Archive for letterer

R.I.P. Shel Dorf, Comic-Con Founder

Posted in Comics, Jack Kirby with tags , , , , , , , , , , , , , , , , , , , , on 5th November, 2009 by Red Baron
You will be missed.

Sheldon "Shel" Dorf (July 5, 1933 – November 3, 2009)

Sheldon “Shel” Dorf, founder of the San Diego Comic Convention, died on Tuesday 3rd November in a San Diego hospital, where he was being treated for diabetes this year.  A funeral service was held for Shel on Wednesday.

Since its inception in 1970, the San Diego Comic-Con International has grown from 300 attendees to over 125,000 comic book fans from across the world.

David Glanzer, a convention spokesman, had this to say about the man:

“Shel had notable foresight in not only believing these people needed some public acknowledgment, but that this truly was an American art form that Americans knew very little about.”

During his time as a letterer, freelance artist, and convention organiser, Shel befriended many creative figures in the industry, not least of which was Jack Kirby.  According to comics historian (and Kirby’s closest friend) Mark Evanier, Shel claims the rare honour of being made into a Kirby character, namely Himon, inventor of the Mother Box and Mister Miracle’s mentor in his landmark New Gods series.  He also made appearances as well-meaning football player “Thudd Shelley” in Steve Canyon, a comic strip which he lettered for twelve years.  He was also responsible for publishing ninety-nine issues of Dick Tracy in 1984, later collecting them as twenty-four graphic novels.

We at Bat-Shark Repellent salute Shel Dorf for his contribution to Comics.  Legions of comics fans and creators alike are forever in your debt.  Thank you.

[source]

The Flash: Rebirth #4

Posted in Comics, DC, Flash with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on 29th August, 2009 by Red Baron
Art Team Assemble!

Art Team Assemble!

“Flash Facts”
Author: Geoff Johns
Artist: Ethan Van Sciver
Letterer: Rob Leigh
Colorist: Brian Miller (Hi-Fi)
Cover Artists: Ethan Van Sciver and Brian Miller
Associate Editor: Chris Conroy
Editor: Joey Cavalieri

Flash: Rebirth #4 is an all-encompassing, high-stakes drama, filled with big revelations, but be forewarned: it’ll do yer head in.  Geoff Johns, DC continuity surgeon, takes his scalpel to the entire Flash mythos, and while I can’t say the operation went altogether smoothly, the end result is more than satisfactory.  Indeed, some of the revelations went right over my head, even with the help of Max Mercury’s pseudo-science, and some dense exposition from series villain, Professor Eobard Thawne (a.k.a. the Reverse-Flash).  Johns’ retcons and repairs are a little more obvious than what we’ve come to expect  from him in recent times, recalling his earlier, clumsier [but still enjoyable] works.  Perhaps a better analogy, then, would be that of the band-aid.  “This will only hurt a little bit”, Johns assures as he quickly rips it off.  There’s an implicit trust between Geoff Johns and his readership – that everything will come good in the end – and considering the health of the Green Lantern property, I think it’s entirely justified.

Thankfully, the aforementioned revelations are imparted during an action-packed battle between Barry Allen and the Reverse-Flash.  I have to hand it to the creative team here, Reverse-Flash is absolutely menacing.  Ethan Van Sciver draws him like a hate-filled god, colorist Brian Miller makes his eyes burn like cigarettes, and Rob Leigh makes his speech bubbles crackle with static electricity.  This lends a weight and an urgency to the epic story, and one gets the feeling that the Speed Force will never be the same again.  Van Sciver’s pencils are once again beautifully detailed, while Miller’s bold reds and yellows are absolutely breathtaking.  In fact, I’m going to go out on a limb and say that this is the best looking book I’ve read this week.

Johns’ characterisations are spot-on.  He deftly juggles the entire Flash family and an ensemble cast of super-speedsters, giving each of them a unique voice.  I knew next to nothing about Max Mercury prior to reading this issue, but I came away with an appreciation of who he is and where he fits in the DC pantheon.  It’s also good to see Bart Allen get his wit back – he seemed to have lost it after his own rebirth – and embrace his original role as Kid Flash.  Ethan Van Sciver also did an excellent job of differentiating Wally West from Barry Allen – their identical Flash costumes had posed a problem until now – through a clever story device.

Rebirth #4 may have stumbled off the starting block, but it certainly came through with the goods.

Batman #689

Posted in Batman, Comics, DC with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on 14th August, 2009 by Red Baron
Winick's new Batman is a joy to read.

Winick's new Batman is a joy to read.

“Long Shadows Part Two: New Day, New Knight”
Author: Judd Winick
Artist: Mark Bagley
Inker: Rob Hunter
Colorist: Ian Rannin
Letterer: Jared K. Fletcher
Assistant Editor: Janelle Siegel
Editor: Mike Marts

I’ll be the first to admit that I absolutely hated Judd Winick’s run on Batman prior to Grant Morrison’s “Batman and Son” arc, but I have to hand it to him this time – I love what he’s done with the place since Bruce has gone.

As the title suggests, “New Day, New Knight” takes on a much lighter tone than we’re used to in a post-Miller Batman story, thanks in no small part to Dick Grayson’s circus sensibilities and Mark Bagley’s joyous artwork.  There are plenty of moments that brought a smile to my face, and they should do yours as well.  Batman #689 opens with a smile, as the new Batman busts up a gambling racket.  Granted, this particular incarnation of Batman is a little too talkative for my liking, but it’s good to see Dick finally revel in his mentor’s shoes.

Behind the curtain, Two-Face and Penguin posture themselves for control of Gotham’s underworld.  Two-Face’s camp has been filtering out Penguin’s plans to Batman through the appropriate channels, while Penguin forges dark alliances with some very dangerous people.  His days as a “legitimate businessman” could well be numbered as their cold war is brought to the boil.  I’ll be following this development with keen interest.

Despite this issue’s lighter tone, there’s plenty of room for an emotionally poignant exchange between Dick and Alfred.  I think we all miss Bruce, so I never get sick of these scenes.  Judd – through Dick – really cuts to the core of Batman’s butler, bringing out the human element in him and the rest of the cast, from Dick to Damian, even to Bruce  posthumously.  Winick emotionally grounds the story with a very simple and clever device.

The closing scene is reminiscent of Watchmen, as Batman races to extinguish a burning high-rise in his hovering Batmobile, no less.  He puts on such a splendid show, I half expected him to make coffee for the rescued residents a la Owlman.  It’s not all fun and games, though, as a classic rogue returns to ruin all of that.

Winick’s new Batman is a welcome departure from his old Batman.  It may be light-hearted, but it’s certainly not light on heart.

Detective Comics #855

Posted in Batwoman, Comics, DC, Detective Comics, The Question with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on 9th August, 2009 by Red Baron
Batwoman in Wonderland.

Batwoman in Wonderland.

“Elegy Part 2: Misterioso”
Author: Greg Rucka
Artist: J.H. Williams III
Colorist: Dave Stewart
Letterer: Todd Klein
Assistant Editor: Harvey Richards
Editor: Michael Siglain
Variant Cover Artist: J.G. Jones

“The Question – Pipeline: Chapter One/Part Two”
Artist: Cully Hamner
Colorist: Laura Martin
Letterer: Jared K. Fletcher

It’s official: Detective Comics is the best Bat-book on the shelves at the moment.  Who would have thought that Batwoman would amount to anything more than a media publicity stunt?  Well, the media don’t really care anymore, but I sure as hell do.

So many great Batman staples make their return here: Carroll-inspired villainy, Gothic castles, mad monks, and bad opium dreams [see Arkham Asylum, The Cult, Gothic, Batman and the Mad Monk, and Venom].  It’s Rucka’s respect for these hallmarks that makes us accept Batwoman into the Bat-family, and as a worthy successor to the World’s Greatest Detective.

Batwoman’s new foil Alice is chilling and off-kilter to say the least.  In fact, she’s quickly establishing herself as Batwoman’s Joker, and honestly I think she’s interesting enough to pull it off.  Her exclamations are just like original Alice, but it’s her pragmatism and emotional detachment under the guise of curiosity and innocence that makes my skin crawl.

All of this is augmented by Dave Stewart’s striking colours and J.H. Williams’ beautiful pencils.  Williams’ panel layouts are once again experimental yet easy to follow, and their “otherness” only fuels the drug-induced surrealism that dominates the issue.  “Beautiful, like broken butterfly wings” is the best way I can think to describe it.  Batwoman’s flowing red locks, Alice’s running mascara, the falling autumn leaves, the psychedelic vines that cloud Kate’s memories: this comic is a visual feast.

Suffice it to say, Kate Kane’s beginner’s luck has run out and Alice – new leader of the Religion of Crime – shows her true colours.

A very strange cliffhanger is followed by The Question backup feature, with Cully Hamner ably assisting on pencils.  His art is like Weet Bix and warm milk; the cartoony style can’t prepare you for the gritty brutality that follows.  The Question teaches her adversaries a very valuable lesson: don’t bring a weapon against someone more proficient in that weapon – like nunchaku for instance – it’s just a liability.  After some persuasive interrogation, Montoya shifts back into detective mode, but finds more trouble than info.  The Question’s street-level view helps ground an otherwise fantastical cape story, which again begs the Weet Bix and warm milk analogy.

Once again, Detective Comics has cemented itself as the most beautiful, value-packed book on store shelves.  Issue 854 was a great new start to Detective with very little background required, so why not jump in while the time is ripe?

Green Lantern #44

Posted in Blackest Night, Comics, DC, Green Lantern with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on 29th July, 2009 by Red Baron
Martian Manhunter is back, and he's mighty pissed off about it.

Martian Manhunter is back, and he's mighty pissed about it.

“Only the Good Die Young”
Author: Geoff Johns
Artist: Doug Mahnke
Inkers: Christian Alamy & Doug Mahnke
Colorist: Randy Mayor
Letterer: Rob Leigh
Cover Artists: Doug Mahnke, Christian Alamy & Sinc
Variant Cover Artists: Philip Tan, Jonathan Glapion & Nei Ruffino
Associate Editor: Adam Schlagman
Editor: Eddie Berganza

Having read more than a few interviews with Geoff Johns and the folks over at DC editorial, I was surprised to learn that unlike the highly successful Sinestro Corps War, Blackest Night would become a DC-wide event in its own book, and that Green Lantern – the book that started it all – would be relegated to second fiddle.

(Now, I have no illusions that this was ever Geoff Johns’ intention in the first place – though I do believe that the Sinestro Corps War was Johns’ successful bid for more creative licence from DC, as well as a reader recruitment drive for Green Lantern – but I do believe this was always intended to be his magnum opus.  The only difference is that this unexpected popularity among the comic book readership and almost unprecedented support from DC editorial has allowed him to evolve this into something with even bigger scope than he had previously imagined.)

Well, I’m happy to report that not only is Blackest Night more tightly conceived and consistent quality-wise than Sinestro Corps War was (if that’s even possible) thus far, Green Lantern #44, like Green Lantern #43 feels like a bonafide continuation of the Blackest Night story, albeit told in a more Green Lantern-centric manner.  I don’t know about you, but I kind of expected the events of Blackest Night to be confined to Blackest Night, and that Green Lantern would focus on the War of Light in outer space.  That this issue defied those expectations is not at all a bad thing, though I fail to see how anyone could read Blackest Night exclusively and glean even half of what the regular Green Lantern reader will.  Take my advice, newcomers: you need to be reading both.  You probably don’t even need to be told; chances are, if you’ve had a taste of Blackest Night, you’ll be hungry for more; so let me assure you right now, that you’ll get plenty more in Green Lantern #44.  It seems fairly obvious to me that Johns rolled with this editorial structure simply so he could tell more story in a shorter span of time.  Twenty-five issues of Blackest Night might be “wearing out its welcome”, but an issue of Blackest Night and Green Lantern each month for twelve months doesn’t seem as much of a stretch.

From the opening page, it’s clear that Johns and Mahnke are having heaps of fun with this story.  Johns knows these characters better than anyone, with plenty tips-of-the-hat for longtime DC fans.  Even the humble Choco cookie – Martian Manhunter’s favourite imitation Oreo snack – is imbued with rich symbolism.  It takes some serious skill to take one of the kookier elements of DC’s repertoire and turn it into something genuinely chilling.  As the cover art suggests, Martian Manhunter rises from his tomb as the first Black Lantern (well, sorta), and boy, is it cool!  Doug Mahnke was born to draw this kind of stuff.

This issue picks up where Blackest Night #1 left off, in Gotham Cemetery with Hal Jordan and the Flash.  Unfortunately, Johns dusts off the annoying little recap caption, informing us *yet again* that Hal Jordan is the Green Lantern of Sector 2814!  I thought it was assumed that Green Lantern fans would be reading this, Geoff, and everyone else would be reading Blackest Night!  You didn’t need to tell us the last few times, why do you need to tell us now?

Nerd-rage aside, it’s great to see the Martian Manhunter back, albeit in an undead capacity.  Johns is a bigger DC fan than all of us, and you can tell he’s playing with his favourite toys.  Don’t get me wrong, though, Johns remains reverent to the source material; and it soon becomes clear that the Black Lanterns are not mindless zombies; rather, they retain their original personalities.  This provides the emotional backdrop for Johns’ storytelling; dead heroes are returning, and those closest to them are forced to confront their deaths, and their worst failures, all over again.  There’s a harsh truth to everything J’onn J’onzz says, and yet it is apparent he is possessed by dark forces beyond his control.

What follows is a piece of the most interesting superhero fisticuffs I’ve seen – and one of the best Martian Manhunter stories I’ve read – in quite a while.  I’ve always thought that Martian Manhunter would make a formidable foe, and Black Lantern Manhunter doesn’t disappoint here.  It makes me wonder how he ever could have died in the first place.  It seems to me that Johns’ chief goal here is to remind us just how much we loved these characters, and just how well they can be written; enough to make us pray for a real resurrection.

Meanwhile in the Oa Citadel, Scar reveals the dark purpose of the Black Lantern Corps, with strong hints towards future events affecting the coloured Corps.  I don’t want to give too much away, but next issue should finally see John Stewart’s turn in the lead Lantern role…

Can’t wait for the next one!