Here’s a splashy Neal Adams page from his fourth overall Batman story.
As always, Neal’s facial emotions are spot on. I love Bork’s smug face, Commissioner Gordon’s shocked expression, and Batman’s frustration with the entire situation. The body language on all the characters on the page also adds drama to the storytelling.
Vince Colletta was the first inker on the story, and Neal wasn’t happy with the results so he and Dick Giordano re-inked some of it. You can see some corrections on this page, and others in the story, when viewing scans of the original art.
Neal Adams Batman from the Silver Age — Definitely pleased to own this one.
Detective Comics # 338 and #356 Mashup Re-imagination, 2010
As noted last year, the late, great Darwyn Cooke produced a number of these reinterpretations and homages of classics during his all too short lifetime.
In this dynamic drawing, Darwyn combined two classic covers into one, taking the iconic “punch scene” from Detective #356 and fitting into the #338 layout. Carmine Infantino (pencils) and Joe Giella (inks) created both of the memorable original covers.
When you dive the detail of the re-imagination, you might notice that the crooks in the right frame now more closely resemble the hoods that populate the Darwyn’s astonishing Parker graphic novel series that we published at IDW. It’s a wonderful touch.
Definition of a comics geek?
When I saw this piece offered for sale, I recognized what Darwyn had done — without it being specifically noted in the item description. Issue #356 was one of the first Batman comics I remembered reading as a kid.
Batman ’66 Meets Steed and Mrs. Peel #5, January 2017
I’ve expressed my appreciation for Mike Allred way back when I started this blog. (Here and here.) His style is lively, clear, clean and “retro” — absolutely perfect for some great covers on DC’s Batman ’66 publishing program.
Batman ’66 seems to have now gone the way of all defunct universes, but before they wrapped up creating new content, they created quite a few fun crossovers with other similarly adventourous 60s TV shows, including The Green Hornet, Man From U.N.C.L.E., and the British TV favorite “The Avengers.”
DC couldn’t call them that of course, so its Batman ’66 meets Steed and Mrs. Peel.
Whatever you want to call them, a full cover Adam West Batman and cast hypnotically doing the Batusi seems like a great addition to a collection.
The Batusi? Well, in 1966, you just had to be there I guess.
The Batusi is performed by making a horizontal V-sign with one’s index and middle fingers of both hands, and drawing them across in front of the eyes, away from the center of the face simultaneously, with the eyes roughly between the fingers. This is performed in time with the music, and is improved upon by continuing to dance with the lower half of the body, simultaneously. — From Wikipedia
The “Batusi” first appeared in Batman’s launch episode of the TV series featuring the Riddler. It appeared again in the episode “The Pharaoh’s in a Rut” that aired a few months later. It has reappeared in other TV shows and films from time to time including the Simpsons and Everybody Loves Raymond. The late, great Adam West took credit for developing the unique moves. Who wants to argue with that?
Mike is obviously fascinated by the Batusi and related dance moves. Years prior to Batman ’66 he featured Wonder Girl making her moves on his issue of Solo, and, when the award-winning series was collected into an omnibus, Batman danced the night away.
Batman: The Silver Age Newspaper Comics Vol. 3 (1969-1972), November 2016
Pete Poplaski has been called an “artist’s artist” by many creators. His name might not be known as well as other artists, but his talent is unquestionable.
Pete, who broke into comics in the 70s underground community, ultimately became Kitchen Sink Press’ art director, and among many accomplishments helped give some of Robert Crumb’s projects just the right design touch.
Kitchen had the rights to reprint the DC Batman and Superman comic strips in the early 1990s, and Pete created brand new covers that evoked the classic style of those strips.
When we acquired those reprint rights at IDW in 2012, we went back to Pete to see if he would be interested in picking up where he left off, and fortunately he was.
Wayne Boring. Dick Sprang. Al Plastino. Carmine Infantino. You name a classic artist, and Pete can replicate the style.
And perhaps most astonishing of all is this giant wraparound cover for Batman Silver Age Volume 3. Featured on these covers are nearly everyone in the Bat family from that era. Good guys and villains alike. All the type is hand lettered.
And when I say giant, I’m not kidding. When combined, the two pieces are nearly four-feet wide.
I’ve never seen another piece of comic art quite like it.
September 19 is “Batman Day,” so we’re going to ride the Bat-train for a few weeks and post some additional theme-appropriate art. No “Bam or “Pow” included.
Poplaski creates color guides by photocopying the original and, if too big, taping the pages together.
Wallace Wood brings his penchant for humor to Topps with this great looking 1967 series of novelties appropriately entitled “Nasty Notes.”
Why call them novelties instead of trading cards? Because they are actually two-sided posters that are designed to resemble the folded notes you might pass around in class.
Woody did a generous amount of work for Topps in the 60s as he became increasingly frustrated with the mainstream comics houses. Also, he was friends with one of Topps creative directors, Len Brown.
In fact, as noted previously, Len helped shape the creative direction of Wood’s T.H.U.N.D.E.R Agents, and. in return, Woody named the civilian identity of Dynamo, the lead character, “Len Brown.”
Some of the greatest and best-known talents of the comics contributed to Topps creative “Non-Sports” projects. It’s an all-star list that includes Jack Davis, Bob Powell, Basil Wolverton, Robert Crumb, Jay Lynch and Art Spiegelmanamong others.
(And of course, well-know pulp cover painter Norm Saunders was responsible for the finished work on Mars Attacks, Batman, Civil War, and others.)
My favorite Topps / Wood project of the era: Krazy Little Comics, 16 different parodies of classic superheroes in the style of EC’s classic Mad Comics . Written by Roy Thomas, with art by Wood and Gil Kane, too. These predate Not Brand Ecch! #1
Continuing our celebration of Wonder Woman for the next few posts — no matter when the new film finally releases.
Gene Colan delivers an outstanding splash in an offbeat story involving t video-game mania. Well, it was 1982. Think Atari 2600. Only here we have a cast-off villain –General Electric — from Jack Kirby’s Sandman (I kid you not) who uses a kind of mass hypnosis… oh never mind.
As mentioned previously, I’m a passionate fan of Gene’s work and picked up nearly everything he did at Marvel. By the time he jumped ship to DC I was less interested in superhero comics in general and paid little attention to his work on Wonder Woman. (Batman was another story, as I thought he was a great choice for the dark detective.)
Turns out it was a short but memorable run on WW (artistically at least) and Gene is actually responsible —under the direction of publisher Jeanette Kahn — for her very first costume re-design, replacing the eagle on her chest with the “WW.” (Not including a brief stint in “mod” civilian attire in 1968- 1973.)
The exact new design may have been a work in progress, because the halter on this original has an art patch on it.
Wonder Woman gets an updated halter, logo and creative team, as previewed in DC Comics Presents #41, and ultimately launching in Wonder Woman #288.
Gene’s work at Marvel looked nothing like the other “bullpen” artists, yet somehow fit in perfectly. Where he went, I typically followed.
Continuing our celebration of Wonder Woman for the next few weeks — no matter when the new film finally releases.
Jim Lee’s 12-issue run on Superman, “For Tomorrow”, is classic. Even though the story itself is not as highly regarded as his Batman “Hush” storyline, the art and storytelling start off pretty great and quickly proceed to spectacular.
Comic Book Resources summed it up:
“Superman: For Tomorrow” is an uneasy mixture of introspection, lamentation, and explosive action (think “Hamlet” mixed with “Godzilla”), Lee’s art only increases in spectacle as the story unfolds.”
Case in point, this issue featuring Wonder Woman: Epic action, glorious detail, creative and dynamic storytelling. Do you get the sense I like the art?
Inks on this page are provided by the talented Sandra Hope, filling in for Scott Williams. Based on high quality of the finished story, I’m certain there were some deadline struggles along the way.
Re-reading the entire story today, it’s also better than I realized the first time around. That said, the Absolute Edition is definitely worth owning for the art alone.
Welcome back to a month long celebration of the “Independents” — Independent creators and projects that continue to impact the comic book medium.
I have some great Sam Kieth anecdotes from projects where we’ve crossed professional paths.
Topps Maxx trading cards. Check.
Cadillacs and Dinosaurs Animated comics adaptions. Check.
Maxx Deluxe collections. Check.
Batman / Maxx. Double check.
Zero Girl? Even though we collected both series at IDW, I have no memory of how this one came to pass. Probably a short phone call between Editor Scott Dunbier and Sam, and that was that.
I do have however, this cool page, the issue’s cover scene, in my collection. Zero Girl is admittedly not one of Sam’s better known efforts, but its surrealism definitely appeals to me, and the art, especially in the first series is classic Kieth.
As for those stories I do have? I’ll have to get back to you.
Sam did three great (and little-seen) covers for the 1994 Topps adaptation of the Cadillacs and Dinosaurs animated series. He sold the original art for them in the last year or two; I guess he forgot he promised one of them to me. Ha!
As discussed previously in this blog and elsewhere, Matt Wagner is a terrific talent.
Although it’s always great fun to see him play with other kid’s toys (The Demon, Batman, The Shadow, etc.) its obvious he has a special appreciation for his two long-time creations, Grendel and Mage. And Mage has been one those series has always demanded my attention, and my admiration.
MAGE is the contemporary tale of reluctant hero Kevin Matchstick who, after encountering a modern-day wizard, learns he is the reincarnation of the legendary King Arthur Pendragon, able to wield the power of the mystical weapon, Excalibur. (Now a magical baseball bat instead of a sword.)
Here’s Matt discussing it in a 2017 interview, just ahead of launching the final story arc
“For anyone who doesn’t realize it, MAGE is what I like to describe as an allegorical autobiography, with the character of Kevin Matchstick very obviously standing in as my literary alter-ego. All the other characters he encounters and situations he endures are metaphors from my own life…told through the lens of a fantasy adventure.”
It’s a wonderful trilogy — told over the span of 35 years — and Matt is probably bored with me telling him how much I enjoy and admire the work. (I first met him in the 80s and have sung the same tune since then.)
The autobiographical part of the fantasy is key to me, because Matt and I —and his hero Kevin Matchstick — are all about the same age.
Kevin’s character ages and incorporates Matt’s life experiences, which is still a fairly uncommon feature in graphic storytelling.
This cool page is from the middle of the trilogy, and features the cover scene of the issue in the wonderfully-executed final panel. POW indeed.
Matt says the Mage story is complete and the story of Kevin Matchstick is finished, but maybe he will incorporate a senior citizen story 20 years from now — we can discuss it over a game of checkers in the park.
Concluding our ongoing series celebrating multiple anniversaries for the classic pulp character, The Shadow.
Gravity. What a bitch.
Comic art (and animation) often defies gravity, and pretty much all other laws of science. (Not just physics.)
Didn’t care as a kid, don’t care now.
As long as the art is dynamic, the storytelling is clear, and we don’t push the boundaries into the realm of downright ridiculous, I’m good.
Also, consistency helps too. If Wile E. Coyote has a one-second mid-air pause before he falls helplessly to the earth, each and every time, no problem. Not realistic, but completely plausible within the context of the character and story.
Falling: always a bit slower in comic books than reality. And the character is often calm and composed about the whole thing.
Like our friend Lamont Cranston here. He’s not flailing; he’s carefully shooting at whomever caused his drop.
We know he’s going to finish getting some shots off, and, at some point in the drop, reach for a convenient flagpole. Or something. He will figure it out.
In “real life,” perhaps not so much.
A terrific cover, illustrated by the terrifically talented Sean Chen. Flailing not permitted.
Hans Gruber’s famous fall with gun in hand in Die Hard is probably a bit more realistic… no handy flagpole or awning nearby.Also, sheer terror.
Your favorite heroes, on their way down, down, down.
