Todd Klein – In My Not So Humble Opinion

Jose Delbo: 1933 to 2024

Argentine-born comic book artist Jose Delbo passed away on February 5th at the age of 90. While I would not say that I was a huge fan of his work, I nevertheless regarded him as a good, solid, underrated artist, one of the individuals who formed the backbone of the American comic book industry for decades. Therefore, I wanted to put together a brief tribute to the man and his work.

Billy the Kid #58, written by Joe Gill, penciled & inked by Jose Delbo and lettered by Ray Burzon, published by Charlton Comics in November 1966

Delbo’s earliest professional work was for various Westerns published by Charlton Comics in the mid-1960s, including a lengthy run on Billy the Kid that commenced with issue #57 in September 1966. This was soon followed by TV tie-in books for Dell. A prolific artist, Delbo worked regularly for both publishers throughout the second half of the 1960s and into the 1970s. Delbo also drew several issues of Turok, Son of Stone for Western during the 1970s.

Update: For an extended look at Delbo’s work on the Billy the Kid series please check out Jose Delbo and Billy the Kid’s Long, Dusty Trail on the Who’s Out There blog.

In 1969 Delbo began receiving work with DC Comics on their supernatural anthology series The Witching Hour. Further assignments from DC came in the early 1970s.

Wonder Woman #253 cover penciled by Jose Delbo and inked by Dick Giordano, published by DC Comics in March 1979

Delbo became the penciler on Wonder Woman at DC with issue #222, cover-dated Feb-March 1976. He had an almost-uninterrupted run on the series for the next six years, with his final issue being #286, cover-dated Dec 1981. Many, myself included, consider Delbo to be the definitive Wonder Woman artist of the Bronze Age of comic books.

Delbo penciled the Batgirl back-up series in Detective Comics during the early 1980s. On several of these installments he was paired with inker Joe Giella. Delbo’s solid storytelling and ability to draw beautiful women combined with Giella’s slick ink line made these back-up stories visually appealing.

Detective Comics #493 written by Cary Burkett, penciled by Jose Delbo, inked by Joe Giella, lettered by Todd Klein and colored by Adrienne Roy, published by DC Comics in August 1980

Delbo remained at DC until the mid-1980, following which he found work at Marvel Comics. There he was assigned various animated tie-in series such as Thundercats, Inhumanoids, Heathcliff, Madballs and, most especially, Transformers.

On that last series Delbo really rose to the occasion, as the assignment required him to often render dozens of different Transformers in both the robot and vehicle modes, and to depict clear action sequences with all of these complex figures. I really think Delbo’s work on the Transformers comic book is an especially underrated part of his lengthy career.

Transformers #42 written by Bob Budiansky, pencil breakdowns by Jose Delbo, finishes by Dave Hunt & Don Hudson, letters by Bill Oakley and colors by Net Yomtov, published by Marvel Comics in July 1988

In 1991 Delbo was also given the assignment to pencil the rather ludicrous Marvel series NFL SuperPro, a job that he nevertheless approached with his usual professionalism. At Marvel he also drew the four issue miniseries Brute Force written by Simon Furman which featured a team of armored anthropomorphic animals fighting to preserve the environment.

During the 1990s Delbo did work for Valiant Comics and Tekno Comics / Big Entertainment. At the later publisher the pairing of George Perez on layouts and Delbo on finished pencils took place in the pages of I-BOTS #3 (Jan 1996). I found that to be an interesting collaboration, as it saw the Wonder Woman artists of two eras working together. (I looked at I-BOTS, including Delbo’s contributions, in a previous blog post.)

Armorines #8 written by Rob Johnson, penciled by Jose Delbo, inked by John Dixon, lettered by Santiago Vazquez and colored by Erik Lusk & Sheree Boyd, published by Valiant Comics in February 1995

Delbo was an instructor at The Kubert School from 1990 until 2005. Following his passing, a number of his former students took to social media to share their fond memories of him as a teacher & mentor.

In the last years of his life Delbo was involved in the creation of NFT artwork. I honestly think NFTs are a scam, but considering Delbo was in his late 80s following a career as a freelancer, I do not begrudge him for taking the work, and I hope he made some decent money from the endeavor.

As I mentioned on a couple of occasions, I regard Jose Delbo as an underrated artist. Hopefully this blog post will help to shine some light on his lengthy, prolific career and the quality work he did throughout it.

It Came from the 1990s: House of Secrets

As I’ve stated on several occasions, one of the reasons why I like to do these “It Came from the 1990s” features here on my blog is because the decade unfortunately has a reputation for having produced an inordinately large number of bad comic books. They allow me to spotlight some of the genuinely good, interesting, enjoyable comic books that came out between 1990 and 1999.

Keeping that in mind, it’s perhaps surprising that until now I haven’t written about any of the books released by DC Comics under their Vertigo imprint, as these were considered to be some of the most innovative books published during the 1990s. Then again, the Vertigo books were often very esoteric, with much more of an emphasis on mood & atmosphere than on straightforward plotting. I’ve felt that the odd, often cryptic, writing on the Vertigo titles does not lend itself easily to the sort of write-ups that I do here. Nevertheless, I’m going to give it a go, and cast my gaze back at the first six issues of the House of Secrets series, which were released in late 1996 and early 1997.

The original House of Secrets was an anthology series published by DC which ran for 154 issues between 1956 and 1978. The title is undoubtedly best known for its 92nd issue, published in 1971, which featured the acclaimed short story “Swamp Thing” by Len Wein & Bernie Wrightson, which was soon after spun off into an iconic ongoing series.

When House of Secrets was revived by writer Steven T. Seagle and artist Teddy Kristiansen at Vertigo in 1996, they took direct inspiration from the title and made the centerpiece an abandoned, haunted house wherein a mysterious supernatural courtroom known as the Juris operates. The Juris uncover, put on trial and, if the defendants are found guilty, sentence human beings for the various dark secrets they keep. This bizarre grouping of entities very much operates according to a strange blue and orange morality that is understood only by themselves.

Our entrant into this weird domicile and its mystical jurisprudence is a cynical teen runaway who calls herself Rain. Spinning various dark, twisted tales to explain why exactly she has fled from home, Rain is the quintessential unreliable narrator, a disaffected teenage Baron Munchausen.

Arriving in Seattle and invited to crash at the eponymous House of Secrets by fellow runaway Traci, Rain is drafted by the Juris to serve as a “witness” to their trials. In spite of her world-weary facade, Rain possesses a sense of right & wrong, and an empathy for others, and she finds herself interceding on behalf of the defendants who are at the mercy of the Juris’ often-bewildering laws and enigmatic judicial pronouncements.

Seagle & Kristiansen introduce the characters & concepts of House of Secrets in the first five issue story. “Foundation” of course has the dual meaning of referring to the central premise of the series and referencing the physical feature of a building upon which the entire structure rests. “Foundation” is colored by Bjarne Hansen & Heroic Age, lettered by Todd Klein, and edited by Shelly Bond née Roeberg. Richard Bruning designed the title logo.

Issue #6 is “Meeting – An Other Rooms Story” which is an aside from Rain’s personal narrative. Tony Zeder, a young man who struggles with alcoholism, is summoned / dragged from his first AA meeting to the House by the Juris, who seek to expose the secrets that lie at the heart of his addiction. Kristiansen provides the cover, with interior artwork by guest artist Duncan Fegredo.

I feel that Seagle did a good job writing a group of very flawed and at times unlikable characters. Rain is frequently unsympathetic, yet nevertheless is still a compelling protagonist. Tony in issue #6 is a very damaged, tortured individual.

Kristiansen does superb work designing the characters, especially the unsettling Juris. His work has a genuine atmosphere to it, which is vital for a series where the setting of the House is such a strong central element to the entire series. Fegredo’s art for “Meeting” really brings to life the physical & emotional torment of a man struggling with both substance abuse and horrific inner demons. Both artists evoke disturbing moods with their contributions to the series.

House of Secrets ran for 25 issues, coming to a close in December 1998. It was followed by a two-issue miniseries House of Secrets: Facade in 2001. Why did I only read the first six issues of the ongoing series? Well, back in the Fall of 1996 I was just starting my junior year of college, but I was still very much a sheltered suburban kid who lived with my parents and hadn’t experienced much of life. I really could not relate to characters such as Rain and Traci who were thrust out into the world and had to survive on their own. The characters & situations Seagle & Kristiansen depicted felt very alien to me, almost as strange as the Juris themselves.

I definitely became more, shall we say, worldly in my 20s and 30s. I certainly got to know people like the ones that Seagle wrote about. I got into relationships, some with people I probably shouldn’t have gotten involved with, and experienced the disappointment of those I trusted letting me down. I’ve experienced the emotions & struggles, the love & hate, that comes from being intimately involved with another human being.

Oh yes… I discovered alcohol in my early 20s, and very quickly made up for lost time when it came to drinking & partying, landing in my first AA meeting a mere 13 years later. While I thankfully did not experience the traumas that drove Tony Zeder, I can very much identify with the physical, mental & emotional agonies of the character, the damage he caused to himself & others, and the difficult first steps that needed to be taken in order to get sober, the painfully raw emotions that I had to deal with once I stopped numbing myself with booze.

And, yeah, I also see a lot of what my significant other no doubt had to deal with in the experiences of Tony’s wife Angela. Such things can be a sobering reminder, both figuratively and literally, of where I’ve been & what I’ve done, and what I might end up going right back to if I’m not careful.

So, yes, in my mid-40s, re-reading the first six issues of House of Secrets last year, I definitely came away with much more identification than I had found the first time around. At some point I will probably seek out the rest of the series. I’m certainly interested in experiencing the rest of the story that Seagle, Kristiansen, Roeberg and their collaborators had to tell.

There was a House of Secrets Omnibus, collecting the entire 25 issue series, the Facade miniseries, and material from the Vertigo: Winter’s Edge special, published by DC / Vertigo in 2013. It’s long out of print, though, and copies are quite expensive. Fortunately most of the original issues can be found for affordable prices on eBay, if you are so inclined to check it out. I get the impression that, unlike some of Vertigo’s longer-running series, House of Secrets sort of fell under the radar. Perhaps it’s worth a reappraisal.

Keith Giffen: 1952 to 2023

Prolific comic book creator Keith Giffen passed away earlier this week at the age of 70. It would be difficult to sum up a four-and-a-half-decade long career that encompassed a diverse range of characters and genres, but I’ll try to hit on a few highlights, as well as personal favorites, here.

Giffen broke into the comic book biz in 1976. One of his earliest jobs was penciling the second chapter of a short-lived serial titled “The Sword in the Star!” written by Bill Mantlo that appeared in the black & white Marvel Comics magazine Marvel Preview #7, cover-dated Summer 1976. This story notably introduced a talking raccoon named “Rocky,” a humorous nod to the 1968 Beatles song “Rocky Raccoon.” And, yes, the character eventually transmogrified into Rocket Raccoon. More on that later.

Marvel Preview #7 written by Bill Mantlo, penciled & inked by Keith Giffen, and lettered by Karen Mantlo, published by Marvel Comics in Summer 1976

During the mid-1970s Giffen’s art style was very much a work in progress, and he was initially working in a Kirby-inspired style. He also developed a reputation for blowing deadlines, and in late 1977 he infamously handed in to Marvel editorial every OTHER page of a Defenders story he was supposed to pencil!

After this, Giffen left comics for a few years. He returned in 1980, where he worked to establish a professional work ethic and restore his reputation with the editors at DC and Marvel Comics.

Legion of Super-Heroes poster drawn by Keith Giffen & Larry Mahlstedt, released by DC Comics in 1984 (Click on it to embiggen!)

Giffen was first paired up with writer Paul Levitz on Legion of Super-Heroes #285 for DC in 1982, and within a short time the two of them were working very closely together to co-plot the series. The collaboration between Levitz and Giffen proved to be extremely fruitful, and together with inker Larry Mahlstedt they created the five-part epic “The Great Darkness Saga” that ran in Legion #290-294. “The Great Darkness Saga” saw Jack Kirby’s tyrannical god Darkseid return in the 30th Century to face the Legion, and it is generally regarded as one of the all-time greatest Legion stories ever told.

Giffen remained on LOSH until 1984, when he drew a huge, insanely detailed Legion poster featuring pretty much every single character from the series up to that point in time. Giffen would later recount to Jon B. Cooke in an interview for The Jack Kirby Collector #29 (August 2000) from TwoMorrows Publishing why after drawing this poster he made the decision to leave the series:

“What happened was I did this Legion poster, characters all over the place. And in drawing that Legion poster I totally burned myself out on the book. After the poster I just had to walk away.”

Omega Men #1 co-plotted & scripted by Roger Slifer, co-plotted & penciled by Keith Giffen, inked by Mike DeCarlo, lettered by John Costanza, and colored by Petra Goldberg, published by DC Comics in April 1983

While on LOSH, Giffen also penciled & co-plotted the first several issues of the gritty space opera Omega Men, working with writer Roger Slifer and inker Mike DeCarlo. In the third issue Giffen & Slifer introduced brutal alien bounty hunter Lobo, who they intended as a parody of the violent anti-heroes who were starting to become popular in American comics. (I put together a retrospective on the Slifer & Giffen issues in 2015, after Slifer passed away.)

Giffen created the incredibly comedic, irreverent Ambush Bug for DC Comics in 1982. Paired with scripter Robert Loren Fleming, Giffen did an Ambush Big miniseries in 1985, followed by Son of Ambush Bug in 1986. It’s been said that Ambush Bug was Deadpool before there was a Deadpool, i.e. a character breaking the fourth wall with snarky commentary and ridiculous antics, lampooning the tropes of the superhero medium.

Things get **REALLY** weird… Legion of Super-Heroes #310 co-plotted & scripted by Paul Levitz, co-plotted & penciled by Keith Giffen, inked by Larry Mahlstedt, lettered by John Costanza, and colored by Carl Gafford, published by DC Comics in April 1983

Throughout the 1980s Giffen’s penciling became increasingly stylized, and his layouts & storytelling also started becoming quite unconventional. He was heavily influenced — perhaps TOO heavily — by Argentine artist José Antonio Muñoz. This was especially apparent in the “Prophet and Omen” storyline that ran in LOSH #307-310 in early 1983. If “The Great Darkness Saga” is considered one of the greatest Legion stories, “Prophet and Omen” is regarded as one of the most baffling.

The next major work by Giffen was the 1987 reboot of the Justice League. Giffen plotted and did rough layouts for Justice League International, paired up with scripter J.M. DeMatteis and, initially, penciler Kevin Maguire. While I’ve never been all that much into Giffen & DeMatteis’ sitcom approach to the League, I readily acknowledge that the “Bwah-ha-ha-ha” years have a HUGE number of fans who absolutely loved those stories.

Send in the clowns… Justice League International #25 plotted & breakdowns by Keith Giffen, scripted by J.M. DeMatteis, penciled by Ty Templeton, inked by Josef Rubinstein, lettered by Bob Laphan, and colored by Gene D’Angelo, published by DC Comics in April 1989

The thing about Giffen is that throughout his career his stories were either ridiculous & cheeky, or they were incredibly dark & intense. So, following the comedy of Justice League International, Giffen returned to Legion of Super-Heroes in 1989 with the “Five Years Later” direction that saw the 30th Century United Planets collapse into a horrific dystopia, and the scattered members of the team, now adults, attempting to deal with the political & economic carnage. Giffen worked with co-plotter & inker Al Gordon and scripters Tom & Mary Bierbaum.

In the second half of the 1980s Giffen had begun working in a strict nine-panel grid, but within those panels the layouts & compositions of his penciling were decidedly unconventional. I can only describe it as a fascinating combination of order and chaos. He really leaned into this storytelling technique during the “Five Years Later” era.

A good demonstration of the nine-panel grid… Legion of Super-Heroes #13 co-plotted & penciled by Keith Giffen, co-plotted & inked by Al Gordon, co-plotted & scripted by Tom & Mary Bierbaum, lettered by Todd Klein, and colored by Tom McGraw, published by DC Comics in November 1990

“Five Years Later” understandably proved to be divisive among longtime Legion fans, but three decades on it is now generally recognized as an interesting, bold approach.

During the 1990s Giffen worked on a variety of projects for DC, Dark Horse, Image and Valiant. In the early 2000s he returned to Marvel. He was one of the writers on the Annihilation event in 2006, and one of his main contributions was utilizing the previously obscure character Peter Quill, aka Starlord. A year later Giffen was involved in the follow-up Annihilation: Conquest, which saw him revisit a character from the very beginnings of his career.

Subsequent to “The Sword in the Star!” serial Mantlo brought back Rocky, now calling him Rocket Raccoon, in a couple of issues of The Incredible Hulk published in 1982, followed by a four issue Rocket Raccoon miniseries in 1985. And, other than a couple of other appearances in the early 1990s, that was it for Rocket.

The origin of the Rocket Raccoon and Groot team… Annihilation: Conquest – Starlord #1 written by Keith Giffen, penciled by Timothy Green II, inked by Victor Olazaba, lettered by Rus Wooton, and colored by Nathan Fairbairn, published by Marvel Comics in September 2007

Fast forward to 2007, and Marvel was doing Annihilation: Conquest. Enter Keith Giffen, who wrote the four issue Annihilation: Conquest – Starlord miniseries, featuring artwork by Timothy Green II & Victor Olazaba. The miniseries saw Peter Quill assembling a team of obscure “cosmic” characters to fight against the menace of the Phalanx cyborgs. Among those was Rocket Racoon, with Giffen returning to the character for the first time since his debut 31 years earlier. Giffen also made the decision to pair up Rocket with Groot the talking alien tree, an even more obscure character created by Jack Kirby way back in 1960.

A number of the characters from Annihilation and Annihilation: Conquest, including Peter Quill, Rocket Racoon and Groot, soon after became the core members of the new Guardians of the Galaxy team, who in 2014 featured in the hit MCU movie directed by James Gunn.

So, yeah, Giffen was the man behind the now-iconic duo of Rocket and Groot.

Enter Bat-Cow… Infinity Man and the Forever People #4 written by Keith Giffen & Dan DiDio, penciled by Giffen, inked by Scott Koblish, lettered by Travis Lanham, and colored by Hi-Fi, published by DC Comics in December 2014

Giffen was also the layout artist for the weekly 52 series published by DC in 2006, and he was credited as a “story consultant” for the weekly Countdown series a year later. When DC did their huge New 52 reboot in 2011, Giffen worked on several titles, including O.M.A.C. and Infinity Man and the Forever People with Dan DiDio. On both series Giffen was very effectively inked by Scott Koblish.

In the remembrances posted by Giffen’s colleagues over the past few days, it’s been observed that he was A) a notorious curmudgeon, a part he apparently played with a hidden glee to the hilt, B) incredibly talented & creative, and C) that beneath his cantankerous facade he could be incredibly encouraging & supportive of his collaborators.

I was fortunate to meet Giffen on a few occasions over the years when he was a guest at comic book conventions. A few years ago, he was at East Coast Comic Con. I asked him to sign the Annihilation: Conquest – Starlord miniseries, along with a few other things. And then I enthusiastically said to him “You’re the guy who first teamed up Rocket Racoon and Groot!” To which Giffen, in his typical fashion, basically responded with an indifferent shrug. Yeah, that was Keith Giffen for you.

Infinity Man and the Forever People #9 cover penciled by Keith Giffen, inked by Scott Koblish, and colored by Hi-Fi, published by DC Comics in May 2015

Another time I asked Giffen to sign a couple of issues of Infinity Man and the Forever People. As a fan of Kirby’s Fourth World, I had liked the short-lived title, even if had ended up being very uneven (as I previously blogged, the frequent changes in pencilers didn’t help), because I felt Giffen & DiDio were at least trying to do something new & interesting with the Forever People. I informed Giffen that I’d enjoyed the series. He sort-of frowned and responded “We were trying to repeat what we had with O.M.A.C. but unfortunately we didn’t succeed.” I thought that was indicative of someone who underneath it all really did want to do the best work he possibly could, and who held himself to high standards.

As you can no doubt discern, Giffen possessed a very, um, distinctive sense of humor that frequently made itself known in his work. That quality was on display right until LITERALLY the end, as he requested that his family post the below status to his Facebook page upon his passing.

I wasn’t certain if I should be laughing or crying. I guess a combination of both would be appropriate. Giffen definitely knew how to make an exit, that’s for sure.

While I didn’t like everything Giffen did (s0metimes his work became much too dark & depressing), I definitely admire him for his creativity & versatility, and for his desire to buck trends and walk his own path.

It Came from the 1990s: The Invaders miniseries

At the end of my last blog post I promised to look at a much more successful project to come out of editor Mike Rockwitz’s office at Marvel Comics in the early 1990s. The Invaders was a miniseries which revived the World War II era superhero team for new adventures.

Roy Thomas loves the Golden Age of comic books. Thomas was born in 1940, so he grew up reading the early adventures of the Justice Society of America from DC Comics and the various superheroes from Marvel precursor Timely Comics.

The unusual things about Timely is that, even though their heroes frequently appeared together on dynamic covers, they never actually met in the stories within, other than the occasional fight or team-up between the original android Human Torch and the hybrid anti-hero Namor the Sub-Mariner. The only exception to this was the two appearances of the All-Winners Squad in All-Winners Comics #19 and #21, which were published in late 1946 and written, respectively, by Golden Age pioneers Bill Finger and Otto Binder. Namor and the Torch were joined by Captain America, Bucky, Toro, Miss America and the Whizzer in the All-Winners Squad.

After Thomas came to work at Marvel in the mid-1960s he began to utilize the Timely characters of the 1940s in his own stories. By 1975 he hoped to revive the All-Winners Squad in a series that would be set in the early 1940s and see the team operating during World War II. Then-publisher Stan Lee disliked the All-Winners Squad name and Thomas, who himself had never been too enthusiastic about it, came up with the alternate title The Invaders, as the heroes would be invading Hitler’s Fortress Europe to liberate it.

The team made their debut in Giant-Size Invaders #1, cover-dated June 1975, in a story written & edited by Thomas and penciled by Frank Robbins. Set in late December 1941, the story saw Captain America, Namor, the Human Torch and teen sidekicks Bucky and Toro fight against the super-powered Nazi agent Master Man. At the story’s end the five heroes resolved to work together to fight against the Axis menace.

The Invaders quickly became an ongoing series, running for 41 issues between August 1975 and September 1979, with an Annual being released in the Summer of 1977. Thomas edited the entire series and wrote nearly all the issues, with Don Glut coming in to pen the last few.

Thomas left Marvel for DC Comics in 1981 and created All-Star Squadron, an even more successful superhero series set during World War II. Thomas returned to Marvel in late 1986 and within a few years he was once again writing books set during the Golden Age. His editor on the majority of these, including The Invaders miniseries, was Rockwitz.

As Thomas recounted to Jim Amish in Alter Ego # 136 from TwoMorrows Publishing, he and Rockwitz had a good working relationship.

“Generally speaking, we got along quite well. He kept coming back to me for projects. And he wouldn’t demand to know every plot twist in a story in advance, which I’d have found boring and off-putting.”

The Invaders four issue miniseries was published in early 1993. In addition to Thomas and Rockwitz, the creative team was penciler Dave Hoover, inker Brian Garvey, letterer Pat Brosseau and colorist Paul Becton, with Ian Akin stepping in as co-inker for the third issue. The cover logo was designed by Todd Klein.

The first issue of the miniseries opens on the evening of June 22, 1942, picking up shortly after the conclusion of the ongoing series. Cap, Namor and the Torch discover a Nazi u-boat in the waters of New York Harbor. To their surprise, the craft is smuggling in a quintet of super-powered Nazi agents. The Invaders are even more startled when they realize that each of the five members of the Battle Axis is actually American.

Caught off-guard, the trio of heroes are defeated and barely make their escape. They retreat to the headquarters of the home front team the Liberty Legion in Times Square, where they are reunited with the dimension-shifting Thin Man. The Invaders relate their encounter with the Battle Axis to the Thin Man. Hearing their description of the Nazis, The Thin Man, who has been keeping track of American superheroes in order to enlist them for the war effort, is shocked to realize that all five of the Battle Axis were themselves, until now, costumed crime fighters.

Elsewhere, the romantically involved Miss America and the Whizzer are walking along the East River in their civilian identities when they stumble across the Battle Axis coming ashore. The Whizzer is captured but Miss America just barely escapes. Fleeing to Liberty Legion HQ, she tells the Invaders what has happened, as well as what she overheard said by Dr. Death, the ruthless leader of the Battle Axis: the Naxi agents are heading to Los Angeles as part of “the Fuhrer’s supreme plan –to knock America out of the war!” The Invaders quickly head west in pursuit of their dangerous foes.

The Invaders miniseries was definitely enjoyable, so I’m not going to go into too much detail about the story. If you’re a fan of these characters I definitely recommend seeking out these issues for yourself, or picking up one of the collections in which it’s been reprinted.

In addition to the Invaders and Liberty Legion members, Thomas utilizes obscure superheroes Blazing Skull, Silver Scorpion and the original Vision, all of whom hadn’t appeared since the early 1940s. He also brought back a pair of characters he had co-created with Frank Robbins in The Invaders series, the Blue Bullet and the Golem.

Thomas had actually wanted to have the original Vision, who was an other-dimensional alien named Aarkus, join the Avengers way back in 1968. However editor Stan Lee instructed that Thomas have an android join the team, and so Thomas created a brand-new android Vision who was visually similar to the original. My pal Alan Stewart offered a comprehensive look at this in his retrospective on Avengers #58.

So, finally, a quarter century later, Thomas at long last had the opportunity to write the Golden Age Vision in this miniseries. Hoover’s cover to The Invaders #3 featuring the Vision is even a homage to the android Vision’s first cover appearance on Avengers #57 by John Buscema & George Klein, which in turn was inspired by the alien Vision’s introductory splash page from Marvel Mystery Comics #13 by Jack Kirby & Joe Simon in 1940.

Okay, I’ve heard of double vision, but triple?!?

The Battle Axis are also bona fide Golden Age superheroes. Thomas’ original idea was to have several obscure Timely heroes join the Nazi cause, but editor Mark Gruenwald balked at the idea. So Thomas dusted off a handful of even more obscure characters from the 1940s from other publishers who had fallen into the public domain and had them turn evil.

I thought Thomas actually made the heel-turns by the various Battle Axis members fairly plausible. In the late 1930s there were very strong isolationist feelings held by many Americans, as well as a fairly significant pro-Nazi movement in existence in the United States. Just because the country finally entered World War II in December 1941 did not mean that the people who held those beliefs would change them overnight. So it makes sense that you could have a handful of costumed vigilantes who for personal or ideological reasons would throw in with the Third Reich.

Thomas helpfully provides some detailed information on the various characters appearing in this miniseries in a trio of text pieces in the back of the first, third and fourth issues. Keep in mind that in 1993 the majority of readers would not have been alive when the original Golden Age comics came out, very little of that material had yet been reprinted by Marvel, neither had the original run of The Invaders been collected, and there was no Wikipedia. To put it in perspective, in the first piece Thomas notes that if you would like to read All-Winners Comics #19 and #2, both issues are available on microfiche!

I found Thomas’ text pieces invaluable, and I’m sure others did too. I appreciate that Thomas wrote them, and that Rockwitz encouraged him to write them rather than running ads in the spaces.

The artwork by Dave Hoover on The Invaders really was fantastic. I was a big fan of Hoover’s work. He’d recently drawn some nice fill-in issues of Excalibur, Nick Fury and Wolverine, as well as She-Hulk and Iron Fist serials for Marvel Comics Presents. So it was definitely a pleasure to see him penciling this miniseries.

Rockwitz clearly appreciated Hoover’s work, as a year later he gave him the regular assignment of penciling Captain America. I really liked Hoover’s depiction of Cap in The Invaders, and it was nice to then have him draw the character’s monthly series, on which he also did good work.

Brian Garvey & Ian Aiken had contributed some really rich, textured inks / finishes over Sal Buscema’s pencils on Rom Spaceknight a decade before this, so I was also a fan of their work. I feel they provided very nice embellishments on The Invaders, effectively complementing Hoover’s pencils. It’s a very attractive-looking miniseries.

Hoover sadly passed away on September 4, 2011 at the much too young age of 56. I addition to enjoying his work, I met him at comic conventions a couple of times, and he seemed like a good person, so I was definitely saddened by his death.

Rockwitz was very happy with how The Invaders came out. On the text page of issue #4 he describes it as “a dream come true for me.” As Thomas later related in Alter Ego #136:

“Mike said one of the proudest things of his editorship – and he didn’t sound like he was kidding – was being able to have me do another Invaders series. I don’t know why that should be the high point of anybody’s life [chuckles] but I certainly appreciated the thought.”

There were apparently tentative plans by both Thomas & Rockwitz for further Invaders stories. In issue #4 Rockwitz mentions the Invaders would be appearing “in an upcoming Captain America mini-series due out this year” but as far as I know that project never came to fruition.

Ultimately Thomas & Rockwitz would only ever be able to do one more Invaders-related story after this. Thomas wrote a fill-in story for Captain America #423 (January 1994) which revealed the never-before seen first encounter between Cap and Namor. Pencils were by M.C. Wyman and inks by Charles Barnett III, with letters by Diana Albers and colors by Ovi Hondru. It’s another enjoyable story with gorgeous artwork.

I’ve always felt Wyman had a style reminiscent of John Buscema. That was especially the case when he was inked by Barnett, whose inking really evokes a Bronze Age feel to it. I always enjoyed seeing Barnett’s inks over various pencilers during the early to mid 1990s. Wyman & Barnett only worked together a few times, unfortunately. They made a great art team.

Roy Thomas is a good, imaginative writer, one of the architects of the modern Marvel universe, who successfully wove together the interesting yet disparate strands of the company’s early history into a rich tapestry. I’m glad that Mike Rockwitz was able to afford him so many opportunities to write new stories in the late 1980s and early 1990s. The books they produced together were a lot of fun. Rereading them 30 years later, those comics are still enjoyable.

It Came From The 1990s: I-BOTS from Tekno Comix

Welcome to another edition of Super-Blog Team-Up! This time myself and my fellow bloggers are going to be taking a look at the works of legendary comic book creator George Perez. As you are probably aware, Perez has unfortunately been suffering from medical issues over the last several years, and was recently diagnosed with pancreatic cancer. Perez’s many, many fans have been reaching out with tributes, to let him know while he is still with us just how much we appreciate him and his amazing work.

I-BOTS #1 cover pencils & inks by George Perez, colors by John Higgins and logo by Todd Klein

Last month I did spotlight some of Perez’s great art from his historic Wonder Woman run. This time, I wanted to take a look at a much less-known series Perez worked on: I-BOTS, published by Tekno Comix, aka Big Entertainment.

I’ve commented before that the early to mid 1990s was a bit like the Wild West of comic books, with numerous new publishers popping up to try to ride the wave of comic book popularity (which was unfortunately at least in part inflated by speculators). Tekno Comix / Big Entertainment was one of these publishers, and they were in existence from 1995 to 1997. During their short existence they published some interesting series helmed by an impressive line-up of writers & artists.

I-Bots #1 written by Steven Grant, pencils by George Perez, inks by Josef Rubinstein & Mike Witherby, letters by Richard Starkings and colors by Demetrius Bassoukos

Tekno’s shtick was that they got a number of big-name creators to pitch some basic, bare-bones concepts which were then fleshed out by other writers & editors into ongoing series. Among the names that Tekno went to for ideas were Gene Roddenberry, Leonard Nimoy, Mickey Spillane and Neil Gaiman. I don’t know if the exact level of involvement of these creators in the monthly titles has ever been documented, but in most cases I expect that it was minimal.

That certainly has to be the case with science fiction grandmaster Isaac Asimov, who was credited with creating I-BOTS. Asimov passed away in 1992, three years before Tekno began publishing. Legend has it that the totality of Asimov’s contributions was scribbling “Robots as superheroes” on a cocktail napkin, or something to that effect.

The actual credits on I-BOTS read “Based on concepts created by Isaac Asimov and developed by Howard Chaykin” and I certainly believe that Chaykin, a brilliant creative force himself, did all of the heavy lifting in devising I-BOTS. The stories were plotted & scripted by Chaykin’s friend Steven Grant, another talented creator with a penchant for thinking outside the box. I-BOTS was edited by horror novelist James Chambers.

So what did I-BOTS have going for it? Well, in addition to Chaykin and Grant (nothing to sneeze at, to be sure) it has the incomparable George Perez. I-BOTS ran for 16 issues over two volumes, and the first six issues featured artwork by Perez.

I-BOTS #3 written by Steven Grant, layouts by George Perez, finished pencils by Jose Delbo, inks by Josef Rubinstein & Tom Christopher, letters by Richard Starkings and colors by Demetrius Bassoukos

Chambers was kind enough to share with me his thoughts about working with Perez on this series:

“Working with George was a bit surreal. I’d grown up reading so many comics he drew, it was an amazing opportunity to actually work with him. He was incredibly nice to work with and brought boundless inspiration to the project. I believe the first piece he delivered was the cover to issue one of I-BOTS, and the entire editorial department gathered to see it. It was full of George’s energy, a super-hero team in dynamic poses surrounded by an army of shattered robots, classic Perez debris.”

Most of the Tekno series could be classified as pulp sci-fi, dark fantasy or noir. I-BOTS was the one book that was closest to a traditional superhero series, although even then it had one foot firmly in science fiction. Set in what appears to be the not-too-distant future (Grant wisely avoids telling us the exact year) I-BOTS features a quintet of artificial humans with extraordinary abilities: Psy-4, Stonewall, Killaine, Radiant and Itazura. They are “robots” along the lines of the replicants from Blade Runner, the Cylons from the reboot of Battlestar Galactica, and the original fictional robots from the 1920 stage play R.U.R. by Karel Čapek. In other words, the I-BOTS are organic beings who are manufactured rather than born.

I-BOTS #5 written by Steven Grant, layouts by George Perez, finished pencils by Brian Kong, inks by Josef Rubinstein, letters by Richard Starkings and colors by Prismacolor

The “I” in I-BOTS stands for “Independent” as they are sentient beings with free will. However, echoing the “Three Laws of Robotics” that Asimov introduced in his fiction, the I-BOTS are also designed by their creator Zac Robillard to serve & protect humans, and to never harm them. This is one part of the impetus for them becoming costumed crimefighters. The other part is that the I-BOTS are on the run from the multinational technology conglomerate WorldTech and its ruthless CEO Annabelle Brennan. By establishing themselves as heroes, the I-BOTS attempt to find protection in the public eye.

Perez reportedly was not enthusiastic about I-BOTS, which is why he left after the first six issues (this is according to Wikipedia, not quite an unimpeachable source, so take it with a grain of salt). Nevertheless, Perez has always been a consummate professional, and his work on those half dozen comic books is of a very high caliber.

I-BOTS #6 written by Steven Grant, layouts by George Perez, finished pencils by Art Nichols, inks by Josef Rubinstein, letters by Richard Starkings and colors by Prismacolor

Perez penciled & inked all six covers, imbuing them with his characteristic hyper-detail & dynamic energy. He provided full pencils on the interiors for the first two issues, complemented by inking from Josef Rubinstein & Mike Witherby. Issue three had the first half penciled by Perez, with the second half penciled by Jose Delbo over Perez’s layouts. I found that to be an interesting collaboration, as Perez was the creative figure who defined Wonder Woman after Crisis On Infinite Earths, and Delbo had previously been the artist on the Wonder Woman series from 1976 to 1981.

Perez again penciled the first half of issue #4, with another comic book legend, the great Gil Kane, coming on to pencil a solo adventure of Radiant in the back half. Perez penciled most of issue #5, although several pages had Brian Kong providing finished pencils over Perez’s layouts. At the time Kong had only been a professional artist for two years, but he nevertheless did a very solid job here, matching the quality of Perez’s work. Kong also penciled a pin-up for issue #6, and he would later contribute a pair of really nice covers for I-BOTS after Perez’s departure.

Issue #6, Perez’s swan song, saw him only contributing layouts, although the finished pencils by Art Nichols and inking by Rubinstein were quite effective, and the whole artistic package worked well to close out the I-BOTS first story arc.

I-BOTS #6 pin-up pencils by Brian Kong and inks by Aaron McClellan

Kong generously shared his thoughts about working with George Perez on I-BOTS:

“Let me start off first by saying that George Perez was my favorite comic book artist growing up and I was heavily influenced by his Teen Titans work, it’s what made me want to become a comic book artist. By the time Tekno comics had launched ( 95-96? ) I had roughly a year of professional comic book work under my belt. I remember talking to editor Jim Chambers at conventions and showing pencilled samples of my work to him. He had mentioned they were interested in my work, but a few months had gone by and nothing transpired,until… I remember sitting in my dentist office waiting for my appointment, I heard laughter, then out walks George Perez. Having been a huge fan of his work growing up, I shouted out “You’re George Perez!” (Total fanboy moment). He seemed surprised at first, but I quickly introduced myself & we chatted for a few minutes and he was on his way.

“A few days later I got a call from Jim Chambers who said they wanted me to finish penciling I-BOTS over George Perez’s breakdowns for 10 pages and that George highly recommended me. I believe I was 21 years old at the time so getting to work with my childhood idol was a definite highlight. I remember getting the pages and being impressed with how much details were still in the breakdowns. For those that don’t know “breakdowns” are usually very rough indications of figures ( more for placement and layout). Just staring at George’s work, I had learned a lot. I must admit I was a little nervous at first but I had a job to do and I did not want to disappoint. I remember trying to do my best George Perez impersonation and putting tons of detail into the penciled pages. I was also inked by another comic legend Joe Rubenstein. The fact that George had recommended me, a still relative “newbie” in the industry to finish up his work was a huge honor for me and I will be forever grateful. Thank you George, for all your years of hard work and inspiration.”

I-BOTS #4 written by Steven Grant, penciled by George Perez, inked by Josef Rubinstein, lettered by Richard Starkings and colored by Prismacolor

I feel the above splash page from issue #4 featuring Killaine hurtling though the Pacific Ocean really demonstrates the level of craft Perez brought to I-BOTS. Perez’s penciling, Rubinstein’s inking and the coloring by Prismacolor all worked together to create a really beautiful, dynamic image here.

In any case, even on the segments where Perez provided “only” layouts, the finished art still looks very much like his work, because he has a distinctive style of storytelling, of laying out pages. Perez has always excelled at rendering scenes with multiple characters and at depicting complex action sequences. His layouts on I-BOTS definitely contain those qualities.

I haven’t gone into too many specifics about I-BOTS because I feel it is a series that is worth seeking out. I believe copies of most of the issues can be found for sale relatively inexpensively on eBay and from online retailers. I definitely recommend getting them. Steven Grant wrote some solid stories. The artwork was of a high caliber, with Perez followed by the great, underrated Pat Broderick.

I will probably do a follow-up piece in the near future looking at the post-Perez issues of I-BOTS. Stay tuned.

Please check out the other Super Blog Team-Up entries for further spotlights on the amazing work of George Perez:

*51 – JLA/Avengers: It Had to be George

Between the Pages – George Perez’s Uncanny X-Men

Comics Comics Comics – Justice League of America 200 and discovering George Perez

The Daily Rios – A George Perez Celebration #2

Dave’s Comics Blog – George Perez’s Titanic Firsts

RAdulich in Broadcasting Network – Comic Stripped: Logan’s Run

Source Material – The Brave and the Bold #1-6

The Superhero Satellite – Perez

The Telltale Mind – Hulk: Future Imperfect

George Perez’s Wonder Woman

As with many, many other comic book fans, I was deeply saddened by the announcement this week that longtime artist & writer George Perez has been diagnosed with cancer, and has been given an estimated life expectancy of six months to one year. Perez is one of the all-time great creators to have worked in American comic books over the last four and a half decades.

While I have mentioned Perez on this blog in passing, regrettably I’ve never taken any sort of in-depth look at his art or writing before. I really want to rectify that now, while Perez is still among the living. And so I am going to showcase several examples of his work on one of the characters with whom he is most identified: Wonder Woman.

People like to throw around the word “definitive” but that is exactly the term I would use to describe George Perez’s iconic run on the Wonder Woman series from 1987 to 1992. In my mind, he wrote and drew one of the definitive versions of the character.

I had one heck of a time narrowing it down to just 10 examples!

Let’s start at the beginning. Here is George Perez’s beautiful cover for the first issue of Wonder Woman volume two (Feb 1987). Perez’s intricately detailed work superbly depicts Princess Diana, Queen Hippolyta, the Amazons, the Greek gods, and the island of Themyscira.

I really believe that Perez’s post-Crisis On Infinite Earths reboot / revamp of the Wonder Woman mythos is one of the primary reasons why the character of Princess Diana has subsequently become such a major character. Or, as acclaimed comic book writer Gail Simone put it:

“The hottest artist of the day, with a string of hits behind him, decided to cast his ridiculous talents on Wonder Woman. And it changed EVERYTHING.”

I don’t know if Perez deliberately set out to top the first issue’s cover when he illustrated the fold-out cover to Wonder Woman #10 (Nov 1987), the first chapter of “Challenge of the Gods,” but he definitely succeeded.

The introduction of the post-Crisis version of the villainous Silver Swan was heralded by Perez’s incredibly striking cover for Wonder Woman #15 (April 1988). Perez’s utilization of highly detailed work, an unsettling layout and negative space all combine to really make this one stand out. I wish I knew who did the coloring on this, because it certainly complements Perez’s work.

I would be absolutely remiss if I did not showcase an example of Perez’s interior work. “Who Killed Myndi Mayer?” in issue #20 (Sept 1988) finds Diana investigating the brutal murder of Myndi Mayer, her vivacious yet troubled publicist. On the final page of this story Diana at long last learns the tragic truth behind Myndi’s passing. Perez’s storytelling & dialogue combine to deliver a shocking, somber emotional moment.

“Who Killed Myndi Mayer?” was written & laid out by Perez, from an idea by Carol Flynn (Perez’s wife), with finishes by Bob McLeod, letters by John Costanza and colors by Carl Gafford. It was justifiably chosen for inclusion in the collection Wonder Woman: The Greatest Stories Ever Told published in 2007.

Another hyper-detailed Perez cover graces Wonder Woman Annual #1 (Nov 1988), in which Diana takes her good friend Julia Kapatelis and her teenage daughter Vanessa to visit the Amazons on Themyscira. John Stracuzzi’s vibrant colors enhance Perez’s work. Lettering is by Todd Klein.

A talented line-up of artists drew the different chapters of Perez’s story for Wonder Woman Annual #1. One of the more interesting artistic teams on the Annual was Silver Age Wonder Woman penciler Ross Andru inked by Perez himself. Andru is an underrated artist, and his storytelling on this chapter is solid, beautifully enhanced by both Perez’s inking and Carl Gafford’s coloring.

Kudos to Todd Klein for effectively lettering Perez’s script for this Annual. That was one of the great aspects about Perez’s Wonder Woman stories; they were very dense & intelligently written, the exact opposite of decompressed storytelling.

When I started reading DC Comics in the early 1990s, the 16 issue loose-leaf edition of Who’s Who in the DC Universe edited by Michael Eury was an absolutely invaluable resource. Eury recruited an all-star line-up of artists to create the profile images for the DC heroes and villains. Of course he asked George Perez to draw Wonder Woman, who was cover-featured in Who’s Who #4 (Nov 1990). Coloring is by Tom McCraw.

As I previously touched upon in my post on the 80th birthday of Wonder Woman, my first exposure to the series was during the “War of the Gods” crossover… which was probably the absolute worst time to start reading it! I was completely lost as to who these characters were and what was going on with these various different plotlines.

Nevertheless, Perez’s stunning covers, as well as the beautiful interior art by penciler Jill Thompson & inker Romeo Tanghal, caught my attention enough that when several months later DC Comics presented a jumping-on point for new readers with incoming writer William Messner-Loebs, I dove in. Soon after I started to read the earlier Perez stories via back issues and collected editions.

In any case, here’s Perez’s atmospheric cover for Wonder Woman #59 (Oct 1991) featuring guest appearances by Batman and Robin.

George Perez’s epic run on Wonder Woman came to an end with issue #61 (Feb 1992). Nevertheless, he has subsequently drawn Princess Diana on several occasions since then, and his return to the character has always been welcome. Here is one of those, the gorgeous pin-up Perez drew for the Wonder Woman Gallery special (Sept 1996). Coloring is by Tatjana Wood. I scanned this from my copy of the book, which I got autographed by Perez at a comic con in the early 2000s. I’m glad I got to meet him.

A few years ago on Twitter writer Gail Simone shared the first page of Wonder Woman #600 (Aug 2010) with the following explanation:

“When George Perez specifically requests you to write his farewell story to Wonder Woman and this is just the first page.”

Perez has an absolute penchant for drawing literal armies of characters, and that is definitely on display here! Diana leads some of DC Comics’ greatest female heroes into battle on this dynamic opening page. “Valedictorian” was written by Gail Simone, penciled by George Perez, inked by Scott Koblish, colored by Hi-Fi and lettered by Travis Lanham.

During an astonishing career that stretched from 1974 to 2019, Perez drew literally thousands of comic book characters. Nevertheless, his work on Wonder Woman will always be one of the absolute highlights.

Recurring themes of the Legion of Super-Heroes part 3: Yeah, that’s gonna be a “No” from me, dawg!

This is the third installment of my look at recurring plots, imagery and character-types in the Legion of Super-Heroes stories published by DC Comics during the Silver Age… and beyond.

This time we are looking at homages to one of the most iconic Legion images, the cover to the team’s first appearance in Adventure Comics #247.

Initially these homages were quite infrequent. By the 1990s, though, fandom had, for better or for worse, become a decades-spawning passion with a significant awareness of the medium’s past. This has resulted in the proliferation of homages to and parodies of Golden and Silver Age imagery, among these the cover to Adventure Comics #247.

The first Legion of Super-Heroes story in Adventure Comics #247 (April 1958) was written by Otto Binder, drawn by Al Plastino and edited by Mort Weisinger. The now-legendary cover was drawn by penciler Curt Swan & inker Stan Kaye, who regularly contributed the cover artwork to the Superman family of comics in the late 1950s.

“The Legion of Super-Heroes” saw a group of super-powered teens from 1000 years in the future offer Superboy the chance to join their club. Originally intended as a one-off tale, within a few years it would become a beloved, long-running series. Likewise, the cover image to Adventure Comics #247, with a shocked Superboy being rejected for membership in the team, would go on to be a recurring motif over the series’ history, as well as inspiring numerous parodies throughout the medium.

The earliest homage to the Adventure Comics #247 cover that I’ve located is Superman #147 (August 1961) also drawn by Curt Swan & Stan Kaye. Here we see the now-adult Man of Steel being threatened not with rejection but with death by the Legion of Super-Villains.

It’s interesting to note that this issue was published just a little over three years later, in an era when overt nods to past were rare in the comic book biz. Audience turnover was fairly rapid in the 1950s and 60s, and it would normally not be expected that current readers would be familiar with material published several years earlier. The fact that Swan & Kaye drew this cover, presumably at the direction of editor Weisinger, appears to confirm awareness by DC that the Legion was already developing an avid, long-term readership.

The cover to Adventure Comics #322 (July 1964) is again penciled by Curt Swan, now paired with inker George Klein. Although not a straight-up homage of #247, it nevertheless evokes the former’s audition format, but with the Legion of Super-Pets taking the place of Cosmic Boy, Lightning Lad & Saturn Girl, and the shape-changing Proty II standing in for Superboy.

L.E.G.I.O.N. was a semi-prequel to Legion of Super-Heroes. It featured an interplanetary law-enforcement team organized by the original Brainiac’s son, the Machiavellian genius Vril Dox, in the present day. The tone of L.E.G.I.O.N. was often bleakly humorous (as any series co-starring the ultra-violent Lobo would inevitably be) but the comedic tone reached ridiculous proportions in L.E.G.I.O.N. ’94 Annual #5 (September 1994). This “Elseworlds” tie-in had the team appearing in various pop culture parodies, including this segment lampooning the Silver Age Legion.

One can only guess what Curt Swan was thinking when he was asked to draw this bizarre send-up of his earlier work! He is paired here with inker Josef Rubinstein. The script is by Tom Peyer, with letters by John Costanza and colors by Gene D’Angelo.

The cover to Legion of Super-Heroes #88 (January 1997) has Impulse, the super-fast grandson of the Flash / Barry Allen and Iris West Allen auditioning to join the Legion. Of course the hyperactive, mischievous Impulse tries to rig things in his favor! Cover pencils are by Alan Davis, inks by Mark Farmer, letters by Todd Klein and colors by Patrick Martin.

Acclaimed painter Alex Ross has done numerous reimaginings of classic comic book covers. Here is his take on Adventure Comics #247. This painting was used for one of the two covers for the Overstreet Comic Book Price Guide, 29th Edition (May 1999) from Gemstone Publishing. This is actually a scan of the original artwork, courtesy of Heritage Auctions. The painting was unfortunately too dark & blurry when published.

Legion of Super Heroes was an animated series that ran on WB for two seasons from September 2006 to April 2008. DC published a comic book that tied in with the animated series’ continuity. Legion of Super-Heroes in the 31st Century lasted for 20 issues. The cover to issue #16 (September 2008) has infamous Legion reject Arm-Fall-Off-Boy attempting to join the animated incarnation of the team, with equally unsuccessful results. Cover artwork is by Alexander Serra.

When DC briefly revived Adventure Comics starring the Legion of Super-Heroes in 2009, they published a zero issue that reprinted the team’s first story. The brand new cover to issue #0 (April 2009) is drawn by Aaron Lopresti and colored by Brian Miller.

Looks like somebody took one heck of a wrong turn at Albuquerque! The very much tongue-in-cheek Legion of Super-Heroes / Bugs Bunny Special (August 2017) was part of a series of crossovers between DC Comics and Looney Tunes. “The Imposter Superboy” sees Bugs accidentally transported to the 31st Century, where he finds himself in the cross hairs (or should that be cross hares?) of the very angst-ridden Legion. Cover pencils are by Tom Grimmett, inks by Karl Kesel, and colors by Steve Buccellato.

I avoided the 12 issue Doomsday Clock miniseries (published between Jan 2018 and Feb 2020) like the plague, but someone on the LSH: Legion of Super-Heroes group on Facebook let me know that writer Geoff Johns and artist Gary Frank utilized the above homage to Adventure Comics #267. No idea which specific issue this appeared in.

The cover of Adventure Comics #247 is such an iconic part of Legion lore that comic con cosplayers have even taken to recreating it! I have no idea when or where this was taken, or who this clever quartet are in real life, but they definitely deserve a round of applause.

The Art of Steve Lightle

Yesterday I wrote a short retrospective on comic book creator Steve Lightle, who passed away at 61 years old on January 8th. Lightle was a very talented artist who worked on numerous series during a career that lasted three and a half decades. I am going to spotlight some more examples of his artwork. Here are ten of my favorite Steve Lightle covers and pin-ups.

1) Bolt Special (Spring 1984) – Steve Lightle’s earliest published work was for Bill Black and AC Comics. He drew several covers for AC, including this one. In addition to the title character, this features Tara the Jungle Girl, who would soon co-star in AC’s flagship title Femforce. This cover really shows that Steve hit the ground running.

2) Tales of the Legion of Super-Heroes #342 (Dec 1986) – This is definitely a fantastic showcase of Lightle’s work on the Legion, fitting the entire mid-1980s lineup onto a single cover. He really captured the individual personalities of the various characters. The coloring is by Anthony Tollin.

3) Who’s Who: The Definitive Directory of the DC Universe #23 (Jan 1987) – Lightle co-created Legion member Tellus with writer Paul Levitz. Lightle revealed in interviews that in designing Tellus he wanted to come up with a completely alien, non-humanoid being, and he put a lot of thought into developing the character. This pin-up really illustrates what a unique character Tellus is.

4) Who’s Who in the Legion of Super-Heroes #1 (Apr 1988) – Lightle contributed wrap-around covers to the first two issues of this seven part spin-off from the main Who’s Who project. On this first one Lightle draws several members of the then-current line-up alongside a flashback to the team’s first tragic battle with Computo, a story originally recounted during the Silver Age.

5) Classic X-Men #36 (Aug 1989) – Lightle drew a number of incredible covers during his three year run as cover artist on Classic X-Men. The assignment gave him the opportunity to revisit, and reexamine, many of the already-iconic moments from the classic Claremont & Byrne run. Lightle seemed to be especially inspired on his covers for the reprints of “The Darth Phoenix Saga,” with this image of the X-Men and Phoenix being especially stunning.

6) Who’s Who in the DC Universe #14 (Nov 1991) – Lady Quark is a somewhat atypical female superhero, possessing a more athletic physique, harder features and short cropped hair (apparently her look was based on Scottish singer Annie Lennox). Lightle does a fine job illustrating Lady Quark in this profile pic, showcasing her as a powerful, formidable being. The coloring is by Tom McCraw.

7) Marvel Comics Presents #127 (Apr 1993) – This cover with Ghost Rider and Typhoid Mary works well to visualize the duality of the later character, with the Spirit of Vengeance caught between her two personalities . The coloring on this is also very effective, and is probably by Steve himself or his wife Marianne.

8) Wonder Woman Gallery (Sept 1996) – Lightle certainly did a very beautiful pin-up of Princess Diana for this special. It’s unfortunate that he did not have too many opportunities to draw Wonder Woman. The coloring is by Tom McCraw.

9) The Flash #161 (June 2000) – Lightle drew a lot of great pieces during his three year run as cover artist on The Flash, but many people (myself included) nevertheless consider this to be one of the best. This issue features a flashback to the honeymoon of the first Flash, Jay Garrick, and his wife Joan in Las Vegas in 1947, with Jay’s teammates in the Justice Society crashing the party. Lightle successfully evokes the feel of the Golden Age art styles from the original JSA stories. The lettering is by Todd Klein.

10) The Mighty Titan #3 (October 2014) – When writer Joe Martino was running the Kickstarter campaigns to fund The Mighty Titan he asked several established artists to contribute covers. Among them was Lightle, who drew the cover for issue #3. Lightle was a good person, and it was just like him to help an up-and-coming creator. I think it was Lightle posting this cover on social media that made me aware of The Mighty Titan in the first place, which led me to back the Kickstarter. The coloring is by Ross Hughes.

This list could easily have been twice as long. Steve Lightle drew so many amazing pieces of artwork during his lifetime. He will certainly be missed.

Some more Comic Book Cats highlights

Since July I have been posting Comic Book Cats entries daily on the Comic Book Historians group on Facebook. The object is to see how many different pencilers I can find artwork by featuring cats. These posts are being archived on First Comics News. Here are 10 more highlights, taken from entries 51 to 100.

Frank Robbins

House of Mystery #241, drawn by Frank Robbins, written by Jack Oleck and lettered by Ben Oda, published by DC Comics in May 1976.

“Paid in Full” is described by House of Mystery host Cain as an “eerie black cat tale.” Hold-up man Cass, wounded in a shoot-out with the police, hops a freight train out of town. Coming to in Kentucky, he is nursed back to health by elderly Martha Wright, who lives in a cabin with her cat Lucifer. Unfortunately for Martha, Cass realizes she is a witch and threatens to shoot Lucifer if she does not use her magic to conjure up money for him.

Cass then orders Martha to give him “a new face, a new body” so that he can evade the police. She creates a formula that will do this, and the criminal thanks the old lady by murdering her. Burying her in the woods, Cass downs the formula. It does indeed give him a “new” body, one that is only six inches tall. And waiting for the now mouse-sized Cass is a very angry Lucifer, ready to enact revenge.

I know that my experience with Frank Robbins’ work parallels a number of other readers, in that initially I disliked it, over time I gradually learned to appreciate it, and now I now really enjoy his art. I feel Robbins’ work was more suited to war, adventure, mystery and horror stories than superheroes. DC’s horror anthologies were the perfect venue for Robbins’ talents. He definitely drew the heck out of “Paid in Full,” rendering an atmospheric little tale that is capped off with a strikingly ferocious black cat on the prowl.

Tania Del Rio & Jim Amash

Sabrina the Teenage Witch volume 2 #58, written & penciled by Tania Del Rio, inked by Jim Amash, and colored by Jason Jensen, published by Archie Comics in August 2004.

Archie Comics decided in 2004 to take Sabrina the Teenage Witch in a manga-inspired direction, with stories & artwork by newcomer Talia Del Rio. This direction lasted for 42 issues, with Del Rio working on the entire run. She was paired up with frequent Archie inker Jim Amash.

In this scene from Del Rio’s first full issue, Sabrina is bummed at having been chewed out by her aunts for coming home late from a date with her boyfriend Harvey. Unfortunately for Sabrina, matters soon become even worse, as her cat Salem reminds her that she has a report due at school tomorrow. As a despondent Sabrina conjures up a can of Zap cola and sets to work on her report, a less than sympathetic Salem observes “It’s going to be a LONG night…”

Joe Eisma

Faith #10, drawn by Joe Eisma, written by Jody Hauser and lettered by Dave Sharpe, published by Valiant Entertainment in April 2017.

The various enemies of Faith Herbert, aka Zephyr, join forces to gain revenge on the telekinetic superhero. Among the members of the nefarious Faithless is Dark Star, “a parasitic psiot entity currently trapped in a cat.” Dark Star may look cute and cuddly, but trust me, he’s a major @$$hole. Just don’t give him any champagne. He gets drunk REALLY easily.

Faith was a really good comic book series. Jody Hauser’s stories were both poignant and humorous. She did a great job developing Faith Herbert’s character. The artists who worked with Hauser on the miniseries and ongoing all did high quality work.

Joe Eisma has also drawn Morning Glories for Image Comics and several titles for Archie Comics. He is definitely very adept at drawing teenage characters.

Auraleon

Vampirella #32, drawn by Auraleon and written by Steve Skeates, published by Warren in April 1974.

This back-up story features an early appearance by Pantha, the lovely feline shape-shifter who would go on to become Vampirella’s close friend. This beautifully illustrated page sees Pantha transforming from her panther form back into her human self. Pacing along beside her in the final panel is a black cat, who perhaps recognizes her as a kindred spirit. After all, black cats have often been described as “mini panthers.”

Auraleon, full name Rafael Aura León, was another of the incredibly talented Spanish artists who worked for Warren throughout the 1970s. He was one of the most prolific artists at Warren, rendering stunning, atmospheric work.

Auraleon also illustrated stories in various genres for Spanish and British publishers. Tragically, Auraleon suffered from depression, and he committed suicide in 1993.

George Papp

Superboy #131, drawn by George Papp, published by DC Comics in July 1966.

“The Dog from S.C.P.A.” sees Krypto the Superdog joining several other super-powered canines as a member of the Space Canine Patrol Agents. Krypto must rescue the other members of the S.P.C.A. from the clutches of the Canine Caper Gang. The two sides fight to a draw, at which point the Gang agree to leave if Krypto promises to take them “to a new world, where there aren’t any canine agents.” Krypto agrees, and the desperado dogs are elated at the thought of being able to carry on their larcenous activities unhindered… until they discover that Krypto has taken them to a planet with a different sort of S.P.C.A., specifically the Space Cat Patrol Agents!

What a great twist ending! I’m just a bit disappointed that we never got to see Atomic Tom, Crab-Tabby and Power Puss team up with Streaky!

George Papp was one of the regular artists on Superboy from 1958 to 1968. Among his other credits, Papp drew some of the early Legion of Super-Heroes stories and co-created Green Arrow with Mort Weisinger. Unfortunately he was one of several older creators who were fired by DC Comics in the late 1960s when they requested health & retirement benefits. Papp then went into advertising. He passed away in 1989 at the age of 73.

Reed Waller

The Complete Omaha the Cat Dancer Volume 4, cover artwork by Reed Waller, published by Amerotica / NBM in 2006, reprinting Omaha the Cat Dancer #10-13, written by Kate Worley and drawn by Reed Waller, published by Kitchen Sink Press in 1988 and 1989.

My girlfriend Michele Witchipoo is a huge fan of Omaha the Cat Dancer. She recommended that I spotlight Omaha in Comic Book Cats.

Omaha the Cat Dancer was created by Reed Waller in 1978. Omaha initially appeared in several anthologies throughout the late 1970s and early 1980s. An ongoing series began in 1984, and with the second issue Kate Worley became the writer. Waller and Worley collaborated on Omaha for the next two decades. Worley unfortunately passed away in 2004. Subsequently her husband James Vance worked with Waller to complete the series. Omaha was ultimately collected in eight volumes by Amerotica / NBM Publishing.

Omaha the Cat Dancer is set in a universe populated by anthropomorphic “funny animal” characters and is set in Mipple City, Minnesota, a fictionalized version of Minneapolis. It stars Susan “Susie” Jensen, a feline who under the name Omaha works as a stripper and pin-up model, and her boyfriend Charles “Chuck” Tabey, Jr. aka Chuck Katt. Initially conceived by Waller to protest against censorship and St. Paul’s blue laws, the series evolved into a soap opera.

As you can no doubt tell from the premise, as well as from Waller’s artwork, there is a great deal of sex and nudity in Omaha the Cat Dancer. Although explicit, these elements are often utilized in the service of telling the story and developing the relationships between the characters.

B. Kliban

Cats by B. Kliban, written & drawn by Bernard Kliban, published by Workman Publishing Company in September 1975.

Bernard Kliban’s 1975 collection of cat cartoons has been referred to as “the mother of all cat books.” The book was a massive bestseller, and today Kliban’s iconic depictions of felines are recognized the world over. This cartoon from that book all-too-accurately captures the experience of becoming a “cat person.” You start off with just one, and the next thing you know…

Kliban’s cartoons also appeared regularly in the pages of Playboy for throughout the 1970s and 80s. He passed away in August 1990 at the age of 55.

Don Heck

Journey Into Mystery #62, drawn by Don Heck, published by Atlas / Marvel Comics in November 1960.

“There Is a Brain Behind the Fangs” is such an odd little tale. I’m just going to use the Grand Comics Database’s description:

“A man is convinced that dogs are secretly planning to take over the world. His friend hypnotizes a dog and proves that it cannot understand complex questions. Neither suspects that the dog has been hypnotized by the cat.”

Yes, that’s correct, dogs are planning to take over the world, but the actual masterminds behind the scheme are cats! That sounds about right.

Say, the cat in this story sort of resembles my own cat Nettie. You don’t think…? Naah, it couldn’t be!

Seriously, this story features some nice art by the often-underrated Don Heck. As has often been observed, Heck’s strengths lay outside of superheroes, and as that genre came to dominate comic books he was unfortunately asked to work within it more and more often. Heck’s work in mystery, horror, war, romance and Westerns was always very effective. As seen on this page, he was certainly adept at illustrating animals such as dogs and cats.

Kelley Jones & Malcolm Jones III

Sandman #18, penciled by Kelley Jones, inked by Malcolm Jones III, written by Neil Gaiman, lettered by Todd Klein and colored by Robbie Busch, published by DC Comics in November 1991.

It’s been quite a few years since I’ve read Sandman. I had the first few trade paperbacks, but I lent them to someone over a decade ago, never got them back, and haven’t seen them since. So I had to be reminded of “A Dream of a Thousand Cats” from issue #18, which several people suggested I showcase. Here is a page of that story, taken from the digital edition. One of these days I should replace my copies of the physical books. Fortunately the trade paperbacks are easy to find.

Kelley Jones is yet another of those artists who when I first saw his work I was not especially fond of it, finding his figures to be grotesque and distorted. However, I very quickly came to appreciate Jones’ art. He excels at creating moody, atmospheric scenes. As seen here, he also draws some wonderfully detailed, expressive cats. Inking is by Malcolm Jones III, who was also paired with Jones on the Batman & Dracula: Red Rain graphic novel.

Gus Arriola

Gordo by Gus Arriola, published on November 6, 1977.

Comic book creator and fellow cat-lover Richard Howell introduced me to Gordo, the newspaper comic strip created by Gustavo “Gus” Arriola that ran from 1941 to 1985. The series chronicled the life of Mexican bean farmer, and later tour guide, Perfecto Salazar “Gordo” Lopez. There were a number of animals that appeared regularly in Gordo, including three cats: an orange tabby named Poosy Gato, a black cat named PM, and PM’s kitten Bête Noire.

In this Sunday strip, we see Poosy trying to figure out a new place to take a nap, since he’s bored with all of the usual locations. Arriola definitely draws a cut cat and invests him with personality.

Arriola passed away on February 2008 at the age of 90.

Thanks for stopping by. Once again, please remember to check out First Comics News for the rest of the Comic Book Cats entries, as well as for the Daily Comic Book Coffee archives.

Comic Book Cats highlights

I did 100 entries of The Daily Comic Book Coffee on the Comic Book Historians group at Facebook. I decided to switch things up after that, and began posting Comic Book Cats. Each day I post cat-centric comic book artwork by a different artist.

Comic Book Cats is being archived on First Comics News. But here are 10 highlights from the first 50 entries.

Steve Ditko

Ghostly Tales #85, drawn by Steve Ditko and written by Joe Gill, published by Charlton Comics in April 1971, and Speedball #10, plotted & penciled by Steve Ditko, inked by Dan Day, scripted by Jo Duffy, lettered by Jack Morelli and colored by Tom Vincent, published by Marvel Comics in June 1989.

Steve Ditko drew a number of stories with cats throughout his lengthy career. Here is artwork from couple of them.

The first page is from “The 9th Life,” one of the best stories that Joe Gill wrote for Charlton’s horror anthologies. Ditko did really good work illustrating Gill’s story.

Michael Holt rescues a stray black cat and takes it back to his apartment in the slums. Michael is depressed about the state of the modern-day world. The black cat is apparently a shape-shifting witch named Felicia, and she offers to transport Michael back to the past. Michael agrees, but soon discovers the “good old days” were not so good, with tyranny and disease. Returning to the present day, Michael realizes that he needs to actively work to make the world he lives in a better place. He is reunited with Felicia, who joins him on his path of fighting for a better world.

The second page is from the last issue of the short-lived Speedball series. The laboratory accident that endowed Robbie Baldwin with his kinetic energy powers also gave those same powers to Niels, a cat who belonged to one of the scientists at the lab.

A subplot running through the Speedball series was Robbie’s repeatedly-unsuccessful efforts to capture Niels. Getting a hold of a normal feline who doesn’t want to be caught is difficult enough as it is; give a cat bouncing superpowers and the task becomes nigh-impossible!

Dwayne Turner & Chris Ivy

Sovereign Seven #7, penciled by Dwayne Turner, inked by Chris Ivy, written by Chris Claremont, letter by Tom Orzechowski and colored by Gloria Vasquez & Rob Schwager published by DC Comics in January 1996.

I spotlighted Chris Claremont’s Sovereign Seven in a couple of Comic Book Coffee entries. It was a fun series, so I’m happy to take another look at it.

In this issue Finale of the Sovereigns is caught in the middle of a struggle between international mercenary Marcello Veronese and his fugitive quarry. Pursuing the sword-wielding fugitive, Finale enters a doorway, only to find herself in the Crossroads Coffee Bar & Inn on the opposite side of town. Crossroads once again lives up to its name, serving as a portal to different places, dimensions & times. Greeting the stunned Finale is Lucy the cat, who is apparently dressing as Supercat for Halloween.

I purchased the original artwork for this page from Chris Ivy at New York Comic Con in 2015. The close-up panel of Lucy on the original really demonstrates Ivy’s very detailed and delicate inking.

David Mazzucchelli & Richmond Lewis

Batman #406, drawn by David Mazzucchelli, written by Frank Miller, lettered by Todd Klein and colored by Richmond Lewis, published by DC Comics in April 1987.

I must have read the Batman: Year One trade paperback a dozen times in high school. To this day, it remains one of my all-time favorite Batman stories. Many of the images from this story have burned themselves into my consciousness. So as soon as I decided to do Comic Book Cats, I just knew I was going to spotlight this page.

A pre-Catwoman Selina Kyle, her roommate Holly, and their menagerie of cats being awoken at 5 AM by the GCPD’s corrupt, trigger-happy swat team attempting to kill Batman by dropping bombs on him. Of course the cats now want to be fed, even though it’s much too early! I’ve always thought David Mazzucchelli did an especially good job on this page.

This is actually scanned from the trade paperback, which was re-colored by Richmond Lewis. As has been astutely observed by colorist Jose Villarubia, newsprint has a different texture from the paper used in TPBs, and the result is that coloring done for the former will not reproduce accurately in the later.

Batman: Year One is apparently one of the very few times when the original colorist was asked to do new coloring for a collected edition. Lewis’ work for the Year One collection is outstanding, and I’m grateful that for once DC Comics actually went the extra mile.

Rachel Dukes

Frankie Comics #3, written & drawn by Rachel Dukes, published by Mix Tape Comics in November 2014

Rachel Dukes’ mini comic Frankie Comics is absolutely adorable, a really cute look at quirky cat behavior. I met Dukes a couple of times at Mocca Fest, where I picked up copies of the first and third issues. I still need the second one.

In this two page sequence Dukes demonstrates that Frankie has a very cat-like approach to “helping” out his humans.

Dukes showed me a photo of the real-life Frankie, who looks very much like one of my two cats, Nettie Netzach. Judging by the antics Dukes portrays in her comic, they also act alike. Michele suggested they could be long lost sisters. You never know.

Bob Brown & Don Heck

Daredevil #109, penciled by Bob Brown, inked by Don Heck, written by Steve Gerber, lettered by Artie Simek and colored by Petra Goldberg, published by Marvel Comics in May 1974.

This is not technically a cat page as it does not feature any examples of Felis catus, aka the domestic cat, but I am showcasing it anyway. Because, honestly, the dramatic arrival of the stunning Shannah the She-Devil accompanied by her pet leopard and panther is a pretty damn impressive cat-related image.

Bob Brown is one of those good, solid artists from the Silver and Bronze Ages whose work often flew under the radar, but who you could always count on to turn in a professional job. Over the years I’ve developed more of an appreciation for Brown’s work. He is effectively inked here by Don Heck, another talented, underrated artist.

Rachel Smith

Doctor Who: The Tenth Doctor #13, written & drawn by Rachael Smith, published by Titan Comics in August 2015.

I’ve been a fan of Doctor Who since I was eight years old. Over the decades a few different cat-like aliens have shown up on the British sci-fi series, as well as in the various comic book spin-offs.

Several issues of The Tenth Doctor comic book series contained a humorous back-up strip featuring the Doctor and his cat Rose by Rachael Smith. Yes, the Doctor named his cat Rose; he really was hung up on Billie Piper, wasn’t he? In this installment Rose convinces the Doctor to try speed dating. Of course, this being Doctor Who, things go horribly, hysterically wrong.

British artist Rachael Smith has also written & drawn several creator-owned graphic novels.

Joe Staton & Freddy Lopez Jr.

Back Issue #40 cover drawn by Joe Staton and colored by Freddy Lopez Jr, published by TwoMorrows Publishing in April 2010.

Back Issue is a magazine edited by Michael Eury that takes an in-depth look back comic book from the 1970s, 80s and 90s. Each issue has a theme, and BI #40 spotlighted “Cat People,” i.e. cat-themed characters of the Bronze Age. One of the characters examined in this issue was, of course, Catwoman.

The cover illustration of Catwoman and her black cat prowling the alleys of Gotham City is by one of my favorite artists, the incredible Joe Staton, who had previously penciled two key Catwoman stories, DC Super Stars #17, the origin of the Huntress, the daughter of Batman and Catwoman on Earth 2, and The Brave and the Bold #197, which revealed how Bruce Wayne and Seline Kyle fell in love and married.

Staton has drawn a few cats in various stories throughout the years. I’ve always liked how he rendered them, with his cartoony style always giving them genuine personality. That’s certainly the case here with Selina’s feline companion. Freddy Lopez Jr’s coloring is very effective, as well.

Back Issue, along with many other great magazine & books, can be purchased through the TwoMorrows Publishing website.

Dan DeCarlo

Josie and the Pussycats #54, drawn by Dan DeCarlo and written by Frank Doyle, published by Archie Comics in April 1971.

“The Cat Woman” is drawn by Josie and the Pussycats co-creator and longtime Archie Comics artist Dan DeCarlo. This story sees the scheming Alexandra becoming convinced that her cat Sebastian is being taken by Josie as “bait” to lure in handsome Alan M. After all, Alexandra deduces, that is exactly what she would do if the tables were turned. Tsk tsk, jealous people are always projecting like that!

It turns out that the real reason why Sebastian keeps wandering over to Josie’s house is because she has a wall calendar with a photograph of a beautiful female cat!

DeCarlo always drew cute gals, and as seen here he also did a good job with cats (the actual four-legged furry kind, as opposed to the kind who play musical instruments) investing Sebastian with a lot of personality.

John Gallagher

Max Meow: Cat Crusader, written & drawn by John Gallagher, published by Penguin Random House in 2020.

In the great city of Kittyopolis, aspiring feline journalist Max Meow takes a bite out of a giant meatball from outer space and gains super powers. Donning a costume, Max becomes the heroic Cat Crusader, who protects Kittyopolis from menaces such as giant killer cheeseburgers. However, being a hero is not as easy as it might appear, something that Max must learn the hard way. Will Max save the day, or will the Cat Crusader be defeated by that rotten rodent, the despicable Agent M?

Max Meow: Cat Crusader is a funny, adorable graphic novel for younger readers by John Gallagher, who previously worked on Buzzboy and Roboy Red. He is also he is art director for Ranger Rick magazine, published by the National Wildlife Federation. As explained on the Max Meow website:

“John learned to read with comics, so he is more than excited to share the magic of reading, fun, and imagination with the young readers of the world.”

Curt Swan & Stan Kaye

Action Comics #266 cover penciled by Curt Swan and inked by Stan Kaye, published by DC Comics in July 1960.

Curt Swan was the primary artist on the various Superman titles from the mid 1950s to the mid 1980s. It’s inevitable that at some point or another during that lengthy period Swan would be called upon to draw Streaky the Supercat. Here is Swan’s cute rendition of Streaky zipping through the sky, along with Superman, Supergirl and Krypto the Superdog.

The inks are by Stan Kaye, who had previously been the regular inker over Wayne Boring’s pencils on Superman for a decade and a half. Swan and Kaye were often paired up in the late 1950s and early 60s, drawing numerous covers for Action Comics, Adventure Comics, Superman and World’s Finest.

The identity of the colorist for this cover is probably lost to time, which is too bad, because whoever it was did a really nice job.

I hope you found these interesting and informative. Please remember to check out First Comics News for the rest of the Comic Book Cats entries, as well as for the Daily Comic Book Coffee archives.