Archive for the ‘That's Cool!’ category

Comic Art Friday: Three faces of Taarna

February 24, 2017

If you’ve ever browsed my online gallery showcasing my comic art collection — and if you haven’t, what are you waiting for? go have a look around, already — you’ve probably noticed that my collection falls into three general categories:

  • My theme galleries, Common Elements (matchups of unrelated characters who share some feature in common) and Bombshells! (pinups featuring Golden Age heroines in the style of bomber nose art), which we’ve considered frequently in this space.
  • Character galleries, which contain multiple images of some of my favorite comic book heroes and heroines (mostly the latter), drawn by a wide spectrum of artists.
  • Miscellaneous art that doesn’t fit into either of the preceding buckets.

The character galleries sometimes baffle visitors. “Why would you want a lot of pictures of the same character?” they ask. “Isn’t that kind of boring?”

Not to me, obviously. Let’s see whether I can illustrate the appeal.

Several of my character galleries focus on familiar characters with lengthy histories in the comics. To cite two examples, I hold extensive collections of Wonder Woman and Supergirl drawings. Both of these heroines have been around for a long time — Wonder Woman celebrated her 75th anniversary last year, while Supergirl debuted in 1959, almost 60 years ago. Both have changed costume and/or hairstyle numerous times over the decades. In my collection, you’ll find images reflecting many of the looks each heroine has employed, so there’s a good deal of stylistic variety there. Plus, because plenty of other collectors also focus on either Wonder Woman or Supergirl or both, you can find a lot of artwork to compare and contrast.

But I also maintain character galleries that are more or less unique. For instance, I have a collection of art featuring Isis, the heroine of the 1970s Saturday morning TV series The Secret of Isis, who also appeared in DC Comics during that period. I know of only one other major collector — “Little John” Nacinovich — who owns a significant number of Isis pieces. And I believe I’m the only comic art collector with an ongoing commission theme spotlighting Taarna, star of the 1981 animated film Heavy Metal.

Taarna’s a good character to consider for our present discussion. She made only one appearance in popular media — the “Taarna” segment that takes up the final third of Heavy Metal‘s running time. (Although the segment is based on the Arzach stories by legendary French cartoonist Jean “Moebius” Giraud, Taarna herself was designed specifically for the film by comics artist Howard Chaykin.) She’s depicted in only a single costume (unless you consider nudity a costume), and that costume is composed of only a few simple elements. So there’s not much variety to work with in terms of her visual portrayal.

And yet…

Below are three artworks I commissioned for my Taarna gallery. The first features pencils by Michael Dooney, whose best-known published work appeared in Teenage Mutant Ninja Turtles, with inks by Bob Almond, who by now needs no introduction to Comic Art Friday readers.

Taarna, pencils by Michael Dooney, inks by Bob Almond

Next up: Noah Salonga, who’s worked on such titles as Red Sonja and Xena: Warrior Princess for Dynamite, and Grimm Fairy Tales for Zenoscope.

Taarna, pencils by Noah Salonga

And last but by no means least, Tone Rodriguez, who’s drawn everything from hardcore action books like The Snake Plissken Chronicles and Violent Messiahs, to the broad comedy of Futurama and The Simpsons.

Taarna, pencils and inks by Tone Rodriguez

All three artists capture the visual essentials of the character. Each one nails Taarna’s signature costume, her sword, and her flowing white hair. There’s no doubt that they’ve all clearly drawn the same character.

Now, notice the differences.

Tone Rodriguez’s Taarna is the most like the movie version in attitude. That scowl, the warrior stance — those could have been lifted right off the screen. Tone perfectly delineates that double curl across Taarna’s forehead, and remembers to add the shading of slightly darker gray hair that frames her face in the original. But did you catch the subtle details Tone adds to the costume? The laces on her boot covers, the ridges on her kneepads, the gorgeous filigree pattern on her shoulder armor and glove, the bracelet on her left wrist — that’s all Tone. No other artist would put all of those touches in there, because they aren’t in the original. Tone takes a very straightforward approach to the character, but finds ways to make his depiction of her uniquely his own.

By contrast, Michael Dooney doesn’t alter Taarna’s familiar costume even the tiniest bit. And his posing preserves the battle-ready physicality we expect. But Dooney’s Taarna seems softer, more subdued emotionally than Tone’s, despite the fact that her muscularity is tense and sharply defined. Her expression is more wary than defiant, and with her hand against the boulder behind her, she appears to be gathering strength, perhaps in anticipation of an oncoming foe yet unseen. Her hair swirling in the breeze gives the scene a sense of movement and life.

Noah Salonga’s Taarna varies the most from the film character. While her costume is spot-on, Salonga takes some liberties with her facial features, and especially her hair — her twin forelocks have been swept away, and the gray highlight has disappeared. Most notably, there’s the faintest tracing of a wistful smile across her lips, where the movie Taarna never looks remotely cheerful. Salonga places his Taarna in a posture of rest and repose — again, something we rarely see in her film appearance. I like the way she holds her sword back, almost as if she’s about to yawn and stretch.

In none of these three instances did I suggest to the artist how he ought to depict his subject. All three worked from the same static model sheet image of Taarna that I always offer when I commission a new portrait of her. I have no idea how familiar with the film any of the artists were. (I vaguely recall Tone remarking that he’d seen it once on late-night TV.) And yet each brought something special to his creation that makes his drawing stand apart from every other Taarna artwork in my collection. It’s very much the same character, no doubt. But each artist found a way to make her his own.

That’s why a character gallery never becomes boring. At least, not to me.

And that’s your Comic Art Friday.

Comic Art Friday: On the Arctic Express

February 3, 2017

We’re at the midpoint of winter, more or less, here in the Northern Hemisphere… although I feel a trifle embarrassed about admitting this on a day when it’s sunny and 62 degrees outside in my cozy corner of California.

Still, the astronomical calendar is what it is, so it’s a perfect day — weather aside — to feature this Arctic entry into my Bombshells! theme gallery.

Meet Nelvana of the Northern Lights.

Nelvana of the Northern Lights, pencils and inks by Ben Dunn

When we discuss the earliest superheroines in comics, we dive into some murky waters. Most casual fans would assume that Wonder Woman, easily the most prominent and iconic heroine introduced during the dawning days of the genre, preceded all of her sisters. In fact, quite a number of distaff derring-doers hit the printed page before Princess Diana the Amazon exploded onto the scene in All-Star Comics #8 (December 1941). The very first superheroine to see publication — Fantomah, a weird mystical character with the face of a skull — debuted in February 1940. Other noteworthy female crimefighters, including Lady Luck, Phantom Lady, and the original Black Cat, quickly followed.

About the first Canadian superheroine, however, there’s no mystery. Not only was Nelvana the original costumed female from the Great White North, but most genre historians mark her as the first uniquely Canadian superhero of either gender. As an Inuit character, Nelvana also stands as one of the earliest non-Caucasian heroes in comics.

Nelvana’s creator, Welsh-born artist Adrian Dingle, was primarily an illustrator and painter. Inspired by stories told by a well-known artistic colleague named Franz Johnston, Dingle set out to devise a comics character who truly represented the spirit of Canada. Nelvana — in the tradition of classical mythology — was born the offspring of an Inuit deity, Koliak the Mighty, and a human woman. Drawing on her father’s mastery of the aurora borealis, Nelvana could fly at the speed of light and become invisible. She used as her primary weapon a heat ray sufficiently powerful to melt metal.

Although she never made much of a splash south of the Canadian border, Nelvana managed to influence American comics decades after her debut. When writer-artist John Byrne created Snowbird as a member of Marvel’s Alpha Flight team, he made his new Canadian heroine the daughter of Inuit goddess Nelvanna (note the slightly different spelling), with an origin story that in many ways echoed that of the earlier character.

To this day, the Canadian entertainment company Nelvana — producers of numerous popular animated series ranging from Babar and The Magic School Bus to Cadillacs and Dinosaurs — keeps its native heroine’s name alive.

Our Bombshells! version of Nelvana springs from the pencil and ink brush of Ben Dunn, best known as the creator of Ninja High School. Ben does a brilliant job of bringing our Arctic avenger to life.

And that’s your Comic Art Friday.

Comic Art Friday: A drink of ink

January 27, 2017

I haven’t done a post like this in some time, but having recently received a pair of commissioned pieces back from master inker Bob Almond, this seemed an appropriate occasion to revisit the subject of inking in comic art.

Inking is a often-ignored and much-misunderstood facet of comic art, largely due to the fact that inking is unique to the art form itself. In pretty much every other area of popular art, the artist is a sole creator. The painter creates the image (although possibly from a reference photograph, which might involve a different artist) and does all of the work to bring the image to fruition. The sculptor sculpts. The potter… pots.

In comic books, however, creating the art one sees on the printed page often involves several hands. First, there is a pencil artist who drafts the initial image — sometimes in extensive detail, other times in a rough layout or sketch form. The ink artist then embellishes the penciled image in India ink, adding detail and shadow, as well as enhancing the overall linework so that it will photograph well for printing. A color artist adds all of the color — in modern comics, this process is usually done digitally, but for decades, colorists applied dyes directly to a print of the inked image. A letterer adds the dialogue and sound effects.

I don’t collect color art, and my commission pieces don’t generally involve lettering — aside from my Bombshells! theme, where a modest amount of lettering is done by the penciler. But I quite frequently commission artworks in pencil that will eventually wind up being embellished by an inker. I’ve employed a number of talented inkers over the years, but none more often than Bob Almond, who to date has completed more than 50 inking projects for my collection. I return to Bob time and again for several reasons, chief of which is that he’s extremely flexible, having a style that meshes well with almost any pencil artist.

To illustrate this point, take a look at Bob’s inking over two very different pencilers.

First, here’s an original pencil commission by Peter Vale, a Brazilian artist with a supremely detailed style. Peter’s approach is smooth, precise, and very nearly photorealistic.

Tyroc and Songbird, pencil art by Peter Vale

Now here’s that same drawing, as inked by Bob Almond.

Tyroc and Songbird, pencils by Peter Vale, inks by Bob Almond

In contrast, here’s a pencil commission by Kevin Sharpe. As compared with Peter Vale’s work, Kevin’s linework is less “fussy,” for lack of a better word. Kevin’s drawing style is bold, muscular, and less tightly controlled. His work shows the strong influence of Jack Kirby, perhaps the greatest of superhero comics pencilers.

Orion and Andromeda, pencil art by Kevin Sharpe

And here’s Kevin’s art, again with Bob Almond manning the inks.

Orion and Andromeda, pencils by Kevin Sharpe, inks by Bob Almond

You can see how in each case, Bob adapts his inking approach to the style of the penciler. When inking over Peter Vale, Bob’s ink line is tight and precise — and has to be, to capture all of the fine detailing in Peter’s drawing. (Just imagine having to outline every single one of those tiny glass shards!) When inking over Kevin Sharpe, Bob’s hand can be a bit more free, especially when filling in the shadows. There’s still a ton of detail in Kevin’s drawing as well, but those details are more loosely delineated, more suggestive and impressionistic than photographically realistic. Bob manages to capture that powerful quality in Kevin’s style as well as he enhances the gracefulness of Peter’s.

As is true of pencil artists, inkers come equipped with diverse approaches to their art. Some of the greatest inkers have their own idiosyncratic styles that tend to dominate the pencils beneath, whether that style is bold and weighty like that of Klaus Janson, or sleek and technical like those of Terry Austin or Murphy Anderson. Other inkers, such as Bob Almond, are chameleons who blend into the natural flow of the penciler. Still others, while skillfully adaptable, bring a distinctive flair to their inking that is unmistakable — I’m thinking especially of that legion of artists who came through Neal Adams’s studio in the early 1970s, guys like Bob McLeod, Joe Rubinstein, and the leader of that group, Dick Giordano.

The bottom line (no pun intended) is that without inkers, we wouldn’t have comic art as we’ve come to know it. And what a shame that would be.

That, friend reader, is your Comic Art Friday.

Comic Art Friday: Things are about to get hairy

December 2, 2016

millionairelogo

Hey, did I mention that I’m going to be on Who Wants to Be a Millionaire on Monday, December 5?

Now I did.

I’ll have more to say after the show airs. But for the time being, make sure to set your DVR. (Check your local listings for time and channel.)

It’s fair to suppose that if I walk away from my latest foray into television gaming a millionaire, I will probably spend at least a few shekels on new comic art. (My art collection may even rate a mention on Millionaire… but you’ll have to wait and see.) In the meanwhile, I can still admire the pieces I already own — including this one, commissioned earlier this year at San Francisco Comic Con, by the talented Casey Jones.

The Cat and The Beast, pencils and inks by Casey Jones

On a Comic Art Friday a few months back, we discussed Greer Grant Nelson’s transformation from the costumed heroine known as the Cat into the half-human, half-feline Avenger Tigra. It occurred to me that Greer wasn’t the only character to undergo a similar makeover.

In March 1972, just a half-year before Greer first donned her Cat-suit, founding X-Men member Henry “Hank” McCoy — a.k.a. the Beast — was starring in his own feature in the anthology series Amazing Adventures. From his debut in Uncanny X-Men #1, Hank’s mutant abilities had manifested in overly large hands and feet, combined with superhuman strength and ape-like agility. Aside from his impressive appendages, Hank looked pretty much like a normal human.

But in Amazing Adventures #11, Hank’s self-experiment in hormonal therapy pushed his mutation to another level, enhancing his powers (making Hank even stronger than before, and adding a Wolverine-like healing factor), covering his body with fur (initially gray, later blue), and giving him a vaguely simian appearance. Subsequent changes would alter his image into a more cat-like mold. In time, Hank’s more feline attributes faded, and he morphed into something closer to a furry, blue approximation of his original self, albeit retaining the fangs and claws from his second mutation.

Amazing Adventures #11, cover art by Gil Kane and Bill Everett

As much as we’ve grown fond of Greer and Hank in their lovably hirsute forms, we still remember the way they looked when we first met them — and it’s those original appearances that Casey Jones enshrines for us in this fine Common Elements commission. Because they may be gone today, but hair tomorrow.

And that’s your Comic Art Friday.

Remember: Catch me on Millionaire this coming Monday!

SwanShadow Gives Thanks: Triskaidekaphobia Edition

November 24, 2016

Welcome to the thirteenth installment in my annual outpouring of gratitude. Each Thanksgiving since 2004, I’ve devoted this space to a reflection on some of the many people, places, and things that have graced my life. Because counting my blessings can become an infinite task once I get started, I’ve developed the device of choosing 26 representative items — one for each letter of the English alphabet — to stand as testament to the overwhelming abundance that I can only begin to address.

Without further ceremony, here are the things I’m thankful for on Thanksgiving 2016.

Antenna International. If you’ve ever toured a museum or other public attraction and used the audio guide, you’ve heard the work of this fine company, which specializes in the production of said audio guides. I recently had the privilege of narrating Antenna’s audio guide to Vikings: Beyond the Legend, an exhibition currently on display at the Cincinnati Museum Center. If you’re in southwest Ohio or the vicinity, go check it out.

Beef Jerky Store. A highlight of my annual trip to Las Vegas is a pilgrimage to this downtown establishment adjacent to the Fremont Street Experience, where I load up my suitcase with tasty snacks. When I was a keiki (that’s “child” to your mainlanders) in Hawaii, we called a place like this a crack seed store — “crack seed” being the Hawaiian term for various kinds of dried fruits, nuts, and other dehydrated edibles. Visiting the Beef Jerky Store takes me back to those long-ago childhood days.

Comixology. This year, I officially transitioned my comic book reading from paper to digital. Comixology is the app for that. (It’s been an adjustment, but I’m resolute.)

DubNation. What a year we’ve had as Golden State Warriors fans! Our team set an NBA record for success with an unprecedented 73-9 record; missed repeating as world champions by an eyelash; then in the offseason added Kevin Durant, one of the greatest players in the game, to a roster that already featured three superstars in two-time MVP Steph Curry, Klay Thompson, and Draymond Green. After decades of wallowing in mediocrity and worse, it’s a grand time to be a citizen of DubNation.

Evernote. I don’t know where I’d be without this app. Certainly dinners at our house would be far less interesting, because Evernote is where all of my recipes reside.

Family. As always, I’m grateful more than anything for those who love me most — the Pirate Queen, The Daughter, Grandma, Studio Assistant Tazz, and KJ, whose memory lives forever in heart and spirit. My extended ohana also includes numerous friends and connections, both nearby and far away.

Graboids. That’s our household nickname for reach tools. They come in handy for picking up dog toys and other items that middle-aged backs and knees hate bending for.

Hillary Clinton. The election didn’t go her way, but I’m still proud that she earned my vote.

Inkwell Awards. Founded by longtime comic book inker Bob Almond, the Inkwells annually acknowledge some of the most important — but least heralded — artists in the field.

Juice. Because who doesn’t love juice? Make mine cranberry.

Kamala Harris. California’s attorney general will make an outstanding impact as our new junior Senator. I was honored to voice several of Ms. Harris’s campaign ads this season. I don’t think she got elected because of my work, but I’m not saying I didn’t help a little. Maybe.

Luke Cage. Just when you think that Marvel Studios and Netflix couldn’t possibly outdo themselves after the stellar Jessica Jones, they follow up with a series that takes street-level superheroics up yet another notch. Terrific performances by Mahershala Ali, Simone Missick, Alfre Woodard, Rosario Dawson, and Mike Colter as the titular Power Man made this a must-binge.

Mcusta. Two of the most attractive specimens in my folding knife collection come from this Seki City, Japan bladeworks. I could admire my Mcusta Katana and Tactility all day long. Some days, I do.

NewPark 12. The glorious IMAX theater in our new local multiplex even enthused the Pirate Queen — generally not a fan of the cinema experience — about going out to the movies. It’s the first time I ever sat in a theater seat that I wanted to take home to my living room after the film ended.

OtterBox. I dropped and shattered my iPhone this summer. (Thanks, AT&T, for the speedy and relatively hassle-free replacement.) The sturdy case on my new device will, one hopes, prevent future mishaps of a similar nature.

President Barack Obama. Thank you, Mr. President, for eight years of honorable service. I truly believe that history will be far more kind to your legacy than the obstructionist Congress of your second term has been.

Quatermass and the Pit. One of my all-time favorite weird sci-fi classics. You’ve probably seen it here in the U.S. under the title Five Million Years to Earth. Basically, we’re all the descendants of giant grasshoppers from Mars.

Ray’s Crab Shack. A local spot serving up mass quantities of delicious seafood. Don your plastic bib, glove up, and get your crustacean on.

Steely Dan. Any major dude with half a heart surely will tell you, my friend, that Walter Becker and Donald Fagen got me through college, and many melancholy hours since. There are 66 songs on the Dan’s seven classic-period albums (beginning with Can’t Buy a Thrill and concluding with Gaucho), and not a single one of them sucks. I don’t know any other musical act about whom I can make that statement. 1977’s Aja ranks as one of the finest albums in the history of recorded music.

Treebeard. In my studio-office stands a gnarled walking stick that I acquired at a Renaissance Faire many, many years ago. It’s outfitted with a wrapped leather hand grip and bears the carved face of a bewhiskered wizard at its head. I call it Treebeard. I believe there may be magic in it.

Universal Studios Hollywood. I spent a week there early this year, as an alternate contestant for a TV quiz show that ended up not requiring my services. But I got to stay in a nice hotel, tour a theme park, preview the then-unopened-to-the-public Harry Potter attraction, see a couple of movies, hang out for two days in the soundstage where The Voice is taped, and make several cool new friends — all at a TV production company’s expense. You could have a worse vacation.

Van Jones. The CNN commentator kept it real in the midst of insanity on Election Night 2016. Thanks for eloquently saying what many of us were thinking, Mr. Jones.

Waimea Canyon. As has been frequently noted in this space, I spent a goodly chunk of my childhood in Hawaii. Until this spring, however, I’d never visited the island of Kauai. If you’ve never stood on the edge of “the Grand Canyon of the Pacific,” you owe it to yourself to get there at least once before you die. (Going after you die probably won’t have the same effect.)

Xenozoic. Mark Schultz’s sumptuous adventure comic — best known to non-aficionados as the source material for the fondly remembered animated series Cadillacs and Dinosaurs — remains a classic of the medium. The collected omnibus volume is the closest book to my desk on my office-studio bookshelf.

Yoda. “Try not. Do. Or do not. There is no try.” Live by these words, should you.

Zuckerberg. Thanks for keeping the Pirate Queen gainfully employed for the past year, Mark.

I am eternally grateful to you, friend reader, for your ongoing support of these random ramblings. May your life overflow with reasons to give thanks.

Comic Art Friday: Battle royal

November 18, 2016

We’ve been bingeing our way through Season One of The Crown on Netflix (capsule review: beautifully staged, solidly acted, flows slightly more rapidly than molasses in January). In light of this, it’s an opportune time to check out this royalty-themed Common Elements commission by Scott McDaniel.

greenarrow_wonderwoman_brainwavejr_mcdaniel

Clockwise from top center, we have Green Arrow (a.k.a. Oliver QUEEN), Wonder Woman (a.k.a. Diana PRINCE), and Infinity Inc.’s Brainwave Jr. (a.k.a. Henry KING, Jr.). If you look closely, you’ll notice that the background morphs from character to character — they’re all in the same scene, but also each in his or her own unique world. I’ll let the talented Mr. McDaniel explain in his own words what he had in mind:

“My thought was simply to feature the heroes doing what they do best, as a team springing into action. The concept: the background would be an amalgamation of each character’s natural environment. For Green Arrow, an urban setting. For Wonder Woman, an Amazon forest. For Brainwave Jr., a high-tech, science fiction laboratory. And since I felt the urban skyline would best visually capture Ollie’s world, I positioned him at the top. Given the POV with its slight angle counter-clockwise, I felt that Henry’s slick tech walls would transform into Ollie’s brick buildings best if he was positioned on the left, leaving Diana to occupy the right. I think it works pretty well!”

And I wouldn’t disagree with that even a tiny bit.

Scott McDaniel has enjoyed a long and distinguished career in comics. Although he first made his mark as penciler on Marvel’s Daredevil in the early 1990s, Scott’s probably best known for his work on several series in DC’s Bat-family of titles, including Nightwing, Robin, and the Batman book itself. I was especially fond of his 2006-07 run on Green Arrow — my favorite male DC hero — which prompted me to invite him to create this GA-starring Common Elements scenario. Scott’s strong linework and propulsive, energetic design sense display themselves powerfully here.

And that’s your Comic Art Friday.

Comic Art Friday: Who’s your Goblin King now?

October 14, 2016

We’re having our first truly grim, gray October day here in the Bay Area, which makes it the perfect time to continue the pre-Halloween theme we began with last week’s Comic Art Friday. Since our post on “Spectres” covered the traditional All Hallows’ Eve trope of ghosts, we’ll turn today to another staple of the season — goblins.

Kobalt and the Green Goblin, pencils by Arvell Malcolm Jones

Even the most casual comics fan will recognize the fellow about to get clobbered in the scrap depicted here. That’s the Green Goblin (a.k.a. Norman Osborn, although several other individuals, most notably Norman’s son Harry, have donned the costume), probably Spider-Man’s best-known foe. The Goblin and the Web-Slinger share a lengthy history, going all the way to the former’s debut appearance in The Amazing Spider-Man #14 (July 1964). Over the years, the Green Goblin has become to Spider-Man what the Joker is to Batman — his most frightening opponent, both because he’s the most mentally unhinged (and thus the least predictable) and because he’s the one who seems to know and understand his superheroic nemesis the most intimately.

The guy wielding the razor-spiked bat, however, is likely less identifiable, even to hardcore comics aficionados. He’s Kobalt, antihero and star of an eponymous series published by Milestone Media (under the auspices of DC Comics) in the mid-1990s. (Ah, the ’90s. A time when everyone in comics had a grimace on his or her face, a huge gun in his or her hand, and lots and lots of pouches on his or her costume.)

Typical of ’90s characters, Kobalt was a vicious, violent tough guy with attitude to burn. He was also a man of mystery — his true name was never revealed during his book’s 16-issue run, although readers did discover that he was of Cuban ancestry. (Milestone made a name for itself by developing an ethnically diverse range of characters. Its most successful creation was the teenage African-American hero Static, who went on to star in the popular animated TV series Static Shock.) Despite his aggressively antisocial personality, Kobalt often shared his adventures with a sidekick/partner, first a woman code-named Clover, then later a Robinesque boy wonder known as Page.

In case you’ve not yet tumbled to the Common Elements connection between Kobalt and the Goblin, it’ll help to know that the word cobalt (as in the chemical element most recognized for its vivid blue color) derives from the German kobold, meaning “goblin” (as veteran Dungeons & Dragons players are well aware).

Don’t feel badly if you missed that. I even had to remind Kobalt’s co-creator and the author of today’s featured artwork, Arvell Jones, where the name came from. (Arvell’s most familiar co-creation is super-detective Misty Knight, currently being brought to life by actress Simone Missick in the Marvel/Netflix series Luke Cage.) Arvell got a kick from revisiting his old friend in this commissioned drawing — it had probably been a couple of decades since he’d last drawn Kobalt. When I proposed this scenario to him at San Francisco Comic-Con 2016, Arvell grinned and said, “You know who’s going to get the best of that fight, now don’t you?”

I wouldn’t have planned it any other way.

And that’s your Comic Art Friday.