Detective Comics

Why “flagship”? Well, there’s the name thing — “DC” comes from, yes, “Detective Comics” — and the fact that it’s the oldest continuously published comic in the US, with a first-issue cover date of March, 1937, over a year before Action #1 (although, of course, the Caped Crusader himself didn’t show up until issue #27, dated March, 1939). Just looking through the covers is a capsule history of comics trends, from the pulp-influenced ’40s (seen here in the menacing Joker-with-guns pose from issue #69) through the toned-down Comics-Code-influenced silly-sf ’50s (check out the “captive planet” cover for issue #256, which looks like it wandered in from an issue of Strange Adventures) to the “New Look”/back-to-detective-basics ’60s, where the transition from the stupid-aliens cover in #326 to the Infantino mystery in #327 sums up the extreme change in style nicely. The ’70s might be the most fondly-remembered decade for many fans; it starts with the January, 1970 issue, the first Detective with a Denny O’Neil/Neal Adams interior story and winds through a few more years of occasional Adams work, the 100-Page Giants from issues #438-445 (many with the Archie Goodwin/Walt Simonson Manhunter serial, plus lots of Silver and Golden-Age reprints, and lead stories by Adams and, in the pictured #442, Alex Toth), and, from issues #471-476, the Steve Englehart/Marshall Rogers run that some of us would argue is the post-’40s Detective high point. Not only that, but issues #481-495 mark the transition from 1979 to 1980 with a 64-pg. $1 format that sees lead stories featuring Batman, plus Robin/Batgirl stories, plus other, rotating back-ups starring characters like Commissioner Gordon and Steve Ditko’s Odd Man.

None of these are sitting on the discount racks, of course, but many issues from the ’50s up are now restocked and available on the main floor, with the more key issues (like this, this, this and this) also on display. The bulk of the bargains start after issue #500, in the early ’80s, and for 99 cents each there’s a lot of cool Bat-reading; for one thing, at this point Gene Colan comes over from Marvel, fresh from his work on Tomb of Dracula, and settles in for a long Detective run — issues #510, 512, 517 (part of a great Batman-vs.-vampires crossover with Batman), 523, and most of #s 528-567 — although issues #547-552 have art by Pat Broderick instead, which is a considerable step below Gentleman Gene (to make up for it, #549-550 have an Alan Moore-scripted Green Arrow back-up story with art by Klaus Janson). Most of the non-Colan issues from #500-526 have art from Phoenix’s own Don Newton, so they’re worth checking out, too — especially #526, an anniversary issue (Batman’s 500th appearance in Detective, with a 56-page story by Newton). Writer Doug Moench starts on the title with the next issue, #527, and he and Colan provide a well-regarded couple of years on the book, involving the early Jason-Todd-as-Robin issues, love interests Nocturna and Catwoman (who practically becomes a co-star for awhile), a reinvigorated Catman as antagonist, Harvey Bullock as comic relief, and a tight continuity with the Batman comic, as stories frequently cross over, requiring readesr to follow both books. Moench’s last issue is #566, while Colan’s last issue, #567, boasts his art over a script by Harlan Ellison; after that, Mike Barr and Alan Davis are the regular team for a while, through #574, after which Todd McFarlane contributes three issues. Barr stays on through issue #581, and then there’s a fallow period, mostly with Alan Grant scripting and Norm Breyfogle drawing, enlivened by a three-parter in issues #598-600 by Batman movie scriptwriter Sam Hamm and art by Denys Cowan (although, truth be told, that story seemed considerably more worthwhile at the time then it does in retrospect).

The early 600s — and the early ’90s — are similarly flat; a John Ostrander three-parter with covers by legendary Batman artist (and Arizona resident) Dick Sprang in issues #622-624 is fun, and Marv Wolfman and Jim Aparo team up for a while in issues #625-628 (over Michael Golden covers). Then, Peter Milliogan comes on board, and the scripts get both stranger and more intriguing; he and Aparo are in #s 629-632, with Tom Mandrake art in #633, and then after some other creative teams Milligan and Aparo are back in issues #638-640 and #643; Aparo also draws #s 641-642 over Alan Grant scripts. After that, Chuck Dixon, who pretty much defines competent-but-generic, is scripter with a number of artists.

The next story of import occurs in #659, and it’s one getting a lot of interest this year: it’s part two of the “Knightfall” serial, which begins in Batman and crisscrosses through the Bat-titles for almost a year, leading to both the (temporary) end of Bruce Wayne as Batman, and the inspiration for this summer’s much-anticipated Batman movie. Jim Balent (of Catwoman and Tarot fame) does the art chores in #660, part four of the crossover, and Dixon continues as writer (with Kelley Jones supplying most of the covers) through the aptly-numbered issue #666, the last issue of Detective before “Knightfall” and and another character takes over the Batman cape….

…but that’s a good place to stop, since those are all the issues that are on the discount racks for now. That leaves 20 years of Detective to go, though, so buy them while you can, create some rack space, and come back in two weeks to see how the Dark Knight fared in the rest of the ’90s and the ’00s.

Dr. Strange

Dr. Stephen Strange is the “other” Marvel mainstay created by Stan Lee and Steve Ditko (after Spider-Man, of course), and first appears as the back-up story in Strange Tales #110, in 1963. He has a typical Stan Lee fairy-tale, there’s-a-lesson-here origin: he’s a world-renowned surgeon, arrogant and uncaring, but then gets in a drunken car wreck that damages his hands, and makes it impossible for him to do surgery any more. Bitter and depressed, he schleps around the globe, eventually ending up at one of those hidden-temple Shangri-La Far East outposts, where he encounters the Ancient One, a magician/guru, and his disciple, Baron Mordo. Strange accidentally discovers that Mordo is really a villain, who’s learning the Ancient One’s arts for evil, and, revealing his buried heroism, risks his life to warn everyone about it and stop Mordo’s plans; Mordo ends up banished, and Strange becomes the Ancient One’s new disciple. All of this is rendered with imagination and grace by Ditko, whose ability to draw weird other dimensions, and make mystical powers like “bolts of bedevilment” seem both realistic and trippy/cool, turns the origin, and the tales that follow it, into ’60s hippy classics. Ditko leaves the book in 1966, with issue #146, but Strange soldiers on — drawn by, among others, Bill Everett, Marie Severin, Dan Adkins and Jim Steranko — and eventually takes over the comic, as Strange Tales becomes Dr. Strange with issue #169, in 1968. In issue #172, he receives his second great artist, Gene Colan, who draws him through the end of the book’s run, with issue #183, in 1969.

Strange is relegated to guest-star status for a while after that, but returns to his own stories in 1972, in the try-out title Marvel Premiere. His first appearance there, in issue #3, is written by Lee and drawn by Barry Windsor-Smith, and is a small masterpiece of mood and cool art (Strange, with his mystical and fantasy elements, has always attracted good artists). Lee only writes the first issue, and Smith only stays around for the next one, #4; there’s some flailing around after that, but in issue #9 the team of Steve Englehart and Frank Brunner takes over, and quickly makes the book a cult favorite, by doing things like killing the Ancient One, and having Dr. Strange travel to the beginning of the universe and meet God; after Marvel Premier #14, in fact, the book proves popular enough to get its own title again, and Dr. Strange #1 appears in June, 1974, still by Englehart and Brunner. That artist leaves after issue #5, but his replacement is Gene Colan, and he and Englehart, during the next year, deliver one of the best sustained Marvel runs of the ’70s: Dr. Strange #s 6-18, among other things, destroy the world and remake it, have Dr. Strange fight Dracula (in a two-parter that crosses over with Colan’s second title, Tomb of Dracula), and send Dr. Strange to Hell. Only a few of these issues are on the discount racks, but they’re surprisingly cheap, and available in the regular back-issue boxes for $5 or less each; if you’ve never read them, you’re missing some wonderful, influential work.

Unfortunately, just when the book is at its peak Englehart gets into a dispute with Marvel’s new editor-in-chief, Gerry Conway, and leaves the company; that leaves the book to try to pick up the pieces, and it goes into musical-creator mode for awhile. Part of the problem is that not all writers are compatible with the Doctor — Marv Wolfman and Chris Clarement, among others, try and mostly fail — but there are some interesting moments: Jim Starlin writing issues #24-26; Roger Stern and Tom Sutton on #s 27-30; Claremont and Colan on #s 38-45 (Claremont doesn’t add much, but the Colan art is worth a look). The next really decent run, though, starts with issue #47, as Roger Stern (who does prove to be a great Doc writer) teams with Colan for that issue, and then with Marshall Rogers from #48-53,  Michael Golden in #55, and Paul Smith in #56. Stern stays on with some lesser artists (although there’s another battle with Dracula in #s 60-62 that banishes all vampires from the Marvel Universe for awhile that’s pretty good), but then Smith returns in issue #65, and he and Stern have a nice little set of stories through issue #73. Both leave at that point, though, and the book only lasts a few more months, ending with issue #81 in February, 1987.

Strange’s third volume begins about a year and a half later, in November, 1988, and is titled Doctor Strange, Sorcerer Supreme; the initial writer is Peter Gillis (who’d been the scripter for the last few issues of the previous series), with art chores by Richard Case (who’d eventually go on to DC Vertigo titles like Doom Patrol); that team only stays for the first four issues, though, and then is replaced by Roy Thomas (with, as co-writer, his wife Dann) and Jackson Guice, an association that proves fruitful enough to last for two years, through issue #24 (although there are a few fill-in artists: Richard Valentino in #17, and Gene Colan in #19). The most notorious issue of this run comes, not from any plot or character development, but from a cover: on issue #15, Guice swiped an image from one of Christian singer Amy Grant’s albums, and Grant, upset at both the theft and the fact that it was used on a “demonic” character’s cover, sued Marvel, who eventually settled out of court. The Thomases stay on after that, but with a series of undistinguished artists (Geof Isherwood being the most long-lived); even the plots become less memorable, because this is a period – the early ’90s — when Marvel is heavily into cosmic crossovers — Infinity Gauntlet, etc. — and Dr. Strange keeps tying into them, sacrificing any individual story for the larger mega-event. Thomas leaves with issue #47, and when scripter Len Kaminski replaces him the descent into mediocrity is complete. There are a couple of glimmers — in issue #60, a big crossover with the other Marvel occult titles like Morbius and Spirits of Vengeance (they’re all part of the group of books that Marvel marketed as the “Midnight Sons”) takes place, and Dr. Strange gets broken into three different beings; this story, by David Quinn and Melvin Rubi (at first), starts promisingly but then lasts through what seems forever, and sends Strange through so many makeovers and changes that the reader gets exhausted trying to keep it all straight. Points of note are issues #70-73, with art by Peter Gross; #75, by Mark Buckingham; #76, introducing a long-haired version of Strange by Gross that looks eerily like the older Tim from his Books of Magic series at DC Vertigo; #s 78 and 79, by Marie Severin; #80, featuring another new look for the character, this one written by Warren Ellis and drawn by Buckingham; #82, half by Buckingham and half by Gary Frank; and #s 84-90, drawn by Buckingham and with a story by J.M. DeMatteis — and that ends the series, in January 1996, and is the last time that Dr. Strange has had his own ongoing title.

That’s not to say that the character hasn’t been around, of course. There’ve been the occasional mini-series (J. Michael Straczynski and Brandon Peterson did the six-issue origin reboot Strange in 2004, while Mark Waid and Emma Rios contributed the four-issue Strange in 2010), and the Doctor has been a member of the Avengers (well, the New Avengers) during most of Brian Michael Bendis’s tenure on that book, as well as appearing in the current revival of The Defenders. Will audiences ever warm to him again? Sure: if comics history has proven anything, it’s that, with the right writer and the right artist, any character can rise from the comics graveyard. Given his past, the Master of the Mystic Arts is a better candidate than most.

Mr. Ortiz is currently the lead pencil animator for the majority of Simpsons Comics from Bongo Comics and has worked for Bongo since 1993.

He has done character art and concept illustrations for the Disney Store and Hanna Barbera and worked for Disney Publishing.

Mr. Ortiz is a cartoon originator and 5 time Emmy winner and we are honored to have him at All About Books and Comics. He will sign autographs (we’ll have plenty of Simpsons Comics on hand) and do personalized Simpsons sketches for $25.00.

Phil Ortiz designed many Simpsons characters for Creator Matt Groening. Here are a couple of samples of individual sketches of people who have been Simpsonized!

Don’t miss this opportunity! Bring your family and friends Sat. Jan. 21!

Doom Patrol

The original version of DC’s “World’s Strangest Heroes” ran from 1964 to 1968, and featured three characters who were outcasts: race-car driver Cliff Steele, whose body was destroyed in a wreck but whose brain was transferred into a metal body, making him Robotman; Rita Farr, whose stretching powers made her Elasti-Girl; and Larry Trainor, whose radioactive body required that he be wrapped in bandages for the protection  of others, but who had the ability to project a flying, negative-image “energy being” out of his body (but only for a few minutes at a time; otherwise, he’s die). The three were led by the wheelchair-bound Niles Caulder, a brilliant scientist who took the bitter misfits and molded them into a superhero team. In one of those weird coincidences in comics history, the book first appeared about three months before X-Men #1, which also featured outcasts led by a brilliant guy in a wheelchair. The Doom Patrol was cancelled in 1968, in what was then, for comics, an unusual way: the team died in the last issue, blown up by bad guys.

The next incarnation of the series (and the first one that matters to us, since they’re the first ones we have discount issues of) appeared in 1987. It was revealed that only Robotman had survived the explosion (although, comics being comics, over the years the other three characters have all turned up, too), and he was paired with new characters Tempest (who could project energy blasts from his hands, one of those visual-but-generic powers that comics creators love), Negative Woman (a Russian astronaut who’d encountered the negative energy being that had been in Larry Trainor, and absorbed it), Celsius (heat and cold blasts, plus she was the wife of the presumed-dead Niles Caulder, and the reason the new team got together), Lodestone (magnetically-enhanced strength), Karma (psychic defensive powers) and Scott Fischer (heat projection from his hands). This team hung around for the first 18 issues of Doom Patrol volume 2, written by Paul Kupperberg and drawn, first, by Steve Lightle and later by a young Erik Larson. The episodes are mostly generic mid-’80s superhero storytelling, and largely forgettable (at least, I forgot most of them; I read the issues when they came out, but needed Wikipedia and a quick flip-through of the comics to recall any of it).

However, with issue #19, in 1988, things suddenly became more memorable: new writer Grant Morrison took over, accompanied by artist Richard Case, and they immediately supercharged the book. Morrison got rid of all the characters except for Cliff (Tempest stuck around as the team doctor, the Negative Being left its host and ended up being Larry Trainor again (sort of — don’t ask), and Lodestone was in a coma; everyone else was either dead or wandered off, never to return), and added two others: Dorothy, a simian-featured little girl with “imaginary friends” whom she could control, and Kay Challis, called “Crazy Jane,” a traumatized woman with 64 multiple personalities, each with a different superpower.

Comics fans are used to the Morrison brand of weirdness now, but 23 years ago it was brand-new, and a revelation after the standard antics of the previous team: there were the Scissormen, who could cut people out of reality; Red Jack, who tortured butterflies to survive and thought he claimed to be the reincarnation of Jack the Ripper; the Brotherhood of Dada, who were led by Mister Nobody, featured The Quiz, who had “every superpower you haven’t thought of yet,” and had a magical painting that led to dimensions based on types of artistic criticism — and that was all in the first year! That year ended with one of the best single issues of the series — Doom Patrol #30, wherein Cliff travels into the mind of Crazy Jane, who’s catatonic, and meets most of her personalities, while discovering what fractured her personality in the first place. It’s a haunting tale, told cleverly and subtly, and with images — Jane’s mind as a subway station and her personalities as different stops; Cliff, told that “no man” can enter a particular stop, standing and spreading his robotic hands and saying “Look at me. I’m not a man” — that linger long after the reader is through with the book.

Morrison stayed on the book through issue #63, mostly accompanied by Case (with a few exceptions — Kelley Jones in #36, for example, and Mike Dringenberg in #42, cover-featuring “Flex Mentallo,” a character based on the strongman in the old Charles Atlas ads that ended up getting DC sued by Atlas himself); special mention should also be made of the painted covers, often by Simon Bisely, starting with issue #26, which gave the book a distinctive identity on the comics racks. Almost every issue’s worth reading — and completists shouldn’t miss 1992′s Doom Force Special, a one-shot by Morrison and a number of artists that’s a satiric, vicious takedown of Image comics in general, and Rob Liefeld in particular — all the way up to the last book of the Morrison era, #63, wherein Crazy Jane is trapped in “our” world, institutionalized and subjected to electroshock therapy, leading to a poignant, perfect ending, half-optimistic and half-despairing (depending on whether you’re Jane or the reader).

Morrison’s departure wasn’t the end of Doom Patrol, though — writer Rachel Pollack took over with issue #64, and managed to keep the weirdeness percolating nicely, if not quite with the spice supplied by Morrison. Case stayed as artist for four issues, replaced by some interesting choices thereafter: Linda Medley (of Castle Waiting) in issues #68-74, and Ted McKeever in #s 75-79, 81, 82 and 84-87 (with the Pander Brothers in #80), which represented the end of the run.

The next version of Doom Patrol came along in 2001; as with the previous version, its only connection with the others was Cliff Steele. The writer was John Arcudi (known for Dark Horse series like The Mask and a number of Mike Mignola-related titles), while the artist was Tan Eng Huat, who brought a quirky, cartoony style that meshed well with Arcudi’s tongue-in-cheek, arch scripts (in this incarnation, Cliff was the mentor to a group of teen and twenty-something outcasts who bicker and bond like an MTV Real Worlds season). Arcudi and Huat stayed for all 22 issues of this volume, with two notable exceptions: #s 13 and 14 are by Seth Fisher (the idiosynchratic artist known for his obsessively-detailed, oddly-appealing manga-esque style (Fantastic Four: Big in Japan; Flash: Time Flies and Vertigo Pop: Tokyo), who died at the age of 33 in 2006 after falling from the rooftop of a nightclub in Tokyo), and issues # 20 and 21 are by Rick Geary, known mostly for his small-press titles focusing on true-life murder stories and on Victorian life.

Volume four of Doom Patrol followed very quickly, in 2004, and was a John Byrne production. It started strongly (it was led into by a vastly-hyped, six-part JLA crossover by Byrne and Chris Claremont), but was a reboot, erasing all the previous history of the team and starting over with the original cast of Robotman, Negative Man and Elasti-Girl. It had the typical Byrne advantages of clean, lively art and plotting, but quickly gradually lost both steam and sales, ending after 18 issues.

The most recent comic called Doom Patrol, volume five, started in 2009 and ended last July, after 22 issues; it had scripts by Keith Giffen and featured the three original members, although there were callbacks to previous versions of the team too — issues 3 and 4 are Blackest Night tie-ins, and feature the dead, Black Lantern-animated characters of Celsius, Negative Woman and Tempest, while issue #5 has the Negative Spirit reflecting on its previous host bodies, and has cameos from practically everyone who was ever in a Doom Patrol comic. Matthew Clark and Ron Randall supply most of the art for the run, although Giffen himself draws #16. Issue #19 has the second installment of a crossover with the Secret Six comic, and the final issue, #22, has a typically-Giffenesque ending, as Ambush Bug appears, to whisper to the bad guys that the book has been cancelled, pending the DC Flashpoint reboot; that said, everybody strikes the set and walks away, leaving the heroes to wonder what’s going to happen next. That’s where they are today — is there a place in the new DCU for the World’s Strangest Heroes, especially considering that their history is, again, set back to square one, and that they’ve had three failed relaunches in the last ten years? Only time, and reader interest, will tell….