Greg Goldstein's Comic Art Gallery
Panels and Pages… Art and Artists… Creators and Conventions… Musings and Memories…
Avengers / JLA #4, May 2004
Captain Marvel fighting alongside… Captain Marvel? Only on this great battle page by the legendary George Perez from the Justice League / Avengers crossover that took more than 20 years to make happen.
And, appropriately, 2024 is the 20th anniversary of its publication. Twenty years ago? How on Earth (1,2, or 616) did that happen?
(Thanks to pal and super collector Michael Lovitz for parting with this one.)
Jurassic Park #4, August 1993
Here are two great pages from the final issue of the 1993’s Jurassic Park adaptation, penciled by Gil Kane and inked by the George Perez. As I noted previously, the key Dino action takes place in issue #4 which covers half (or more) of the film. (Thanks a lot, Universal.)
Fun fact: Universal had a giant launch party for the JP licensing and marketing program at New York City’s Museum of Natural History in February 1993 (at the annual Toy fair event) and Topps received several invites. So what happens when I hop out of the Subway to walk to the museum? I run into George Perez, and we make our way in together. I had a great time, but George was even more thrilled. It was clear he was absolutely delighted to be a part of this.
Fun fact #2: Topps also had a few invites to the NY premiere of Jurassic Park at the Ziegfeld Theater and Walter and Louise Simonson were able to accompany us to the theater, and a swell time was had by all. But, apparently, the final version of the shooting script had not made it from Universal / Amblin to Topps to Walter, so naturally he immediately noticed that his script and the Final Cut differed in a few places. (Fortunately, only a few.)
Oh well…
Jurassic Park #3, July 1993
Jurassic Park opened thirty years ago June 11, so it seems like an ideal time to present some more great Jurassic Park pages from 1993’s adaptation drawn by Gil Kane and George Perez this week. (I still can’t believe it’s been thirty years.)
Here’s a terrific splash from issue three, with George’s telltale detailed inking mostly only evident in the original art; the color obscures many of those fine details in the published page.
Fun fact: Because of licensing restrictions (including embargo dates) and publishing schedules, the film’s script and the four-issue comic breakdown are somewhat uneven. Not that much happens in Issues #1 and #2. Issue #3 has this cool opening, and some cool T-Rex action in the second part, but most of the exciting Dino action happens in issue #4. (Writer Walter Simonson did a terrific job balancing the script under those challenging restrictions.)
For more on that, check back in on Friday.
Bram Stoker’s Dracula, #3, December 1992 (& A Topps Gallery, 1992-1995)
Better late than never — Topps Comics actually launched its first title, Bram Stoker’s Dracula, in October, not November of 1992. By mid 1993, we had film adaptions, SF anthologies, Kirby superheroes and dozens more under our belt.
It was a wild ride.
In early 2023, we will have a more extensive look back with some new art, photos, memorabilia, etc. In the meantime, here’s a gallery of previously posted art. (Each piece links to the original post.)
Stay tuned.
Jurassic Park #4, August 1993
In honor of Jurassic World: Dominion opening this Friday, we’re featuring a “Summer Rerelease” special this week of three of our best earlier Jurassic Park posts.
Gil Kane and George Perez teamed up on artistic chores for the original Topps Jurassic Park film adaption. (With writing by Walter Simonson). It was a unique pairing suggested by Topps EIC Jim Salicrup, and for the most part, worked very well. All four issues came out on the predetermined schedule, not an easy feat, especially in those days with newsstand distribution considerations. But the schedule was… tight. (OK, harrowing.)
I was delighted to pick up the original art for Gil’s and George’s variant cover for issue #4 a few years ago at auction.
The scene is from the climax of the film where our young heroes are menaced in the commissary kitchen by the crafty velociraptors. It’s a cool composition that captures the terror of the moment.
Here’s the rub — Is that a chubby raptor missing a neck? Or a deformed T-Rex? I mean, what kind of dino did Gil actually draw?
You can’t tell from the scan, but there’s an art patch on the dino’s face. Clearly some of it absolutely, positively needed to be altered to be approved overnight. But someone in Universal’s licensing department must have ultimately taken pity on our harrowing schedule, and us, because the final version is definitely not on model.
Since this is technically not the “main” cover, which is by Dave Cockrum, maybe they gave us a pass. (I don’t remember who did the art patch — George, our production department, or, for that matter, Gil.)
Ah, Gil. We sent him lots of photo reference. I can’t recall if we sent this exact scene specifically, but regardless, he had reference. Like I said, lots of it.
Only problem is, as I found out later on, Gil didn’t have much use for reference.
It doesn’t matter. He was one of the best. I consider myself fortunate to know him professionally, albeit briefly. Stories about him were legendary by the time I met him in 1993.
And, I got at least one “Greg, my boy…” out of him, so I could cross that off the list. Whew.
Infinity Gauntlet #3, September 1991
George Perez delivers what George Perez does best: Multiple characters with terrific detail, and imaginative “camera angles” on this great page from the original Infinity Gauntlet mini-series.
It’s almost impossible to believe that this week marks the 2-year anniversary of Avengers Endgame, which wrapped up the Gauntlet saga, and the “early” phases of the MCU. Except for the December 2019 Spider-Man: Far from Home flick (which although in the greater MCU, is a SONY production) no Marvel films in two years just seems… wrong. Thanks, pandemic.
The good news is that we’ve had two quality TV series in recent months, with another one launching in a month. And if my math is correct, because of delays and rescheduling, there are four Marvel films to debut this year, and four more scheduled for next year.
Whew.
The bad news — if there is any — is that Marvel is setting up so many potential storylines at this point that we are going to have to keep a character encyclopedia and Gantt chart with us at all times.
Dark Avengers?
Thunderbolts?
Young Avengers?
House of M?
Kree Skrull War?
Secret Invasion?
A Multiverse thread in both Spider-Man and Doctor Strange, at a minimum.
Plus, Kang as the next “big bad?”
Like I said… whew.
It’s one thing to accomplish all of this in 80 or so monthly comic books. It’s another to do it in filmed media. But if anyone can, I think Marvel and Disney might pull it off.
Fasten your seat belts…
Fantastic Four #167, February 1976
Continuing our multi-part tribute to the 60thanniversary of the Fantastic Four — and the “Marvel Age of Comics.”
Hulk vs. Thing? Think about it. The Thing can give the Hulk a run for his money, I suppose, but in the end Hulk wins. No contest, really.
The “shock ending” here is that after quite a few matches during the years, The Thing takes pity on Hulk and joins forces with him to fight the army and the Fantastic Four (or more accurately, three), and anyone else who might be persecuting the Hulk at that moment.
George Perez, aided by the amazing Joe Sinnott, delivers a great looking action page featuring both characters. Pages from this issue rarely turn up and I’m fortunate that I found one. This is one of my favorite issues from the late bronze era, and it doesn’t hurt that it features a terrific cover by Jack Kirby, one of his earliest from his “return” to Marvel a few months prior.
That said, about the scale accuracy of the Gateway Arch Monument (St. Louis) vs. the occupants as depicted here? The less said, the better.
New Teen Titans #24, October 1982
When Marv Wolfman and George Perez took on The New Teen Titans in 1980, they were aiming to rival Marvel’s immensely popular X-Men. Right off the bat, the team created one of the greatest villains in the DC Universe in Deathstroke, aka Slade Wilson. In addition, Perez and Wolfman were responsible for resurrecting the Titans and assembling the now-iconic team of Robin, Beast Boy, Cyborg, Starfire, and Raven. -Dana Forsythe, SyFy Wire, 2019
I came into Teen Titans reboot a few issues late. It hit stores during my college years, when my comic book purchasing was inconsistent, mostly sporadic actually, especially on mainstream titles. Somehow I missed the buzz — or the buzz missed me. (And the original Titan series had some great art from time to time, but the writing was all over the map.)
Fortunately, my college roommate had caught on from the beginning, and I borrowed his early issues. I was hooked. (I really should return those one of these days.)
I was in love with Perez’s astonishing detail on his Marvel titles (FF, Avengers, etc.), and this was superb work, perhaps even a notch greater.
When I returned to collecting original art about a dozen years ago or so, acquiring a Teen Titans page was an early priority.
The Titans join with the Omega Men in this issue, and we get some of both in this classic Perez layout. No one else could do narrow panels like this, with this much detail, and frankly few tried.
Jurassic Park #4, August 1993
Michael Crichton’s Jurassic Park novel turns 30 this year, so the next few posts pay tribute to the book that became a blockbuster film franchise.
Gil Kane and George Perez teamed up on artistic chores for the original Topps Jurassic Park film adaption. (with writing by Walter Simonson). It was an unique pairing suggested by EIC Jim Salicrup, and for the most part, worked very well. All four issues came out on the predetermined schedule, not an easy feat, especially in those days with newsstand distribution considerations. But the schedule was… tight.
I was delighted to pick up the original art for Gil’s variant cover for issue #4 a few years ago at auction.
The scene is from the climax of the film where our young heroes are menaced in the commissary kitchen by the crafty velociraptors. It’s a cool composition that captures the terror of the moment.
Here’s the rub — Is that a chubby raptor missing a neck? Or a deformed T-Rex? I mean, what the hell kind of dino did Gil actually draw?
You can’t tell from the scan, but there’s an art patch on the dino’s face. Clearly some of it absolutely, positively needed to be altered to be approved overnight. But someone in Universal’s licensing department must have ultimately taken pity on our harrowing schedule, and us, because the final version is definitely not on model.
Since this is technically not the “main” cover, which is by Dave Cockrum, maybe they gave us a pass. (I don’t remember who did the art patch — George, our production department or for that matter, Gil.)
Ah, Gil. We sent him lots of photo reference. I can’t recall if we sent this exact scene specifically, but regardless, he had reference. Like I said, lots of it. Only problem is, as I found out later on, Gil didn’t have much use for reference.
It doesn’t matter. He was one of the best. I consider myself fortunate to know him professionally, albeit briefly. Stories about him were legendary by the time I met him in 1993.
And, I got at least one “Greg, my boy…” out of him, so I could cross that off the list. Whew.
Fantastic Four Annual #13, 1978
Continuing our ongoing celebration of Marvel’s 80thAnniversary.
Sal Buscema and Joe Sinnott deliver an iconic (and terrific) image of the Human Torch in this celebratory opening splash page.
Celebratory in that the Fantastic Four had just gone through a quirky period editorially where they were essentially “broken-up”, and they have reunited in FF #200, on-sale at the same time.
At this point in the run, Joe Sinnott, acknowledged as one of the all-time greats, is pretty much the only consistent through line in the FF — the series was rapidly going through a number of mix and match creative teams. In a three-year period, Joe inks pencillers Sal Buscema, John Buscema, Keith Pollard, Rich Buckler, Ron Wilson, and of course George Perez, who does some of his best known work in this era. (Shortly after this issue is published, Joe adds John Byrne and Bill Sienkiewicz to this mélange.)
Sinnott’s credits, including this one, are often categorized as “finishes” during this timeframe, as many of the pencillers are providing breakdowns only. Doesn’t help enough with the schedule though, as a number of issues are reprints and fill-ins. Marvel, as others have noted, was going through some difficult times. The Fantastic Four themselves wouldn’t truly find their full footing again until a few years later, when Byrne fully takes over writing and art chores.
As for Joe and Sal? With the end of the Spider-Man newspaper strip this year, Joe officially retired from inking … at age 92. Sal (age 83) “retired” in 2000, but continues to be coaxed into working — sometimes by my former colleagues — to this day.
“Flame on!”
