Greg Goldstein's Comic Art Gallery

Gil Kane — The Star Wars Effect

Star Hawks, Sunday Strip, August 12, 1979

Here is a nice (Sunday) example of Ron Goulart’s and Gil Kane’s Star Hawks, the short-lived SF adventure strip which ran from 1977-1981. (Extra nice in that it includes both the strip header and the color proof.)

“Inspired – as so many things were in the late 70s – by the tremendous success of Star Wars, the newspaper feature syndicate NEA (Newspaper Enterprise Association) got it into their heads that a space opera comic strip that evoked the cosmic high adventure and swashbuckling derring-do of George Lucas’ movie might be a popular addition to the nation’s comics pages.”Christopher Mills

Perhaps most interesting thing about the strip was the that the initial dailies were double tier as well as the Sunday’s — a risky gambit that allowed Kane to showcase his strengths in storytelling and layout. Unfortunately, newspapers weren’t in love with devoting that much real estate to the quirky SF adventure, and it ultimately dropped to the traditional one-tier.

Goulart ultimately left the strip and Kane enlisted frequent collaborator Archie Goodwin, who wrote the one above. He also left after a few arcs, and Roger Mackenzie wrapped things up.

All of the series is available in a three-volume set from The Library of American Comics and IDW Publishing.

Worth every penny, but of course, I’m biased.

Continuing our month long celebration of the great adventure comic strips:
Week 1: Superheroes
Week 2: Detectives
Week 3: SF
Week 4: Comic Book Giants

Alex Maleev — A Long Time Ago…

Star Wars: Princess Leia #2, March 2015

Forty years ago today, life was definitely simpler. All I had to do was how to figure out how to get to the opening night of Empire Strikes Back.

Well, maybe not that simple.

Big films often did not open “wide” in those days, which meant ESB would not be playing anywhere near my college town of Binghamton, New York. Closest theater? In Syracuse. 75 miles away.

Fortunately, I had a car. Gas was (relatively) cheap. And finals had just ended.

That was the good news.

The bad? No on-line ordering. (Ha. We were still using punch cards and booking computer time in the lab.) No advance orders by phone. This was 1980. Horse and buggy era, tickets and technology wise.  And in those days, no bank was offering credit cards to broke college students anyway.

So we had to wing it. The “we” in this case, my buddy Bob and I, pretty much the only people that hadn’t packed up for the semester.

Off we went.  Up through farm country on Interstate 81. Somehow, even though we didn’t leave that early, and the legal speed limit was still 55mph, we made it to the “purchase tickets” line, and then the “entry” line in time, and had reasonable seats.

Good thing, too.

We had waited three years. I didn’t really want to wait another day.

I enjoyed it. A lot. Despite the fact that the story had been “spoiled” for me by the Marvel Comics adaptation, because I didn’t have the discipline to avoid reading it. (Lesson learned there. I never made that the mistake again, including, and especially, for Return Of The Jedi. Hell, I’ve occasionally forced friends who work on films into vows of silence.)

Alex Maleev’s beautiful painted cover features of one my favorite things about ESB: The battle on Hoth. I have a distinct memory of the first time I saw the Empire trailer tacked on to a Star Wars re-release in 1979.  The audience absolutely lost its mind at the Hoth tease. (Well at pretty much everything, I guess.) And the finished battle did not disappoint, stop-motion and all.

Where was I? Oh yes. Great cover. Terrific artist. Wonderful memory.

And somehow Bob and I made it back before the cows came home. But not by much, I imagine.

Berkeley Breathed — Heir To The Empire

Bloom County Sunday Strip, July 1,1984

The Empire rebuilt itself and came back more powerful than ever: The plot of the latest Star Wars Trilogy, or Berkeley Breathed’s prescient look at a well-known mega-corp. 35 years ago?

Star Wars. ATT. Donald Trump. Ruppert Murdoch. Et al. Bloom County may have disappeared for a bit, but many of his frequent satirical topics most definitely did not.

So we might be done with one Empire this week, but the other one is not going anywhere for a while.

The Force is with us indeed. Just a different one than Mr. Lucas imagined.

Fun fact: This strip is the very last one in Volume 2 of the complete Bloom County library

Howard Chaykin — Dark Force Rising

Star Wars #2, April 2015


Howard Chaykin returns to Star Wars with an imposing cover of Darth Vader in 2015. You don’t want to mess with this version of Vader, even if you’re on his side.

Howard Chaykin. Star Wars. This might be a greater conflict than the empire vs. the rebellion. 

I don’t need to repeat Howard’s many on the record comments about his original artwork on the series (Marvel’s 1977 issues #1-#10, which includes the six-part adaptation of the original film.) You can see more for yourself here, here or here.

Suffice to say, he doesn’t like it. (Reading anything Howard says about his own work — or others, or anything, for that matter — is always highly entertaining, so I recommend taking a deeper dive.)

Objectively, Star Wars is of course, not his best work — not even close. It’s not even as good as his other early comics. He drew three issues (and wrote one) of Marvel Premiere just prior to Star Wars that are excellent, especially for the period. (Howard is generally self-critical of all his earliest work, so I bet he won’t agree. But I digress.) 

Licensed comics are always a challenge, especially with limited reference and insane deadlines. That said, given these constraints, and many others, I think his Star Wars art, especially on the first issue, is definitely better than much of what was coming from the big two companies at the time.  But, ultimately, not so great on the Chaykin Curve. (A new scientific term coined especially for this post.)

Just a few years later (1982) he created the astonishing American Flagg. Groundbreaking, although often overused, barely does that series justice. (Much more on that in a future post). Based on Flagg alone, Mark Chiarello DC’s long-time Art Director has described Chaykin as one of the architects of the modern comic book. 

Unfortunately, Flagg was published by a smallish independent publisher, which means that few casual readers ever saw it. Although knowledgeable long-time fans are well aware of the series, it doesn’t have the legacy it deserves.

Star Wars? Reprinted about a zillion times, in more formats than I can count. And I am one of the guilty parties here, publishing the Star Wars Artifact Edition (IDW), showcasing the original art — in its original (11×17) size. 

Shortly after Flagg, Chaykin went on to other fascinating projects, geared for older readers. Times Squared. Blackhawk. The Shadow. Black Kiss. Etc. Ultimately, after a long stint in Television, he returned with other series that reflected his interests and passions. Mighty Love (feels like a television show and was apparently originally developed for that medium) and City of Tomorrow are two personal favorites.  He’s currently working on Hey Kids! Comics!, a fascinating fictionalized look at the drama, jealousy and scandals in the history of comic book business itself.

His innovative and realistic storytelling is complex, violent, sexual, and political. He left space operas behind a lifetime ago.

So if you were a kid when you saw Star Wars, loved Star Wars, and only had the Star Wars comics to read over and over again, because there was no home video, I get it, you love those comics.

I think that’s cool. Even Howard is probably ok with you remembering those comics through the warm glow of childhood nostalgia.

But if you’re an adult? Just don’t remember HIM for them. 

That’s like remembering Nolan Ryan only for his one World Series appearance for the 1969 “Amazing” Mets. You’ve missed the point.

Russ Manning — The Last Command

Star Wars Daily Comic Strip, June 16, 1980

At first glance, Russ Manning’s clean art style is an unusual choice for Star Wars. The saga (the original film specifically) is a bit rough around the edges, with scorch marks, dusty landscapes, dirty uniforms, and beat-up droids.

Manning, best know for his beautiful art on Tarzan and Magnus Robot Fighter, is anything but.

His work is crisp and polished.  Magnus lives on Earth 4000 AD, a world populated by handsome men and gorgeous woman inhabiting a shiny futuristic city. The battle against the sentient robots? Terminator this is definitely not.

But, Russ’ imagination and enjoyment for Star Wars is obvious on these strips.

Even if the stories themselves, like those in Marvel comics, were often “B” level because they weren’t permitted to do very much with actual film-related plots, his storytelling and renderings provided more than enough visual interest to keep the strips engaging.

This specific example, which features most of the Star Wars main cast, comes at the conclusion of Russ’ penultimate story. He died of cancer too young at 52, a few months after this strip was published.

Had he lived, I’m certain he would have come back to Star Wars at some point.

After all, he created a city-covered planet, very much like Coruscant, years before George Lucas did. In fact, when Magnus debuted, George Lucas was still a teen who, among other interests, had a passion for comic book art.

Wait a minute… (*)

*Ok, Lucas (definitively) and Manning (likely) were influenced by Fritz Lang’s ground-breaking film Metropolis, and this is just a fun coincidence. But still.

Mike Mayhew — Fool’s Gold

Star Wars: Lando, #1, September 2015

Mike Mayhew cleverly envisions Lando Calrissian’s ’s microsecond moment of glory in the Empire Strikes Back — interrupted by Vader and company.

Lucasfilm has not always encouraged more whimsical interpretations of its characters and storylines, so it was good to see this one approved to print.

Mike had submitted a few ideas (see below) for this variant cover and this one received the green light.

And Mike was kind enough to thank me for reminding him to file and back-up everything in his archive so that when art obsessives like myself come along, he has digital copies of the roughs and pencils to provide. You’d be surprised at how much comic art material will never see the publishing light of day again because no can find the files or scans.

Happily, here we can see the progression from thumbnail to sketch to pencils to finals, etc.

As for Lando? (Billy Dee Williams, a spry 82-years old.) I’m happy that he gets to make one final appearance in the Star Wars saga. But if he’s there just to make some grand sacrifice, I will be annoyed. (Ditto for Chewie. And the Falcon, too, for that matter.)  

I think we’ve had enough of that.

Al Williamson — Jedi At The Drawing Board

Return of the Jedi, #2, October 1983

Lush brushwork. Clear storytelling. Impeccable detail. Accurate anatomy and likenesses.  Al Williamson’s page from Star Wars: Return of the Jedi adaption speaks volumes about realizing potential in adapting other mediums to comics.

George Lucas had the power to choose the artist to draw the Marvel Empire Strikes Back adaption and he had the good sense to choose Al Williamson.

Al’s gorgeous art on classic EC science Fiction stories as well as Flash Gordon had clearly made an impression.

Fortunately for us, Williamson agreed to also illustrate the Star Wars newspaper strip (after Russ Manning’s untimely passing), and he ultimately came back for Return of the Jedi adaption as well.

On all three projects — plus a handful of stories in the regular comics — Al delivered. It’s some of his finest work.

Williamson kept much of his Star Wars related art, and his estate now owns it.  Nearly all the originals that have come on the market are those once owned by his assistants or inkers.

This great page from ROTJ has a more interesting provenance. Superstar inker Mike Royer received it from Al (see inscription) shortly after publication. It remained in his collection for many years.

So it’s not only a great piece of original art, it has a great story behind it as well.

And it’s a cornerstone of my collection.

Adam Hughes — Leia Nouveau

Print, Star Wars Celebration IV and Star Wars Celebration Europe, 2007

Continuing our multi-part countdown to Star Wars The Rise of Skywalker, opening December 20, and concluding, apparently, the Skywalker saga.

This print, limited to 250, and now selling for as much as a nice page of original art, checks three great boxes for me:

Adam Hughes. Star Wars. Art Nouveau via the master, Alphonse Mucha.

(And a fourth actually — a wry sense of humor not seen often enough in Star Wars related content)

Stellar artist Hughes is supposedly keeping his original art for this giclee. Who can blame him? For an artist who generally sells all his originals, that probably tells you all you need to know.

Adam also tackled “Slave Leia” earlier in this reprint of the Return of The Jedi adaptation.

Mike Deodato / Andrew Pepoy — Family Feud

Pencil Commission, Undated (Inks, 2019)

Continuing our countdown to Star Wars:The Rise of Skywalker, opening December 20, and concluding, apparently, the Skywalker saga.

I discovered this dynamic undated commission by Mike Deodato a few months ago. Something about it — the composition, Luke’s face, the overall “loose” style — reminded me of Carmine Infantino’s enjoyable run on the original Marvel series 40 years ago.

When I acquired the piece at NYCC, it was pencils only, and although it looked great, my gut told me to get it inked.  (Sadly, my guts often have opinion.)

Fortunately, my pal Andrew Pepoy, the talented inker, happened to be nearby. Turns out, he always wanted to ink the late Infantino, and well, maybe this is the next best thing…

He nailed it — keeping the looseness intact, while adding polish and more depth to make it pop. (Look at Luke’s Lightsaber against Vader’s cape for instance.) This is especially impressive because the pencils were created on an odd thin paper stock, nothing like the more typical Bristol board artists employ. Definitely not an easy task.

Carmine’s run comes during the period leading up to to Empire Strikes Back, and I’m sure Lucasfilm was giving Marvel and writer Archie Goodwin fits, keeping them from, well, just about any story element that would spoil the film. Which is… well…. just about everything. Nerveless, they manage to have a few confrontations between Luke and Vader. Even if, of course, nothing is what it seems.

As for this Deodato piece? Mike’s modern Star Wars (see below) art looks nothing like this commission — someday I hope to get the backstory on the art. Until then… stay tuned.

Tony Harris — The Phantom Limb

Star Wars Special: C-3PO #1, June 2016

Star Wars: The Rise of Skywalker opens in two short weeks, and the Star Wars Skywalker trilogy of trilogies (I can’t bring myself to call it a ennealogy) will apparently conclude, 42 years after it began. 

In honor, the next two weeks of posts will feature original art from Star Wars, showcasing one or more of the “original trilogy” characters.

James Robinson and Tony Harris (Starman) reunite for a one-shot C-3PO story that explains the droid’s red arm in The Force Awakens. 

Their Starman run was one of the great comic book series of the late 20thcentury and it was nice to see them back together, even if only for a one-shot. And a pretty good one at that — a surprisingly moving tale about droid sacrifice.

The story is packed with eccentric droids in tight spots, and this splash is perhaps the best page in the book — a full image of C-3PO rendered with delightful and quirky detail by the talented Mr. Harris.  He painted the striking “A” cover as well.

I love the final coloring, also by Harris, but as is often true, the art is especially striking in glorious black and white. 

May the force… Well, you know.

A knockout wraparound cover from the hardcover collections of Starman Robinson and Harris stories.