SwanShadow Thinks Out Loud

It’s fair to say that no single individual had a greater impact on the medium of comics — specifically, that species of fantasy comics into which superheroes and their related subgenres fall — than Jack Kirby.

As an artist and storyteller, Kirby created the foundation for what we would today call the Marvel Universe. Most of the classic Marvel heroes from the Silver Age — including the Fantastic Four, Hulk, Thor, the original X-Men, Iron Man, Black Panther, Silver Surfer, Ant-Man, and the Wasp, as well as the Avengers and Inhumans — were all created or co-created by Kirby. (Not to mention Captain America, whom Kirby co-created with Joe Simon in 1940 and revived at Marvel in 1964.)

After a falling-out with Stan Lee and Marvel in the early 1970s, Kirby moved on to DC Comics and created a whole raft of new characters in what came to be known as the Fourth World saga. Prominent among these were Mister Miracle, the Forever People, and the New Gods.

I could go on naming characters Kirby dreamed up, but we’d be here all day. The man was that prolific.

Today’s featured artwork spotlights two Kirby creations who are, in a way, different spins on the same general concept. On the right, we have the Silver Surfer, whom Kirby introduced as a minor character in a 1966 Fantastic Four story, but became — due to Stan Lee’s enthusiasm (for years, he refused to allow other writers to use the Surfer in their stories) — one of the icons of classic Marvel. On the left is the Black Racer, who zoomed onto the scene in New Gods #3 (July 1971).

The Surfer began his career as the herald of the planet-eating space giant Galactus; the Racer is the avatar of Death in the Fourth World tales. And, yes, both guys fly through space on what looks like sporting equipment. (I never understood why the Black Racer needed ski poles to steer. In space, what would he dig them into? But I’m not going to argue with The King.)

The base image here was penciled by Keith Pollard, one of the finest (and in my opinion, most tragically underappreciated) artists of Marvel’s Bronze Age (the 1970s and early 1980s). Inking superstar Bob Almond took Pollard’s pencil sketch and embellished it to a whole other level, adding a gorgeous deep-space background in addition to enhancing the characters themselves.

About Keith Pollard: During his career with Marvel, he proved himself a workhorse of titanic proportions. Pollard drew lengthy runs on Amazing Spider-Man, Fantastic Four (twice), and Thor — for a time, he was working on all three titles simultaneously — as well as penciling issues of numerous other titles. Frankly, I don’t know how the man slept or ate during those years. Perhaps he didn’t.

In the early 1990s, Pollard penciled (with Joe Rubinstein inking) dozens of character model sheets for the Official Handbook of the Marvel Universe: Master Edition. I own a couple of these, having purchased them from Keith via his art representative more than a decade ago.

Here’s the Misty Knight page. If you’ve watched Luke Cage on Netflix — and if you haven’t, what are you sitting here for? you have two whole seasons to catch up on! — you know all about this hard-hitting police detective who acquires a bionic arm.

And this is the profile of Battlestar, who was Captain America’s partner for a short while in the late ’80s. Lemar Hoskins began his career as the newest iteration of Bucky (a sidekick role originally assumed by James Buchanan “Bucky” Barnes, now better known as the Winter Soldier). When legendary writer Dwayne McDuffie pointed out to Cap scribe Mark Gruenwald that the name “Bucky” took on problematic connotations when applied to an African American man, Gruenwald took a suggestion from artist Kieron Dwyer and renamed the character Battlestar.

Back to the Silver Surfer for just a moment. If you love great comic art — of course you do, otherwise you wouldn’t have read this far — you owe it to yourself to check out the two-part Silver Surfer: Parable, a 1988 collaboration between Stan Lee and the iconic French artist Jean Girard, a.k.a. Moebius. The story is classic Lee, and Moebius’s visuals combine beauty, grandeur, and emotion like no other.

And that’s your Comic Art Friday.

I’m just going to put this out there:

I don’t think the Human Bomb gets enough love.

Sure, there are many factors that contribute to the Human Bomb’s unfortunate situation.

• He’s got a dorky name.
• He wears what might be the least sexy costume in the history of superheroes.
• He hearkens back to comics’ Golden Age, when heroes often had gimmicky, poorly thought-out superpowers — like those of the Human Bomb.
• He was created by a second-rank publisher that went out of business 60 years ago (Quality Comics, also the original home of such characters as Plastic Man, Blackhawk, and Phantom Lady), and has been used only sporadically by the company that now owns his rights (DC Comics).
• In the modern world, the term “human bomb” conjures up unpleasant associations with terrorist violence.
• For a while during his original run, the Bomb had a comedic sidekick named Hustace Throckmorton, who made things explode with his bare feet. I kid you not.

Despite all of the above, I always thought the Human Bomb was kind of awesome. After all, who hasn’t fantasized about blowing up everything you touch?

Okay, maybe that was just me.

Anyway, here’s the Bomb’s deal. Roy Lincoln was a scientist who created, alongside his father, the world’s most powerful explosive. To keep the family brainchild out of the hands of Nazis, Roy swallowed the chemical — like you would — and as a result, developed the ability (or incurred the curse, depending on your point of view) of causing everything he touched to explode.

To keep from bursting his environment into smithereens, Roy had to live inside a cumbersome suit made from a special material that prevented his skin from accidental contact with things he didn’t wish to destroy (presumably, most everything). He would remove his gloves when he wanted to lay the smack down with his potent barehanded touch.

It’s easy to see the limitations of a character like the Human Bomb. For one thing, you can’t depict him outside of his costume very often, so he’s not terribly relatable — aside from his eyes, visible through the window in his helmet, what does his face even look like? Plus, it’s difficult to have normal human interactions and relationships when everything (and everyone) you come into contact with detonates like fireworks on the Fourth of July.

These very limitations, however, make the Human Bomb one of comics’ most tragically heroic figures — a man doomed to permanent isolation who finds a way to adapt his horrific personal circumstances to the benefit of others.

I can dig a guy like that.

I don’t know whether longtime X-Men guru Chris Claremont had the Human Bomb in mind when he conceived Rogue back in 1981, but the parallel is undeniable. Like Roy Lincoln, Rogue (who still doesn’t have a full name after all these years; we’ve been told since 2004 that her given name is Anna Marie, but her surname remains a mystery) is forced to cover her body to shield the world from her mutant power — she drains the life force from anyone with whom she makes skin-to-skin contact.

Of course, Rogue being an attractive woman and this being the comics universe, she manages to cover herself usually in clothes far more form-fitting and face-revealing than the Human Bomb’s containment suit.

In recent times, Rogue has either developed some degree of control over her powers or found an effective workaround, given that she’s enjoyed a handful of romantic relationships (most notably with Johnny Storm, better known as the Human Torch of Fantastic Four fame, and her X-Men teammate Gambit, whom she recently married).

If only she could have hooked up with Roy Lincoln.

That would have been — wait for it — the bomb.

Sincere thanks to Tom Derenick, who created today’s featured Common Elements artwork. Tom’s classic style represents everything I love about comic art — it’s clear, easily readable, packed with power and crisp in detail. If I were asked to identify an example of a contemporary comics artist whose approach would have been equally at home in the Silver or Bronze Ages, yet is totally fresh and relevant today, Tom’s art would be one of my first stops.

And that’s your Comic Art Friday.

I didn’t decide to attend this year’s Silicon Valley Comic Con until the week before the event. Having kept an eye on the show’s website for guest announcements, I didn’t see much opportunity to acquire new art commissions. But when artists Ryan Sook and Matt Haley were added to the guest list shortly before the show, I decided to bite the bullet and go, just to get pieces from those two talents.

As it turned out, Ryan took ill on the second day of the show, and didn’t get around to the piece he and I discussed on Friday. (It’s a fun Common Elements concept that I hope to revisit with Ryan at a future con.) But Matt — an entertaining guy I thoroughly enjoyed meeting and chatting with — completed his assignment in the waning hours of the show: this pairing of Jessica Drew, the original Spider-Woman (there have been three others introduced since Jessica made her debut in 1977), and the modern-era Black Cat, Felicia Hardy.

I’ve long wanted to match these two characters in a Common Elements scenario because of their surnames, which reminded me of those classic detectives of juvenile literature, Nancy Drew and the Hardy Boys. I had always supposed that the names were purely coincidental, but a random conversation at SVCC revealed that they are not.

As Matt Haley was finishing up this artwork, I stopped by the table of longtime comics writer and editor Barbara Kesel, another guest at SVCC. I wanted to show Barbara my recent Stephen Foster-themed Common Elements by Carlos Rafael, which features Ultragirl, a character Barbara co-created. Barbara was intrigued by the Common Elements theme and asked what other pieces I had in the works. I explained the pairing that Matt Haley was working on just a few tables down the row, with its related-surname connection.

At that point, Marv Wolfman, the veteran comics scribe who’s written everything from Tomb of Dracula to Crisis on Infinite Earths — and who happened to be sitting at the table next to Barbara’s — chimed in: “I named both of those characters, and that’s the reason why I gave them those names.”

Which makes this, I suppose, a particularly historic Common Elements.

Speaking of history, when it comes to comics characters named Black Cat, I’ve always had a fondness for the original. Artist Steven E. Gordon had this appealing pencil drawing of the Golden Age Black Cat, Linda Turner, in his for-sale portfolio at SVCC. She somehow managed to follow me home. Cats will do that if you’re not careful.

And that’s your Comic Art Friday.

By any measure, superheroing makes for a tough lifestyle choice. You’re fighting bad guys all the time, you usually have a secret identity to protect, and the annual cost of replacement outfits alone must be astronomical.

Which is why I’m surprised more heroes haven’t taken up job-sharing.

Of course, having an identical twin would help.

That’s the unifying factor between the two heroines in today’s featured artwork from the Common Elements series — an artwork that is both the last commissioned piece I received in the just-concluded 2017, and the first to land its own Comic Art Friday post in the just-begun 2018.

Both Ladyhawk (standing) and Crimson Fox (crouching) are heroic identities shared by pairs of identical twins: the Morgan sisters, Rosetta and Regina, in the case of Ladyhawk; the D’Aramis sisters, Vivian and Constance, in the case of Crimson Fox. Ladyhawk made her/their mark primarily as an ally of Spider-Girl, the alternate-universe daughter of the amazing Peter Parker. Crimson Fox was best known as a member of the 1990s-era Justice League Europe.

Comics aficionados of a certain age will note that Ladyhawk’s costume bears a striking (and non-coincidental) resemblance to the original kit worn by Captain America’s longtime associate Sam Wilson, a.k.a. the high-flying Falcon. Before Sam gained the winged red-and-white uniform in which he’s most familiar, he wore a green get-up trimmed in orange that had no wings, aside from the ones on the falcon medallion he wore around his neck. Ladyhawk’s gear precisely matches the old Falcon design, right down to the medallion, because of course it does.

Sadly, both halves of the Crimson Fox duo met with untimely ends relatively early in their crimebusting career. Vivian D’Aramis was murdered by the supervillain Puanteur; three years later, Constance was done in by the female version of Mist. More recently, another woman (presumably just one) has taken up the Crimson Fox mantle. One hopes that her long-range prospects end more favorably than those of the D’Aramis twins.

Our heroines are drawn in this scene by Canadian artist Sanya Anwar, who — so far as I am aware — is not an identical twin. Although it would be awesome if she was.

And that’s your Comic Art Friday.