Torpedo Collection Volume #3 (IDW Publishing, US), April 2011
On each page of Torpedo, the much-lauded Spanish graphic novel series, artist Jordi Bernet provides a masterclass in atmospheric storytelling.
Bernet transports us into the gritty, noir-infused world of 1930s New York City. His stylized art captures the essence of the era, from smoky back alleys to sleek underworld nightclubs. Even Central Park provides no respite from the grit and violence.
Torpedo is not for everyone; The “hero” is a ruthless hitman — and the term misogynist doesn’t begin to define his violent approach to women. Writer Sanchez Abuli often pushes the envelope too far, which is why Alex Toth, the original artist of the series, bolted.
One part Joe Shuster. One part Alex Toth. One part Jack Kirby.
All parts Steve Rude.
And I can’t (or won’t) get flowery about a classic Superman image — from the era when “The Dude” first started working with mainstream publishers. (World’s Finest)
Simply a classic. Period.
See you next week with our continuing summer tribute to the Man of Steel.
Start with a full-size portion of Russ Manning, then add a very generous helping of Jack Kirby.
Mix in in a cup of Alex Toth, a shot of Doug Wildey, and a pinch of Joe Schuster, and… voila, you have yourself a full Steve Rude gourmet meal.
Unfortunately, it’s a one-of-a-kind meal, near impossible to replicate.
Clean and distinctive, Rude is among my favorites of the “modern” artists working in graphic storytelling. (In other words: Old guys who, like me, are not that old.)
Nexus, created by Rude and writer Mike Baron, celebrates its 40th anniversary this year. Pages from early issues featuring the titular character rarely become available, and this great one isn’t going anywhere soon.
We continue with our month long celebration of the “Independents” — Independent creators and projects that continue to impact the comic book medium.We’re back on Tuesday (7/27) with… Jim Lee. Have a great weekend.
One picture is worth a thousand words. At least, that’s what they say. (“They” say a lot.)
In the case of this beautiful Alex Toth war page, I will eliminate 999 of them.
All we need to really say is: Astonishing.
Every single time I examine the page, I marvel at how Toth created those lighting effects using only India ink and negative space.
Every. Single. Time.
The art tricks the brain into seeing the illumination as three dimensional as if it were celluloid in a darkened theater. Hell, most cinematography fails to capture lighting as brilliantly as this.
Oh, and the storytelling and camera angles are terrific, too. And of course, the sound effects in the trademark Toth style, add to the drama.
Astonishing.
The five-page Toth story (written by Bob Haney) serves as a “framing device” for the other stories in the issue.
Ric Estrada channels legendary artist Alex Toth in this short story about the Boer War.
Estrada had previously worked with, and channeled Toth on a short-lived Hot Wheels series from DC in 1970. In fact, his style was so similar, that an original page from one of those stories was misidentified as Toth at least twice.
So no surprise that this story also feels like a “Toth.” The lettering (un-credited) definitely adds to the style.
Estrada, of course, was a talent in his own right (and under-appreciated by many) and an excellent storyteller. He didn’t enjoy drawing super hero stories, and that may have impacted his “brand.”
When he did draw capes and tights, his storytelling was typically creative and dynamic. His layouts are a terrific fit with Wood Inks on All-Star Squadron. His layout choices appear more inventive and less stiff than Woody’s.
What? Heresy you say? Read those AS issues again and compare pages — Wood’s layouts vs. Estrada’s.
I’ll wait.
(Author’s note — Wood is one of the all time greats, and one of my absolute personal favorites. In this specific case, I’m just calling it the way I see it.)
The published title page for the story, and an unpublished pin-up tribute to Toth.
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.
Living in the West, this is probably the time of the year that reminds me most of… living in the West.
Warm, sunny afternoons, dry cold nights, cool mornings; just the way I pictured the climate watching dozens, if not hundreds of western films as a kid back in the cozy confines of the New York City metro area.
Ironically, I never read many western comics as a kid. (I guess I had my fill on TV.) So I never caught up to the classic western comic art until much later on.
Some of that great art that included Johnny Thunder by Alex Toth. Toth, an Eastern transplant himself, had a visual storytelling style perfect for those 50s Thunder stories.
But then again, Toth’s amazing talent was perfect for just about any genre: Romance, horror, SF, war, and the all-too rare superhero story.
I had only read a handful of Johnny Thunder stories when this original was offered for sale, but coincidentally enough, it was from a terrific story I had in fact remembered. It appears in the DC’s collection of greatest comic book stories of the 1950s
Can’t argue with the editorial choice one bit.
This classic Johnny Thunder story appeared 30 years later in DC”s collection of greatest comic stories from the 50s, with some revised coloring throughout.
A simple rendering of the Shadow by the legendary Alex Toth leads us down the “What If” rabbit hole.
What if Archie Comics had phoned Toth in 1964, and said “Hey, we just acquired the rights to The Shadow, not sure what direction we should go with it, are you interested?”
Would Toth, who five years previously had beautifully illustrated another pulp icon, Zorro (based on the popular TV series) said yes? One can only imagine the results if he had.
Archie did indeed take the license for the Shadow. But instead of a classic version, illustrated by Toth, or someone comparable, we are left with a giant puzzle.
The cover of issue #1 features a classic rendition of the character.
But inside? A completely different version, with blonde hair no less.
Issue #2 amplifies the gaudy superhero costume, keeps the blonde hair.
Issue #3 keeps the costume, but changes the hair to black.
And so on. At this point, he looks — and pretty much acts — like a poor knock-off of any number of classic Archie / MLJ heroes from the golden age that they already owned.
Why license The Shadow if you’re going to create something wholly different? That indeed is a puzzle. (And also, it can’t capitalize on the “camp” craze,” because it appears well ahead of the Batman TV series.)
After eight issues, the title is mercifully cancelled.
As for Toth? He spent much of the 60s designing many of our favorite animated TV shows, including Space Ghost and Super Friends.
But he never strayed too far from comics, and has illustrated all-time classic stories, in many genres. And, many of his sketches and commissions reflect a passion for classic pulp characters and motifs.
A Toth Shadow series would have been something to see.
Toth, born in 1928 (and died in 2006 at his drawing table), would have turned 92 today. Happy Birthday, Alex!
Toth noir, as evidenced by the illustrations above.
Archie Comics’ version of The Shadow: A mystery wrapped in an enigma, etc….
From Zorro to Batman, Toth was a master of shadow and light.
Nearly all writers, amateur or professional, struggle with writers block at some point.
My blog schedule for 2020 is fairly consistent. About 250 -300 words per post, three posts per week. Add in some extra narrative in the captions, and the occasional “bonus” post, and we can generously call it 1000 words per week. 50,000 words per year, give or take.
That’s significantly less than my early newspaper or magazine days, and yet, every once in a while, I stare at the art — and the screen— blankly, trying to get my thoughts together in a semi-coherent fashion.
And then, there’s Walter Gibson, creator of the Shadow. During the height of the character’s popularity in the 30s and 40s, he wrote two novels PER month, each 50-60,000 words. (Using the pen name Maxwell Grant.)
50,000 — 60,000 (or more) words every… two… weeks.
In Gibson’s NY Times obituary, the paper calculated that in some years, his annual output was well over 1.6 million words!
Reading some of these Shadow stories, it’s obvious that although they were genre books, with certain themes and ideas repeated throughout, they were well written, creative and original. Quality novels, twice a month.
How the heck did he pull it off? Astonishing is definitely an understatement.
Turns out he and I were living fairly closely to each other shortly before he passed away in 1985. I wish I knew that (where was the internet when I needed it?), so I could have perhaps expressed my astonished admiration directly. And of course, thank him.
Oh, yes, back to the art: A great commission by the terrific Jordi Bernet. He’s done a bunch of these, so I assume he’s a fan.
I was fortunate enough to meet him — and host him briefly — at the 2011 San Diego Comic–Con. IDW published the first high quality collection of Torpedo stories in English. And although I’m not a huge fan of the stories themselves, I’m a big fan of the art.
That too, is an amazing understatement.
But at least I had an opportunity to tell him that. Even if my Spanish is fairly impotent.
Alex Toth drew the earliest Torpedo stories, but he wasn’t fond of the writing, so he dropped out. His replacement, Jordi Bernet, is a legendary storyteller in his own right.
Atlas/Seaboard announced its 1974 entry into comic book publishing with plenty of talent and plenty of marketing. Founded by former Marvel Comics publisher Martin Goodman and featuring marquee names like Neal Adams, Steve Ditko, Wally Wood and many up-and-comers, it seemed the possibilities for the new company were endless.
But… those possibilities ended just 23 issues later (no individual title lasted more than four) in late 1975. Many of the titles had rebooted midstream, providing a capricious and confounding publishing strategy.
Howard Chaykin’s Scorpion was easily one of the better Atlas titles — so naturally, after two issues, Seaboard canned Chaykin, hired Alex Toth, and never actually published the pages Toth produced. (They turned up later, elsewhere.)
Not one to waste a great character, Howard quickly transformed Scorpion into Dominic Fortune at Marvel, where he has lived on and off for the last 40 years.
This great page captures Chaykin inventive and dynamic sense of storytelling. Literally “thinking out of the box,” Chaykin flies the airplane right through the outer panel walls, and somehow Atlas’ production dept. made it work — years before full bleed pages were practical in comic book printing.
And, as Luke narrates in the recent Star Wars The Rise of Skywalker trailer, “No one’s ever really gone.” To wit, Atlas just made another comeback of sorts:
