MattBrady
03-14-2007, 08:12 AM
<img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/21_LRG.jpg" align="right"><i>From BACK ISSUE #21, on sale March 15th from TwoMorrows Publishing:</i>
<i><b>Seeing Red: Dissecting Daredevil’s Redefining Years</b>
by Philippe Cordier</i>
<b>Daredevil is not a bestselling book!</b> The title is not in the same commercial league as X-Men.
But there is something about Marvel’s Man without Fear … something that attracts artists and, when done well, readers as well.
There is also something unfair about Daredevil (DD)—such wonderful creators were on the book, yet a lot of them are unsung heroes.
Talk about DD with fellow comics fans and the names you’ll hear are Gene Colan and Frank Miller (along with some discussion of Stan Lee, Bill Everett, and Wally Wood) among the “older” readers, while almost every “modern” fan will jump to the Kevin Smith/Joe Quesada, Brian Michael Bendis/Alex Maleev, or Ed Brubaker/Michael Lark eras. That’s a shame, because a lot of other good artists worked on the character.
In this article, I’ll focus on two kinds of creators:
The first person we’ll look at is not an unsung creator—far from it, because we’re talking about Frank Miller. As great as the man was/is, his DD should also be remembered because of the artists he worked with on the title: Klaus Janson, David Mazzucchelli, and John Romita, Jr. (we’ll leave Bill Sienkiewicz for what could be a future BI issue).
The second thing we’ll take a look at is a run that is not famous enough: Daredevil by Ann Nocenti, John Romita, Jr., and Al Williamson. This rather long and very good run is often forgotten because it was kind of a “strange” book, thanks to Nocenti’s twisted imagination.
And now, ladies and gentlemen, let’s give the devil his due…
<a href="http://www.newsarama.com/twomorrows/backissue/21/file003.jpg" target="_blank"><img src="http://www.newsarama.com/twomorrows/backissue/21/file003_t.jpg" border="0" align="left"></a><b>THE BEST THERE IS AT WHAT HE DOES (#158–172)</b>
Frank Miller makes no mystery of the fact that he always loved crime comics. DD was as close as he could get to this genre, considering that crime comics weren’t the flavor of the month at the time (and still are not). When Miller got his start in the late 1970s, almost all you could do if you were a young cartoonist was draw super-heroes. Daredevil’s costume is plain enough to have allowed Miller to stay away from the all-too-colorful world of super-heroes that he didn’t want to do in those days.
One of Frank Miller’s strength was and still is <i>storytelling</i>: His layouts are a joy to behold. Those skills didn’t come out of nowhere: There are strong influences by Will Eisner in the way the city (a character of its own) is portrayed in Miller’s DD, with long panels and layouts trying to slow down the reader’s eye, or multiple little panels making the reader fly across the page.
Miller also paid a big tribute to the late Gil Kane in figure drawing, anatomy, and panel layouts that were clearly inspired by this artist. Miller added his sense of dialogue as soon as he could do the writing himself, very early on the run. [<i>Editor’s note: Miller started as penciler with <b>Daredevil #158</b> (May 1979), working with writer Roger McKenzie, then assumed the writing chores with issue #168 (Jan. 1981).</i>]
Miller is a consummate storyteller: Once a reader started his DD, he couldn’t to stay away from it. Adventure, drama, strong and beautiful women, a sharp sense of humor, cliffhangers … and most of all, mood—mood all over the page! This grim-and-gritty feeling (way before it was cool to be grim and gritty) was this run’s forte, but it might not have been possible if Miller had worked alone—at least half of what made Miller’s pages so great came from someone else, someone who started as an inker (and a finisher), then became the sole artist of the book:
Klaus Janson. <b>IN THE SHADOWS (#173–190)</b>
Covering Klaus Janson’s career is an impossible task for just one article. It would take a whole issue of <i>Back Issue</i> (maybe someday?).
Beginning with issue #158, when young Miller came on board as DD’s penciler, Janson was already inking the book. He had worked over pencilers Carmine Infantino, Gene Colan, and Gil Kane for a good deal of issues. He was there to make sure that the pages still looked good and consistent under the new cartoonist’s run. And boy, was it good! Miller really glowed when he took over the writing gig. He was then drawing very tight pencils, but trusted Janson to add texture to the pencil art.
After some time it was obvious that Janson was able to do much more than ink over the pencils, so Miller gave him looser drawings, beginning with issue #173 (Aug. 1981). Until this issue, Miller had spotted blacks. After that, it was the inker’s job. [<i>Editor’s note: “Spotting blacks” is indicating where inked blacks should or should not go.</i>] This allowed Frank Miller the penciler (who, at that time, was still drawing on the actual artboards) to focus on the writing and storytelling—not to mention that it was two issues after the book went monthly, so production time was also a factor.
Janson embellished Miller’s great finished layouts with every tool he could find: brushes, pens, markers, zip-a-tone, duo-shade paper, and clothes (for inked effects). He even inked parts of panels with a stick! Every tool that made the pages “work” was a good one. This gave readers pages saturated with atmosphere. Paper and colors played a very important part on the end result.
Here is what Klaus Janson has to say when asked about this subject:
“The duo-shade paper was only used for special occasions. It is a paper that is a bit thicker than the usual board and has texture embedded into it that cannot be seen unless you apply a chemical to it. I used it occasionally—as examples, once for a Daredevil poster that Frank and I did, and another time for the cover of <b>Daredevil #181</b> (and some other times, I’m sure, but I can’t remember all of them. There is a shot of Kingpin in one of the pages [issue #190, page 33] where he’s in his limo and I think I used duo-shade paper in that panel).
“I used a lot of duo-shade in DD #177, for instance. All the flashbacks were duo-shade, as was the sequence where Elektra is climbing up the mountainside in DD #190. But the premise was that the duo-shade had different textures in it that would be revealed when the artist applied a chemical to it. Some duo-shade paper was just lines (like the cover to DD #181), other types had other types of texture (like stipple, which looks grainy). I like the line duo-shade the best. You could get two different densities out of one paper: One was a line going one way, and the other was a darker version, which meant the lines were crossing each other, if you know what I mean. I just used it to give some depth and texture to certain images.
<center><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file002.jpg" border="0"></p>
<p><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file004.jpg" border="0"></center>
“I was very much interested (still am) in what light does, and would often use my interest in light as a way of organizing the image. If you look at the DD work, the color, the use of zip-a-tone and duo-shade, was all about creating mood, clearing up the storytelling, and experimenting with light. And I don’t want to minimize another reason: which is that it looked just very, very cool. A lot of books at that time were still basically four-color with no attempt to go beyond that, and I was very influenced by Neal Adams and Jim Steranko and what they were able to do beyond the basic four-color (red, blue, yellow, and black) limitations of the printing process.”
Zip-a-tone can be used for great effects, too. Let’s read what Klaus Janson has to say about the way he used it on page 13 of <b>Daredevil #187</b>:
“The page where DD is crossing the street in the issue where his senses go out of whack—I think his hearing is uncontrollable. Well, in that panel on the top of the page, he starts to walk across the street and there are cars and trucks behind him. I placed a layer of zip-a-tone over the entire background to get a very specific effect. And that was inspired by (and I remember this very clearly) a play that I had just seen where the curtain was down but light was projected from behind it so you could see through the curtain a bit. The light made it transparent. And when the light was off, the curtain seemed solid again. And although I don’t remember [the details of the] the play, that effect stayed with me to this day. And I wanted to duplicate that effect in that panel and make it seem like DD is set apart from his environment (by his senses going crazy), emphasizing his alienation and troubles and also doing a very cool effect.
<center><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file001.jpg" border="0"></center>
“Pencilers, inkers, and colorists need to have ideas that they pursue—that’s the most important part of the art, I think, the pursuit of an idea. That’s why when the Daredevil series was reprinted a few years back in a trade paperback, the coloring didn’t need to be ‘updated’ or changed. It looked contemporary already. Which I was pretty damn proud of. Ahead of our time and all that. I always thought that when I started to color the series [beginning with #179, ‘Spiked’], that was when the best work of the series occurred. Both Frank and I were really on fire at the same time, and the book benefited from having a united, organized vision.”
By the end of his run, Frank Miller was doing simple layouts on small sheets of papers, a process he began with issue #185. Klaus Janson was drawing, inking, and coloring the book.
You can’t find this kind of art team today. Every modern-day penciler has to draw so tight that the inker has to fight if he wants to do more than just trace over the line. If you gave a page laid out by the late, great John Buscema to a “modern” inker, it would be fun to see the way he’d look at you. Same thing with Miller’s layouts: As far as storytelling is concerned everything is there on the page; but you won’t find details, figures are not always fully rendered, and the inker has to spot blacks! This type of collaboration is a win-all or lose-all situation: A bad teaming choice and it’s a nightmare, because the inker won’t know how to treat the pencils (Big John Buscema had more than his share of bad inkers); but when the penciler and the inker are “mind reading,” you’ve got the best of both of them.
That’s what happened with Miller and Janson on DD. Toward the end of the run there was no way anyone could see where Miller’s job ended and where Janson’s begun. Now, thanks to BI, you can see it:
Let’s take another look at issue #190, page 33 (the one Klaus told us about when he spoke about duo-shade paper). Janson changed so much in those panels: The Kingpin is not the same anymore in panels 3 and 4 (pen and ink), and the same thing goes for DD in panels 2 and 6. Background is added in panel 1, not to mention the car in panel 5. Miller didn’t draw what he knew Klaus would take care of. There were almost no shadows or black-spotting on the layout, yet the finished page is full of moody blacks. Note that Janson kept the storytelling as good as it was in the rough.
<center><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file000.jpg" border="0">
<p><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/DD.jpg" border="0"></center>
Now, look closely at page 15 of DD #190: a splash page. No storytelling there, just a well-thought-out action shot. Beautiful design and interesting drawing, but one can’t finish this if one can’t draw. Klaus kept the design, then added a little drawing, shadows, blacks, and textures. You still can find some kind of Miller’s drawing in the final page, but it is clear that the page is a Miller/Janson piece of art. Miller’s trust of Janson’s work was so real that Klaus was allowed to change whole faces as long as he stayed faithful to Miller’s idea.
<b>Daredevil #190</b>, page 1 (above) illustrates that point: In the third panel Frank Miller drew a kind of generic face. He may as well have told the inker, “I want a closeup face staring at us.” Klaus Janson drew the same pose as Miller did, but the face isn’t the same at all, since Janson used photo reference on the face. That kind of alteration might very well drive today’s editors to scoff, “Photo ref for an inker?! Are you <i>kiddin’</i>?! That only works for the penciler! An <i>inker</i> can’t add more than line weight!”
But it <i>can</i> be done! With an amazing end result!
Klaus Janson reflects on this process:
“When I look back at certain pages, I feel there were definitely some panels where I went too far from the pencils. Some of that was due to my desire to follow my vision, some of it was a result of trying to keep characters and the book looking consistent through a series of artistic changes, and some of it was due to my shortcomings as an artist.
“If I were handed the same pages today, I would try to keep a bit more the roughness in the pencils rather than ‘smoothing’ them out. There was an abstract quality to the pencils that appeals to me more now than it did then. I’ve always maintained that I can be faithful to a pencil job and do an ‘overhaul’ when necessary.
“All in all, though, I thought Frank and I raised the level of the series and had a great time doing it.”
Miller did a wonderful job on DD, but this run was as much Klaus’ as it was Frank’s (even more Klaus’ than Frank’s toward the end). Would Miller have been successful after DD if he hadn’t worked with Janson? There is almost no doubt that he would have, but one thing is for sure—the two of them grew as artists during this run. And readers had a great character drawn by two great artists!
<i>The DD dissection continues in BACK ISSUE #21, including its up-close-and-personal looks at the Daredevil work of DAVID MAZZUCCHELLI, ANN NOCENTI, and JOHN ROMITA, JR. It’s our “The Devil You Say!” issue, is sure to set your soul on fire! Behind its awe-inspiring Daredevil cover by MIKE ZECK is an in-depth look at the Man without Fear’s 1980s and early 1990s adventures. MIKE MIGNOLA recalls the roots of Hellboy in an exclusive interview, DAN MISHKIN and GARY COHN go “Pro2Pro” on their co-creation of Shadowpact’s Blue Devil, and “Greatest Stories Never Told” examines COLLEEN DORAN’s unpublished X-Men spin-off Fallen Angels. Plus sizzling spotlights on the Son of Satan, TY TEMPLETON’s Stig’s Inferno, the hellish humor of DC’s Plop!, and one of JACK KIRBY’s most bizarre comics, Devil Dinosaur! Edited by MICHAEL EURY. 100 pages, $6.95.
Order at your local comics shop, or online at here (http://twomorrows.com/index.php?main_page=product_info&products_id=415)
Single issues: $9 US Postpaid Or Subscribe: 6-issue subs for $36 US </i>
<i><b>Seeing Red: Dissecting Daredevil’s Redefining Years</b>
by Philippe Cordier</i>
<b>Daredevil is not a bestselling book!</b> The title is not in the same commercial league as X-Men.
But there is something about Marvel’s Man without Fear … something that attracts artists and, when done well, readers as well.
There is also something unfair about Daredevil (DD)—such wonderful creators were on the book, yet a lot of them are unsung heroes.
Talk about DD with fellow comics fans and the names you’ll hear are Gene Colan and Frank Miller (along with some discussion of Stan Lee, Bill Everett, and Wally Wood) among the “older” readers, while almost every “modern” fan will jump to the Kevin Smith/Joe Quesada, Brian Michael Bendis/Alex Maleev, or Ed Brubaker/Michael Lark eras. That’s a shame, because a lot of other good artists worked on the character.
In this article, I’ll focus on two kinds of creators:
The first person we’ll look at is not an unsung creator—far from it, because we’re talking about Frank Miller. As great as the man was/is, his DD should also be remembered because of the artists he worked with on the title: Klaus Janson, David Mazzucchelli, and John Romita, Jr. (we’ll leave Bill Sienkiewicz for what could be a future BI issue).
The second thing we’ll take a look at is a run that is not famous enough: Daredevil by Ann Nocenti, John Romita, Jr., and Al Williamson. This rather long and very good run is often forgotten because it was kind of a “strange” book, thanks to Nocenti’s twisted imagination.
And now, ladies and gentlemen, let’s give the devil his due…
<a href="http://www.newsarama.com/twomorrows/backissue/21/file003.jpg" target="_blank"><img src="http://www.newsarama.com/twomorrows/backissue/21/file003_t.jpg" border="0" align="left"></a><b>THE BEST THERE IS AT WHAT HE DOES (#158–172)</b>
Frank Miller makes no mystery of the fact that he always loved crime comics. DD was as close as he could get to this genre, considering that crime comics weren’t the flavor of the month at the time (and still are not). When Miller got his start in the late 1970s, almost all you could do if you were a young cartoonist was draw super-heroes. Daredevil’s costume is plain enough to have allowed Miller to stay away from the all-too-colorful world of super-heroes that he didn’t want to do in those days.
One of Frank Miller’s strength was and still is <i>storytelling</i>: His layouts are a joy to behold. Those skills didn’t come out of nowhere: There are strong influences by Will Eisner in the way the city (a character of its own) is portrayed in Miller’s DD, with long panels and layouts trying to slow down the reader’s eye, or multiple little panels making the reader fly across the page.
Miller also paid a big tribute to the late Gil Kane in figure drawing, anatomy, and panel layouts that were clearly inspired by this artist. Miller added his sense of dialogue as soon as he could do the writing himself, very early on the run. [<i>Editor’s note: Miller started as penciler with <b>Daredevil #158</b> (May 1979), working with writer Roger McKenzie, then assumed the writing chores with issue #168 (Jan. 1981).</i>]
Miller is a consummate storyteller: Once a reader started his DD, he couldn’t to stay away from it. Adventure, drama, strong and beautiful women, a sharp sense of humor, cliffhangers … and most of all, mood—mood all over the page! This grim-and-gritty feeling (way before it was cool to be grim and gritty) was this run’s forte, but it might not have been possible if Miller had worked alone—at least half of what made Miller’s pages so great came from someone else, someone who started as an inker (and a finisher), then became the sole artist of the book:
Klaus Janson. <b>IN THE SHADOWS (#173–190)</b>
Covering Klaus Janson’s career is an impossible task for just one article. It would take a whole issue of <i>Back Issue</i> (maybe someday?).
Beginning with issue #158, when young Miller came on board as DD’s penciler, Janson was already inking the book. He had worked over pencilers Carmine Infantino, Gene Colan, and Gil Kane for a good deal of issues. He was there to make sure that the pages still looked good and consistent under the new cartoonist’s run. And boy, was it good! Miller really glowed when he took over the writing gig. He was then drawing very tight pencils, but trusted Janson to add texture to the pencil art.
After some time it was obvious that Janson was able to do much more than ink over the pencils, so Miller gave him looser drawings, beginning with issue #173 (Aug. 1981). Until this issue, Miller had spotted blacks. After that, it was the inker’s job. [<i>Editor’s note: “Spotting blacks” is indicating where inked blacks should or should not go.</i>] This allowed Frank Miller the penciler (who, at that time, was still drawing on the actual artboards) to focus on the writing and storytelling—not to mention that it was two issues after the book went monthly, so production time was also a factor.
Janson embellished Miller’s great finished layouts with every tool he could find: brushes, pens, markers, zip-a-tone, duo-shade paper, and clothes (for inked effects). He even inked parts of panels with a stick! Every tool that made the pages “work” was a good one. This gave readers pages saturated with atmosphere. Paper and colors played a very important part on the end result.
Here is what Klaus Janson has to say when asked about this subject:
“The duo-shade paper was only used for special occasions. It is a paper that is a bit thicker than the usual board and has texture embedded into it that cannot be seen unless you apply a chemical to it. I used it occasionally—as examples, once for a Daredevil poster that Frank and I did, and another time for the cover of <b>Daredevil #181</b> (and some other times, I’m sure, but I can’t remember all of them. There is a shot of Kingpin in one of the pages [issue #190, page 33] where he’s in his limo and I think I used duo-shade paper in that panel).
“I used a lot of duo-shade in DD #177, for instance. All the flashbacks were duo-shade, as was the sequence where Elektra is climbing up the mountainside in DD #190. But the premise was that the duo-shade had different textures in it that would be revealed when the artist applied a chemical to it. Some duo-shade paper was just lines (like the cover to DD #181), other types had other types of texture (like stipple, which looks grainy). I like the line duo-shade the best. You could get two different densities out of one paper: One was a line going one way, and the other was a darker version, which meant the lines were crossing each other, if you know what I mean. I just used it to give some depth and texture to certain images.
<center><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file002.jpg" border="0"></p>
<p><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file004.jpg" border="0"></center>
“I was very much interested (still am) in what light does, and would often use my interest in light as a way of organizing the image. If you look at the DD work, the color, the use of zip-a-tone and duo-shade, was all about creating mood, clearing up the storytelling, and experimenting with light. And I don’t want to minimize another reason: which is that it looked just very, very cool. A lot of books at that time were still basically four-color with no attempt to go beyond that, and I was very influenced by Neal Adams and Jim Steranko and what they were able to do beyond the basic four-color (red, blue, yellow, and black) limitations of the printing process.”
Zip-a-tone can be used for great effects, too. Let’s read what Klaus Janson has to say about the way he used it on page 13 of <b>Daredevil #187</b>:
“The page where DD is crossing the street in the issue where his senses go out of whack—I think his hearing is uncontrollable. Well, in that panel on the top of the page, he starts to walk across the street and there are cars and trucks behind him. I placed a layer of zip-a-tone over the entire background to get a very specific effect. And that was inspired by (and I remember this very clearly) a play that I had just seen where the curtain was down but light was projected from behind it so you could see through the curtain a bit. The light made it transparent. And when the light was off, the curtain seemed solid again. And although I don’t remember [the details of the] the play, that effect stayed with me to this day. And I wanted to duplicate that effect in that panel and make it seem like DD is set apart from his environment (by his senses going crazy), emphasizing his alienation and troubles and also doing a very cool effect.
<center><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file001.jpg" border="0"></center>
“Pencilers, inkers, and colorists need to have ideas that they pursue—that’s the most important part of the art, I think, the pursuit of an idea. That’s why when the Daredevil series was reprinted a few years back in a trade paperback, the coloring didn’t need to be ‘updated’ or changed. It looked contemporary already. Which I was pretty damn proud of. Ahead of our time and all that. I always thought that when I started to color the series [beginning with #179, ‘Spiked’], that was when the best work of the series occurred. Both Frank and I were really on fire at the same time, and the book benefited from having a united, organized vision.”
By the end of his run, Frank Miller was doing simple layouts on small sheets of papers, a process he began with issue #185. Klaus Janson was drawing, inking, and coloring the book.
You can’t find this kind of art team today. Every modern-day penciler has to draw so tight that the inker has to fight if he wants to do more than just trace over the line. If you gave a page laid out by the late, great John Buscema to a “modern” inker, it would be fun to see the way he’d look at you. Same thing with Miller’s layouts: As far as storytelling is concerned everything is there on the page; but you won’t find details, figures are not always fully rendered, and the inker has to spot blacks! This type of collaboration is a win-all or lose-all situation: A bad teaming choice and it’s a nightmare, because the inker won’t know how to treat the pencils (Big John Buscema had more than his share of bad inkers); but when the penciler and the inker are “mind reading,” you’ve got the best of both of them.
That’s what happened with Miller and Janson on DD. Toward the end of the run there was no way anyone could see where Miller’s job ended and where Janson’s begun. Now, thanks to BI, you can see it:
Let’s take another look at issue #190, page 33 (the one Klaus told us about when he spoke about duo-shade paper). Janson changed so much in those panels: The Kingpin is not the same anymore in panels 3 and 4 (pen and ink), and the same thing goes for DD in panels 2 and 6. Background is added in panel 1, not to mention the car in panel 5. Miller didn’t draw what he knew Klaus would take care of. There were almost no shadows or black-spotting on the layout, yet the finished page is full of moody blacks. Note that Janson kept the storytelling as good as it was in the rough.
<center><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/file000.jpg" border="0">
<p><img src="http://www.newsarama.com/TwoMorrows/BackIssue/21/DD.jpg" border="0"></center>
Now, look closely at page 15 of DD #190: a splash page. No storytelling there, just a well-thought-out action shot. Beautiful design and interesting drawing, but one can’t finish this if one can’t draw. Klaus kept the design, then added a little drawing, shadows, blacks, and textures. You still can find some kind of Miller’s drawing in the final page, but it is clear that the page is a Miller/Janson piece of art. Miller’s trust of Janson’s work was so real that Klaus was allowed to change whole faces as long as he stayed faithful to Miller’s idea.
<b>Daredevil #190</b>, page 1 (above) illustrates that point: In the third panel Frank Miller drew a kind of generic face. He may as well have told the inker, “I want a closeup face staring at us.” Klaus Janson drew the same pose as Miller did, but the face isn’t the same at all, since Janson used photo reference on the face. That kind of alteration might very well drive today’s editors to scoff, “Photo ref for an inker?! Are you <i>kiddin’</i>?! That only works for the penciler! An <i>inker</i> can’t add more than line weight!”
But it <i>can</i> be done! With an amazing end result!
Klaus Janson reflects on this process:
“When I look back at certain pages, I feel there were definitely some panels where I went too far from the pencils. Some of that was due to my desire to follow my vision, some of it was a result of trying to keep characters and the book looking consistent through a series of artistic changes, and some of it was due to my shortcomings as an artist.
“If I were handed the same pages today, I would try to keep a bit more the roughness in the pencils rather than ‘smoothing’ them out. There was an abstract quality to the pencils that appeals to me more now than it did then. I’ve always maintained that I can be faithful to a pencil job and do an ‘overhaul’ when necessary.
“All in all, though, I thought Frank and I raised the level of the series and had a great time doing it.”
Miller did a wonderful job on DD, but this run was as much Klaus’ as it was Frank’s (even more Klaus’ than Frank’s toward the end). Would Miller have been successful after DD if he hadn’t worked with Janson? There is almost no doubt that he would have, but one thing is for sure—the two of them grew as artists during this run. And readers had a great character drawn by two great artists!
<i>The DD dissection continues in BACK ISSUE #21, including its up-close-and-personal looks at the Daredevil work of DAVID MAZZUCCHELLI, ANN NOCENTI, and JOHN ROMITA, JR. It’s our “The Devil You Say!” issue, is sure to set your soul on fire! Behind its awe-inspiring Daredevil cover by MIKE ZECK is an in-depth look at the Man without Fear’s 1980s and early 1990s adventures. MIKE MIGNOLA recalls the roots of Hellboy in an exclusive interview, DAN MISHKIN and GARY COHN go “Pro2Pro” on their co-creation of Shadowpact’s Blue Devil, and “Greatest Stories Never Told” examines COLLEEN DORAN’s unpublished X-Men spin-off Fallen Angels. Plus sizzling spotlights on the Son of Satan, TY TEMPLETON’s Stig’s Inferno, the hellish humor of DC’s Plop!, and one of JACK KIRBY’s most bizarre comics, Devil Dinosaur! Edited by MICHAEL EURY. 100 pages, $6.95.
Order at your local comics shop, or online at here (http://twomorrows.com/index.php?main_page=product_info&products_id=415)
Single issues: $9 US Postpaid Or Subscribe: 6-issue subs for $36 US </i>