Peerless Power of Comics!

As promised, here are two more rejected covers worth examining:   Unpublished cover to Daredevil # 43 by Gene Colan   Published cover by Jack Kirby and Joe Sinnott In this case Stan called on Jack Kirby to redo Gene Colan's cover. While Gene's version spotlights both heroes equally, Jack's cover puts Cap in the foreground, perhaps because he was the better selling character and would potentially raise sales. I prefer Gene's cover. There is a sense of fluidity in Gene's figures, with DD having the upper hand, striking Cap. In a nice touch, Daredevil has taken possesion of  Cap's shield. On Jack's cover the two heroes are about to face off, but Cap's figure is awkwardly positioned, with Daredevil drawn more attractively. Jack's cover is certainly dramatic, but Gene's is more balanced and lively, although I'm sure some of you will disagree with me (and I'd love to hear your thoughts). Next up, two John Buscema covers: Rej

Since this Blog IS called Marvel Mysteries and Comics Minutiae, I thought it would be a good idea to probe into an area of particular interest to me, and hopefully of interest to a few of you as well. I've always been interested in the process of comics; growing up I was fascinated when my brother John bought a reprint comic such as Marvel Tales or Marvel Collector's Item Classics. When  he also had the original publication around, I would compare the two side by side, often noticing new coloring on the reprints. Occasionally there were alterations in art; editing of footnotes and new copy at the end of the stories. Reprinted covers were ofter recolored, figures sometimes repositioned and copy added or changed (and one day soon I'll do a post on reprint covers that used the original stats before they were changed for publication). But this post will focus on rejected covers, showcasing a few comparisons with my observations. To get a better understanding on what the crite

 I'll always associate Wally Wood with artistic titans Jack Kirby and Steve Ditko. All three worked for Marvel in the magical year 1965; all three were highly distinctive and totally involved in their visions. Wood’s work at Marvel was minimal, seven issues of Daredevil and assorted inking jobs, yet he left an indelible impression on my mind. His art had a brilliant gloss to it, a fairy tale quality that drew you in. His figures were heroic, his women curvaceous (despite restrictions by the Comics Code, Wood's Karen Page exuded sexuality); his machinery detailed and shiny.    My earliest Wood memory. Daredevil # 9, Aug 1965   Wood was always around in the 1960s and 1970s, although you’d never know where his art would pop up. After he quit Marvel, Wood was the prime player at Tower comics, writing stories, drawing, inking and providing layouts for other artists. His covers for Dynamo, Thunder Agents, Noman and Undersea Agents were striking in their simplicit

Over at Timely-Atlas Yahoo Groups there has been an ongoing discussion on whether Stan Lee was aware of his competition at DC, how closely he copied their characters and how it affected Marvel's line-up. Of course Stan was aware of the competition, as was Publisher Martin Goodman, but no matter how influenced they were, in the final analysis it is the differences - not the similarities - that made Marvel stand out.    Marvel in the 1960's was completely different from DC (and their other competitors) in so many ways. Their covers used darker tones; more grays, purples and gradations, courtesy of colorist Stan Goldberg. Stan Lee's cover copy was flamboyant and melodramatic, but he added self-referential touches and humor that connected with his audiences ("If you don't like this comic, you might enjoy Millie the Model").   Journey into Mystery # 106, July 1964.  Jack  Kirby pencils, Chis Stone inks, Sam Rosen letters and Stan Goldberg coloring. Lee's playfu