Today is the 100th birthday of the late, great Curt Swan, one of DC’s all-time storytellers. And while the internet is blowing up with great Swan Superman images, (and there are literally thousands of those) let’s instead pull this splash out of left field. (Ouch, wrong sport.)
It’s a Hall of Fame page from this fun 70s series, with story by Frank Robbins, inks by Dick Giordano and the whole shebang edited by Julie Schwartz.
Merlin? King Arthur? Knights playing football against contemporary players? Somehow the whole thing made perfect sense — to me, at least.
Thanks for all the magic Curt — here and everywhere else.
Death in superhero comic books had always been a gimmick. “Robin
Dies at Dawn” likely meant he would be back by dinnertime. (In fairness, it’s a
pretty good story.)
So back in the 60s, legitimately killing a character was in
fact, a groundbreaking novelty. And this T.H.U.N.D.E.R Agents story is one of
the first. Ditko, Wood and company had spent 6 issues developing the character
of Menthor (John Janus), and they shot him to death on this page in Issue #7.
This historic page captures that collaborative methodology
of Woody and the Tower artistic team on T.H.U.N.D.E.R Agents. Dan Adkins scripted
and provided layouts, Ditko penciled the story, and Wood inked it, with assists
by Adkins.
The original T.H.U.N.D.E.R Agents lasted only last 20
issues, and perhaps, had it survived, John would have been resurrected at some
point. But it certainly did not appear that way.
Unlike, say, modern times where killing a lead character is a
gimmick once again.
Superman. Dead. Then alive.
Batman. Dead? Nope, he’s back.
Captain America? Reborn. Bucky? Not dead, just hiding in
Russia for a few decades.
Etc.
A few months after the death of Menthor, teenaged writerJim Shooter kills off (spoiler alert) Ferro Lad in the Legion of Super-Heroes.
Menthor’s powers derived from a “cybernetic” helmet, so t was no surprise that another character would don the helmet and ultimately become a new Menthor when T.H.U.N.D.E.R Agents was resurrected by other publishers. John Janus? Still dead, I believe.
The Iowa caucuses officially kicked off the 2020 national campaign season yesterday. (Although in the 21st century, it feels like every day, of every year, is campaign season. Sigh.)
Campaign season always makes me think of Jack Davis.
I loved his caricatures of famous politicians. Many of them
— especially in the 70s— had plenty of personality, and Davis, like a great
illustrator, could show you that personality through his art. And if they were
bland, boring, run of the mill politicians, Davis could still manage to find
something to say about them — truthful, of course –that would make you
smile.
I also liked that Davis, who went from EC horror artist to
one of America’s top commercial artists in less than 20 years, never became too
successful for appearances in the pages of Mad magazine.
This strip is from a multi-page story called “Wishful Thinking.” It appears to be done on a single board, so in all likelihood all the gags in this story are single pieces of art cobbled together to create story pages. That said, many oversized Mad original art pages have been cut up over the years, to sell individual gags like this separately, so it’s difficult to be definitive.
But it’s not difficult to be definitive about this: In addition to being one of the great American commercial artists, Davis is also one of my personal favorites. Want to offer me an original piece of art for a TV Guide or Time Magazine cover?
I’m all ears.
Published cover from early 1973, and an unpublished cover featuring Democratic candidates from early 1972. Jack’s art did not betray a specific political slant — he caricatured all comers. The unpublished piece is currently available for sale from Fred Taraba Illustration Art.
From an outstanding horror artist at EC Comics (“Foul Play,”above) — to one of America’s most recognizable and best-loved illustrators.
Tonight is the final episode of the extremely well-done Arrow, lasting eight seasons on the CW and successfully launching the “Arrowverse” which now includes Flash, Legends of Tomorrow, Supergirl and more. I doubt anyone could have predicted that these shows would create a well-crafted and (mostly) unified TV DCU, much like Marvel has created a unified film universe.
I’ve seen some (unjust) criticism that ultimately, these shows feel like any other show on the CW, just with more spandex. I think some of that criticism comes from grading these Greg Berlanti produced shows against the more mature (and expensive) shows that are running (less frequently) on premium cable and streaming services.
Its difficult to imagine something like this unified DCU coming together even just 10-years ago, and kudos off to Berlanti and company for creating quality shows with just enough (hopefully not too much) fan service. And the shows will continue on even without the launch series, and star Stephen Amell.
Matt Wagner created a terrific series of painted covers for this Brad Meltzer run of Green Arrow in 2002 and 2003, including this very dramatic portrait of Oliver Queen. (In this story arc, Ollie is dealing with a Hal Jordan (Green Lantern) sub-plot, hence the green illumination.) And speaking of Green Lantern, will he (they) crossover from the upcoming HBO Max series? Very much looking forward to seeing how this all plays out .
Alan Moore and Dave Gibbons early concept art for Watchmen
The Price Of Greatness
Each time I consider a purchase of an original Watchmen page, the price becomes too rich for my taste and I get cold feet. And then, each succeeding time, the price is much higher. Lesson learned? Not yet.
That said, at IDW, we published a beautiful Watchmen Artifact Edition, so I did get to browse quite a few pages and see some impressive scans.
Archie’s Efforts
The MLJ/ Archie superhero universe is fascinating: Since the 80s there have been multiple attempts to launch and sustain the characters, and none have quite worked. Fingers crossed for the most recent efforts, although I’m not certain any new titles featuring the latest iterations were published last year. It’s also interesting that Archie has licensed them to DC a few times.
DC’s Appetites
And speaking of DC, it’s fascinating to me that they would own so many superhero characters, add more, and then license even more. To wit: They purchased the Quality library, the Marvel family, The Charlton superheroes, and Wildstorm. At one point or another, they’ve licensed the Archie superheroes, The T.H.U.N.D.E.R Agents, The Spirit, The Conde Naste pulp characters and Fighting American. And a host of other ones I’m likely overlooking. Whew.
Moore’s Luck
Did Alan Moore’s familiarity with the Charlton and Archie characters come from childhood? Or later perhaps when he attends some fan gatherings/ early UK conventions? You could barely find some of those comics in New York, so it’s intriguing (and ultimately fortunate) that they made their way into the UK.
Morisi Gets His Rights
Why did Peter Cannon Thunderbolt revert back to creator Pat Morisi? Why was his deal so different than Steve Ditko’s? Or, did he manage to find a copyright loophole later on? Questions, so many questions…
Not Too Desolate:
If Bob Dylan receives a royalty for the Desolation Row lyrics included in the Watchmen comics, it’s probably the easiest and most surprising money ever. If his people took a flat fee, all I can say is… oops.
Captain Atom # 89 (1967), Re-creation By Frank McLaughlin, 2012
Concluding our series on the roots of the Watchmen characters.
Charlton’s haphazard and often erratic publishing strategy certainly didn’t help sustain its line of superheroes. (Or “Action Heroes,” since technically, superhero is a joint trademark of Marvel and DC. But I digress.) Captain Atom #89 is the final issue of that series, and within a year all of the (mostly short-lived) action heroes were toast.
They wouldn’t return until about seven years later, when Charlton deciphered the burgeoning fan market. The company endorsed the superhero-themed Charlton Bulletin in 1975, a fanzine that included among other things, Steve Ditko’s unpublished penciled story for the cancelled Captain Atom #90. They asked a young Charlton freelancer by the name of John Byrne to ink it.
Byrne is among many talents with early careers at Charlton. Others include Dick Giordano, Jose Garcia Lopez, Jim Aparo, Bob Layton, Denny O’Neill, and Mike Zeck, Also on that list: Inker (and Charlton Art Director) Frank McLaughlin, who inked Ditko’s original #89 cover and re-created this version above.
As for Captain Atom? DC purchased him and the rest of the Charlton superheroes from the financially struggling Charlton in 1983, and they made their first DC appearance in Crisis on Infinite Earths (1985). Since then, he (and the rest of the gang) ultimately lived on in the pages of DC, of course, which was the point of Editor Dick Giordano not letting Alan Moore use those exact characters for Watchmen.
Alan, as we have discussed, was not deterred, and created his own versions of the characters.
Ironic, since those original Charlton characters could barely raise an eyebrow, and yet we are still talking about Moore’s Watchmen today.
The original and published art for Captain Atom #89. Frank’s red-do is faithful, but makes a few changes.
The first and last pages of Steve Ditko’s Blue Beetle re-do, from a backup story in captain Atom Atom #83.
The introduction of Nightshade. 1966 or not, the handling of the character earns an “ouch.”
Thunderbolt makes an entrance, and exits a short time later. He precedes the re-dos of Captain Atom and Blue Beetle in 1965. (And he takes over the Son of Vulcan title, who is never truly considered part of the Charlton main superhero universe.)Meanwhile, the rights reverted back to creator Peter Morisi, and Thunderbolt now has a home at Dynamite Publishing, where he feels a lot like… Ozymandias.
The Peacemaker steps up and Captain Atom celebrates his new uniform and power abilities. And The Question makes his final appearance in Blue Beetle #5 (1968), which inexplicably appears on the newsstand nearly a year after issue # 4.
Final tally Watchman —
Nite Owl 2 – Blue Beetle 2 Silk Spectre 2 – Phantom Lady/Black Canary/Nightshade Comedian – Peacemaker/Shield Dr. Manhattan – Captain Atom Rorschach – The Question Ozymandias – Peter Cannon, Thunderbolt
Steve Rude delivers a nicely designed splash page for the one-shot Dollar Bill comic from the Before Watchmen series. Len Wein wrote the issue, and Steve penciled, inked and hand-lettered the entire issue himself, a definite rarity. It’s one of the better-looking Before Watchmen comics.
As Watchmen fans know, Dollar Bill is a member of the Golden Age Minutemen — tragically gunned down when his cape gets caught in a revolving door, as described/depicted in the comic book, film and television series.
His role in the series is pretty much limited to that one tragic moment, so this one-shot gives the creative team a nearly blank slate to flesh out his character.
Definitely a unique creation, he is sponsored and employed by a bank as an actor, and pressured by his employer to work with the Minutemen as an actual costumed crimefighter. Any derivation from an existing character would be in design only — and his costume is in fact similar to Archie’s (MLJ’s) Golden Age Captain Flag.
And Flag did reappear in the Archie superhero revival (Mighty Crusaders #4 and #5) in the 1960s, so Moore would have definitely seen him since he has already discussed his interest in those characters.
Not that aren’t enough patriotic-themed red and blue costumed superheroes to go around.
The published splash page flanked by the Rude painted cover and by a variant cover by the late, great Darwyn Cooke.
Captain Flag in three different incarnations: Golden Age introduction, Silver Age introduction, and in an ironic Modern Age introduction he stands front and center. Why ironic you ask? This 1989 version of the MLJ/Archie superheroes, despite the ad, never actually appeared. Archie’s management got cold feet over the potential mature themes conflicting with the company’s wholesome image and pulled the plug. .
Continuing our series on the roots of the Watchmen characters.
Alan Moore, on his original idea for Watchmen:
“I wanted more average super-heroes, like the Mighty Crusaders line … [the] original idea had started off with the dead body of the Shield being pulled out of a river somewhere.”
Although the Watchmen eventually morphed out of Charlton heroes instead, elements of the Crusaders and the other MLJ/Archie Superheroes found their way into Watchmen lore. Perhaps most notable is the Hangman, a Golden age Archie character who along with Black Hood, becomes the obvious inspiration for Hooded Justice, a member of the original Golden Age Minutemen in the Watchmen series. (And has a critical role in the Watchmen HBO show.)
Also notable is the Mothman, an obvious derivation of Archie’s (Simon and Kirby’s) Fly / Flyman.
The original MLJ superheroes disappeared into the mists after World War 2, which didn’t impact Archie financially as the title character and his teenage friends transformed the company, including the published actual name which changed from MLJ to Archie in 1946.
But Archie’s management seeing the giant superhero success down the road at DC and Marvel took another stab starting in 1959 with the Shield and the Fly. Ultimately, many of the golden age characters reappeared, forming a team, the Mighty Crusaders.
Superhero artist Mike Sekowsky was first a Timely (nee Marvel) staffer and then a long-time DC mainstay. He is perhaps best known for his work on Justice League of America, where he could draw almost any character.
So he is well suited to tackle the Mighty Crusaders, a team-up book developed to compete with Justice League and other superhero team books of the day.
But Jerry Siegel’s (yep, Superman’s creator) writing style had most definitely not kept up with the style of the day, and the book was cancelled after seven issues. In fact, the entire Archie superhero experiment fizzled out by late 1967.
But… not before they managed to bring together nearly all the dusty MLJ heroes and put them in one comic book. Issue #4 of Mighty Crusaders, is a goofy favorite, entitled “Too Many Heroes.”
Too many, perhaps, but certainly enough to reach into for character ideas twenty years later.
Issue #4 of the Mighty Crusaders is a… gas. Pretty much every MLJ/Archie hero (as seen twenty years later in this house ad) mysteriously reappears to apply for membership into the Crusaders. The Crusaders themselves disappear after a short-lived series in 1966, but re-emerge multiple times starting in the 80s.
The classic Minutemen team shot as drawn by Dave Gibbons and recreated by the late Darwyn Cooke 25 years later, and the nearly identical PR photos from the 2009 film and 2019 television series.
Final Scorecard — Minutemen and their original counterparts:
Silhouette = Completely unique. (Maybe an amalgam of Black Canary, Black Cat and a female version of the Fox if you want to stretch out the derivations…)
Mothman = Flyman
Dollar Bill = Captain Flag
Nite Owl 1 = Blue Beetle 1 (Dan Garrett)
Captain Metropolis = Shield (with some Steel Sterling thrown in)
Silk Spectre 1 = Phantom Lady (with some Black Canary thrown in)
Hooded Justice = Hangman (with some Black Hood thrown in)
Comedian = Peacemaker (with some Shield thrown in)
Continuing our series on the roots of the Watchmen characters.
Isn’t the Silk Spectre actually Nightshade, the only female superhero in the Charlton superhero line-up? After all, all the other main characters are derived from silver-age Charlton heroes.
Or, if not, perhaps she is an altered version of DC’s Black Canary, who, thanks to retconning, became a mother/daughter Golden Age/Silver Age legacy character?
What does Alan Moore say? He said at one time that she’s based on the Phantom Lady (Sandra Knight), created by the Eisner Iger studio in 1940, and first published by Quality Comics in 1940. (Moore says Nightshade was “boring.” I’m not sure what, if anything, he’s said about Black Canary.)
Phantom Lady had quite a few incarnations in the Golden Age, moving from publisher to publisher, ultimately becoming yet another casualty of the Golden Age.
She is perhaps best known for the cover of Fox Features issue #17 (by Matt Baker), prominently featured in Frederic Wertham’s infamous anti- comics tome Seduction of the Innocent as an example of titillation (costume) and sadism (bondage.)
She first appeared in the DC universe as part of the Freedom Fighters, a group of superheroes fighting Nazi domination of an alternate Earth (“X”), in Justice League #107 (October 1973.) The rest of the Freedom Fighters are also superheroes from Quality Comics — DC obtained Quality’s characters in 1956, but with the exception of Plastic Man, had kept the characters in limbo.
Between her multiple iterations and publishers in the Golden Age, and her (at least) four incarnations at DC, there are likely more versions of Phantom Lady than any other secondary character in comics history.
In this post-crisis version, she is retconned as Starman’s cousin, helping him fight crime in the “Golden Age.” In fact, this great action page by Mike Mayhew is from the classic James Robinson Starman series.
As for Charlton’s Nightshade? She can’t catch a break. She was briefly introduced as a partner for Captain Atom and received a short-lived back-up feature in his title just prior to its cancellation. Despite some fine early art by Jim Aparo, those stories have never been reprinted — other than public domain press.
Silk Spectre 1 and 2 from the 2009 Watchmen film, plus SS 1 from the Before Watchman series.
Phantom Lady made the wrong kind of headlines when Matt Baker’s cover appeared in the sensationalistic and dunderheaded Seduction of the Innocent.
Phantom Lady’s original costume, above, which was modified only slightly when she first appeared in the DCU, below. The illustration for the DC Who’s Who entry below right is by the legendary Dave Stevens (Rocketeer).
Key Black Canary appearances include her first solo story in the Golden Age, along with her reintroduction in the Silver Age, culminating in her moving from Earth-2 to Earth-1 to join the Justice League. Got that?
Post Crisis and Post Watchmen, Black Canary ultimately becomes officially two characters, mother (original) and daughter (modern), as outlined in Secret Origins #50, leftand Who’s Who in the DCU, right.
Nightshade made her first appearance alongside Captain Atom in issue #82, and they received her own back-up feature a few issues later. Despite being Charlton’s only female character, Alan Moore says she is not the model for Silk Spectre.
HBO’sWatchmen was an unexpected television smash of 2019, and it has landed on a number of best of lists. This series of posts explores the Watchmen characters, which have roots in the more traditional superhero universe.
Steve Ditko creates the iconic and mature character Mr. A (with moral absolutism as his trademark) in 1967 for the prozine Witzend, published by Wally Wood.
A few months later, Ditko tones down the violence and moral
absolutism just a bit, and creates a more comics-code friendly character, The Question,
for Charlton Comics.
In 1983, DC acquires the Charlton superheroes from the
financially strapped publisher. The characters first appear in 1985’s mega-event
Crisis on Infinite Earths as inhabitants of “Earth Four.”
In 1986 Alan Moore retools the Question/Mr. A as Rorschach for Watchmen.
Even before Watchmen concludes, the Question receives his first
own ongoing (and very mature) DC series by Denny O’Neil and Denys Cowan.
In issue #17 of that series, the Question (Vic Sage) reads a
Watchmen comic and dreams that he is Rorschach.
A most meta series of events.
Ultimately, The Question series ran 36 issues, ending in 1990. 20 years later, DC added an extra issue as part of the Blackest Night storyline that brought back additional issues of previously cancelled comics.
Which brings us here: In this issue, Bill Sienkiewicz, who
drew or inked nearly all of the covers for that original series, inks an entire
issue for the first time over Denys Cowan’s dynamic pencils. (Cowan had
penciled all but one original issue.)
This is the last page (Renee Montoya is The Question here) from
the story. But, of course, certainly not the last of The Question. As he/she
has already appeared a few times since, most recently notably in Grant
Morrison’s Multiversity: Pax Americana on a new version of Earth Four.
And, in this universe, Vic Sage sounds a lot like… Rorschach.
And the circle continues….
Ten years ago, in Blackest Night, the original Question, Vic Sage, is resurrected to fight the then current Question, Renee Montoya.
The first appearances of Mr. A and The Question, along with the cover of the first and only feature-length Question comic from Charlton.
We meet Rorschach in Watchmen #1, and then the Question meets him in his dreams in Question #17, the first time a Watchmen character appears in any other DC comic.
A recent incarnation of the Question and his Charlton colleagues in the DCU.
