These lines from East of West #35 feel a little too on the nose, given the state of Trump’s America these days.
A DC comic came to a DC television show, but it only “flashed” on screen for a couple of moments. In this week’s episode of The Flash on the CW (CTV in Canada), we catch a glimpse of super-hero-in-training Ralph Dibny (not yet dubbed the Elongated Man) reading a comic book. I spied right away that it was an issue of Young All-Stars, a 1980s comic set during World War II.
A quick search online yielded a screen capture (seen above), and then a perusal of the Young All-Stars cover gallery on the Grand Comics Database uncovered a match to issue #20 (released January 1989), written by Roy and Dann Thomas, with art by Michael Bair, Ron harris and Tony DeZuniga. Its appearance as a prop in “When Harry Met Harry,” episode six of Season Four of The Flash, was a delight for this longtime DC reader.
The market for original comic art, commissioned comic art and sketches by noted professionals in the medium has exploded in recent years. Pieces that were once valued at less than $100 are now selling for hundreds more. Four- and five-figure prices for sought-after art and artists is commonplace these days. With the rise in demand and corresponding rise in prices comes an unfortunate side effect: fraud.
Phony comic art has definitely circulated in the marketplace, so buyers have to be knowledgeable and aware so as to avoid being fleeced. In addition to reading comics, I’m a collector of original art, and as such, I’m always scanning the marketplace for affordable pieces. Ebay has been a great resource to get bargains, so I peruse the original comic art listings on the site almost on a daily basis.
I stumbled across a piece Sunday that caught my eye; well, truth be told, it was the listing title that caught my eye: “BLACK CANARY FULL FIGURE original art commission by DARWYN COOKE (BEAUTIFUL).” I have three sketches from the late artist in my convention sketchbook, and I’ll always treasure them. As a fan of his work, I’m always up for a glance at something else he did.
Everyone has their favorite incarnation of the Justice League, be it the Silver Age original, the JL Detroit team, Grant Morrison and Howard Porter’s return of the Big Seven, or perhaps (and most definitely in my case) the humor era begun in the late 1980s by Keith Giffen, J.M. DeMatteis and Kevin Maguire. I don’t think anyone has ever mentioned the two-year stint on Justice League America from the mid-1990s by writer Gerard Jones and artist Chuck Wojtkiewicz, which saw a new lineup launched in the wake of Zero Hour.
I have very few issues from this run on the title, which surprises me a little, since included in the team roster at the time were Infinity Inc. alums Nuklon and Obsidian, characters I’ve loved since they were introduced in All-Star Squadron in the early 1980s. Despite my lack of connection with this era of the JLA, I jumped at the chance to pick up this board from Justice League America #98. The price was right, and there was a lot about the page that appealed to me.
A comic artist with a quarter century of experience in the industry, including memorable projects involving Batman for DC Comics, is heading back to school, but he’ll be the teacher and anybody, anywhere can attend classes.
Bo Hampton — an Atlanta, Georgia-based artist known for such comics as DC’s Batman: Legends of the Dark Knight, Batman: Castle of the Bat and Legend of Sleepy Hollow from Image Comics — launched Drawing for Comics on Nov. 1. It’s an online course teaching comics illustration, and Hampton is delivering it through a series of videos, as well as options for live Skype assessment sessions.
I’ve never been much for war comics, though there have been occasional exceptions of strong storytelling that really grabbed my attention. But my extensive comic-book collection really includes very few war comics, just the occasional issue here and that was a part of a larger lot I picked up at flea markets or the like over the years. I have several issues of DC’s original Weird War Tales among the many long boxes around my place, but I honestly don’t recall if I’ve read them all (I ought to rectify that, especially given the vintage-comics kick I’ve been on as of late).
Despite that lack of nostalgic connection to war comics, when I spotted a page from Weird War Tales for bid online recently, I definitely wanted to try my hand at winning it. The reason wasn’t due to the content, but rather the era from which it originated and the unusual pairing of artistic talents who crafted it. I was fortunate enough to have landed the board and added to my collection, and when I finally got it in my hands, I realized it was a treasure-trove of classic comics craft details.
The Challengers of the Unknown have been with us for 60 years (!), having debuted in Showcase #6 (cover dated February 1957). The characters enjoyed a few more appearances in Showcase before moving onto their own title the following year. It’s noteworthy in that it’s one of the many long-lasting creations of the King, the late Jack Kirby. It’s actually such a beloved DC property, I’m surprised a Challengers one-shot wasn’t listed among the planned comics DC is publishing in August to mark what would have been the legendary writer/artist’s 100th birthday.
Now while a Kirby page (of any description) isn’t with my budget when it comes to comic-art collecting, I did manage to acquire a Challengers page recently for an affordable price on eBay. And it was from my favorite incarnation of the Challengers: the 1997-98, Steven Grant-penned series featuring a new lineup of Challengers. It boasts a cool X-Files vibe, featuring paranormal investigations against the backdrop of the DC Universe.
I was pleased to find my local comics retailer stocked copies of Love Is Love, the softcover comics anthology aimed to benefit the victims of the Pulse nightclub shooting in Orlando, Fla., earlier this year. I’d informed the manager of the shop that I’d be interested in a copy if his boss had ordered some. It turns out I was quite lucky to get my hands on it, as it’s selling out all over the place. It’s also rising quickly in the ranks of Amazon’s most popular books this week.
The project was spearheaded by comics writer Marc Andreyko, who managed and herded an inordinate amount of talent, and who even got DC Comics and IDW Publishing to facilitate the book’s publication. To call Love Is Love a success would be as major an understatement as referring to the mass shooting that sparked this creative reaction as a tragedy. It clearly brought out a lot from those involved – emotion, personal connections, generosity of time – not to mention what it evokes from and instills in those who read it and appreciate it. There’s a second printing on the way, and Andreyko noted on Facebook that there’s also a third printing in the works.
The late Gene Colan is definitely best remembered and honored for his work on Daredevil, Howard the Duck and, perhaps most notably, Tomb of Dracula. However, because I was exclusively a DC devotee in the late 1970s and early 1980s, I came to discover his work on such books as Batman, Wonder Woman and Night Force. As a kid, I wasn’t all that enamored of his style, to be honest, but over the years, I’ve definitely come to respect and appreciate his craft. His style is incredibly distinctive, and I’m pleased I’ve finally managed to add a sample of his work to my collection of original comic art.
The original comic art board I recently acquired is Page 18 from Jemm, Son of Saturn #6. The 12-part Jemm series is a rather obscure footnote in Colan’s career (though the title character did show up briefly in a villainous role in the first season of the new Supergirl show). A little online research reveals it was originally intended as a Martian Manhunter book before DC editors nixed it (as J’Onn J’Onzz was about to return in the pages of Justice League of America in the early 1980s).
I happened upon the joke below in a freebie diner/coffee-shop newsletter at lunch today. I share it with you now, and I apologize for doing so.
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I was scanning the original comic art listings on eBay several months ago (as I do just about every day) when one in particular caught my eye. A seller had a lot of seven (!) pages from the 2003 Warren Ellis/Colleen Doran graphic novel Orbiter for sale for a surprisingly low opening bid. I marked as an auction I wanted to watch, but I assumed it would end for a price that was beyond my financial reach. A few days later, to my surprise, I noted there had been no bids, and ultimately, the auction ended without anyone taking a single stab at the listing. When I see a plum item such as that one end without bids, I sometimes make something of a Hail Mary pass, contacting the seller of the unsold item and offering to buy it, either for the minimum price or maybe even less. To my elation and surprise, the seller agreed to sell it to me for the minimum opening bid he’d listed!
I’ve been a fan of the artwork of Bernard Chang since I first saw it on Valiant’s original The Second Life of Dr. Mirage, and he’s only improved over the years. I think his strongest effort was on DC Universe Presents, a short-lived title with DC’s New 52 that featured different characters and creative teams with each story arc (Chang illustrated the Deadman and Vandal Savage arcs).
In recent years, he’s proven himself to be a reliable resource for DC Comics, illustrating such other titles as Batman Beyond, Wonder Woman, Demon Knights, Superman and Green Lantern Corps. Still, seeing his name and work on a comic title always takes me back to Dr. Mirage and even TV adaptation Sliders: Ultimatum (I think I was one of three people who liked that show). That his early efforts on relatively obscure 1990s titles has stuck with me over the course of two decades is a testament to his craft and skill as a storyteller.
In the past few months, I’ve been fortunate enough to pick up a couple of pages of Chang’s original comic art — not from Mirage, Sliders or DC Universe Presents, but solid examples of his style, featuring some familiar super-hero characters.
Eye on Comics took a look at the effect of currency exchange rates between the United States and Canada on comics retail a few years ago, when the two countries’ dollars were essentially at par. But now, the Canadian dollar (often referred to as the loonie, so named for the image of a loon on the dollar coin) has weakened significant in a rather short period of time. As of this writing, the loonie is worth 72 cents US, or conversely, the U.S. greenback is worth $1.40 Cdn. That means the average $3.99 US comic book costs a Canadian reader $5.58 out of pocket, before taxes or any sort of discounts are factored in.
While I’m always on the lookout for a fun, interesting and attractive piece of original comic art (at a price that fits with my limited budget), there are certain categories in which I have a specific interest. Pages that feature journalism in some way, super-hero team-up pieces, Amalgam boards and others really grab my attention. Another category I’m keen on is DC’s Golden Age/Earth-2 characters. I’ve been fascinated by them since I first got into comics as a kid, so any chance to reconnect with them or new ones building on the same legacies is something I eagerly welcome.
As such, I was a huge fan of the original Infinity Inc. series by Roy Thomas and Jerry Ordway. There was no specialty comic-book store where I lived in the 1980s, so I’d have to wait for trips with my dad to a neighbouring province to get those early issues. My first trip to a comic shop was in 1985 (the year of Crisis on Infinite Earths) when I was in junior high. My father actually dropped me off, telling the store owner before I left, “Yeah, he’s gonna be a while.” I spent three hours in the shop, carefully selecting which comics to buy, focusing on those only available in direct-market stores. A whole lot of the comics in my selected stack were issues of Infinity Inc.
So when DC announced Ordway would be revisiting these 1980s characters as the writer of a two-part Convergence spinoff earlier this year, it was one of the few titles in the event’s lineup that really caught my interest.