max.

Probably not a Christmas film per se, it is still something of a Christmas Miracle that the film, completed in time for a Holiday 2019 release, will finally see the light of day.

I’m looking forward to it, especially since I’ve already completed most of my Christmas film rituals, including watching Die Hard last night.

Happy Holidays!

Bill Morrison — Christmas Time (Is Here Again)

December 22, 2020 Greg Goldstein Original Art and The Artists

Batman Family Commission, 2016

Bill Morrison helps the Bat Family — and us — get ready for some Christmas spirit.

(Although I’m not sure Batgirl is all that happy about her present.)

I keep meaning to get this great commission colored, but somehow I never quite get around to it. Oh well, there’s always next year.

In the meantime, here’s hoping everyone has a safe, healthy and happy Holiday Season. We’ll be back here on Christmas Day with a special post.

*The ghost of Batman past… Some cool bat-themed Christmas covers from Batman’s 80-year publishing history.*

Sal Buscema & Jimmy Palmiotti — Send In The Clones

December 19, 2020 Greg Goldstein Original Art and The Artists

Spectacular Spider-Man #232, March 1996

Ben Reilly is Peter Parker’s clone. Ben Reilly died, Peter Parker lived.

No, wait. Ben Reilly lived; it was actually Parker that died.

Scratch that. Ben Reilly thought he was Peter Parker, but he actually WAS Peter Parker, who thought he was Ben Reilly.

No, wait, that’s not right either…

The clone saga is one of Marvel’s most controversial storylines from the 90s. I remember having a very spirited conversation about the subject with Tom Defalco back in 1995 or so at SDCC when it seemed like it was going to go on forever and ever. I’m sure I wasn’t the only one.

In this issue of Spectacular Spider-Man, this is actually Ben Reilly fighting as Spider-man, (theoretically) while Peter Parker is in brief retirement with the very pregnant Mary Jane.

Regardless, Sal Buscema draws a knockout cover, with inks by Jimmy Palmiotti, as Spidey (real or Memorex) faces L ady Octopus in mortal combat.

And where did that crazy moon go from original art to final colored, published version? I have no idea. Although I almost titled this post, “Goodnight Moon.”

*The 1994-1996 clone saga has its roots in a much more accessible run of Spider-Man 20 years prior.*

Ron Frenz and Sal Buscema — Split Screen

December 17, 2020 Greg Goldstein Original Art and The Artists

Spider-Girl #97, June 2006

Continuing our celebration of the two-year anniversary of the groundbreaking animated film, Spider-Man: Into The Spider-Verse.

The original Spider-Girl (The “future” daughter of Peter Parker and Mary Jane Watson) is a member of the Spider-Verse who refused to die. Every time her series was on the verge of cancellation, a small, but very passionate group of fans persuaded Marvel to keep he book going. You can read more about that here and here.

In this story arc, the final one of the first 100-issue ongoing series, the original Hobgoblin returns, and Spider-Girl switches to the black spider-costume. This of course echoes the choice made by her dad way back in the historic Amazing Spider-Man #252 (May 1984), also penciled by the talented Mr. Frenz. (And Ron also drew the original Hobgoblin saga in ASM as well.)

And this vertical split screen “mirror” effect on the final page? Seldom used, but very cool. I don’t own another page like it.

David Williams — Into The Spider-Verse

December 15, 2020 Greg Goldstein Original Art and The Artists

Spider-Verse Team-Up, #3, March 2015

Two years ago this week, many of us settled into a comfy (hopefully) movie theater seat to catch Spider-Man: Into the Spider-Verse. I think I’m speaking for the majority of filmgoers when I say: “Brain Blown.”

The Spider-Verse concept was so successful in this ground breaking animated film, that apparently some of its alternate Spidey universes appear to be creeping into the next live action Spider-Man film, currently due in theaters in a year from now.

Rumors are swirling in recent weeks that many actors and characters from the two previous Spider-Man film universes will reappear in this film, with supposedly Jamie Foxx (Electro) and Alfred Molina (Doctor Octopus) confirmed.

A multiverse Sinister Six? I say, bring it on! (I’ve confessed my love of multiverse storylines previously.)

Meanwhile, in the comics, you don’t have to wait for Disney and Sony and the talent and the screenwriter and the director to have a meeting of the minds.

You can simply read any number of Spider-Verse related comic book titles, including this one featuring art by the vastly underrated David Williams.

Here you get six Spider-People for the price of one. Seems like a good deal to me.