Action Comics

Practitioners 40: Dan Jurgens

Now, let’s make this clear. Dan Jurgens killed Superman. There were others involved of course, talented individuals -each with their own individual styles, across the four titkes of the time – most of whom will appear here. The editorial team was monitoring the whole process as well – however, one man wrote and illustrated the moment the man of Steel and his mysterious opponent, Doomsday, struck each other for the last time, shattering the front of the Daily Planet in the heart of a decimated metropolis. He captured the two characters hitting the street and the shocked reaction of the surrounding onlookers. Jurgens presented a moment a determined and fatalistic Superman embraced a desperate and frightened Lois Lane, shrouded in steam and smoke before the final, tumultuous cataclysm. Jurgens was responsible for all of the editions of Superman, the most popular of the four titles at the time (the others being Superman: Man of Steel, Adventures of Superman and Action Comics) and a Justice League of America issue in the story arc in which Doomsday took apart the current members. In the intervening time, the Death of Superman has become an irrelevancy – not least because of his return a year later – and even a joke but at the time the images of Superman’s cloak ripped and torn on a post in the heart of Metropolis made world news. At the centre of the story was the writing and assured artwork of Dan Jurgens.

Dan Jurgens, born June 27, 1959 is an American comic book writer and artist with a clear, concise and uncomplicated style that has earned him a reputation as a safe pair of hands. He is best known for creating Booster Gold (present in the JLA taken apart by Doomsday in ’93) and his lengthy runs on the Superman titles Adventures of Superman and Superman (Vol.2). In spite of this notable writing and artistic accolades, making news globally with the death of arguably the most iconic hero in comics, he appeared in books that , perhaps unsurprisingly, never reached the same level of popularity and critical acclaim. These included The Sensational Spider-man, Captain America, Thor (Vol 2), Justice League America, Metal Men (Limited Series), DC Crossover Zero Hour, Tomb Raider. Aquaman and the creator of DC Comics’ imprint Tangent.

Jurgen’s started out in comic books for DC Comics on Warlord 63 following a recommendation from Warlord series creator Mike Grell who was deeply impressed by Jurgens’ work after being presented with his portfolio at a convention. He began, naturally, as an artist for the Sun Devils limited series from 1984-1985 with Gerry Conway and Roy Thomas. Jurgens’ took on a writing role as he scripted from Conway’s plots and took over the writing duties fully within 2 months (artist for issue 8, writer/artist by issue 10).

His successes in his early career were with DC – Jurgens is credited with creating Booster Gold, who became a member of the Justice League, whom Jurgens wrote and drew with the introduction of Doomsday in his rampage to reach Gotham City. As to who created Doomsday, this remains a mystery. He has enjoyed successes with other companies, namely Dark Horse – with Superman vs Alien – and Sensational Spider-man during the Ben Reilly period with Marvel.

But it was with DC that Jurgens proved most notably to be a safe hand. He pencilled and wrote the wide scale Zero Hour crossover in the mid nineties which incorporated all of the DC Universe in a rarely coherent and accesable storyline that tied the threads of a faily convoluted universe together well enough for laymen to understand what was going on – something perhaps only recently valued by DC with the recent title relaunches. This is perhaps Jurgen’s greatest strength. His style assured and uincomplicated, Jurgens presents very clerly the events being portrayed in any series he involves himself in. A less stylistic artist than most, it can be arged he lacks flair which is perhaps why he hasn’t been hailed in the same way as others. But his line work and naturalistic style is as distinct and effective as George Perez and more so than old hands like Jerry Ordway yet fresh and clear. Relatively timeless, it is often difficult to place Jurgen’s work into a particular period if you are unfamiliar with the storyline he is working on. It is a hard case to push to place Jurgens among legends but he is the professional Practitioner, hard working and diligent, efficient and clear – and perhaps unusually – unselfish in his style. His is a page of creative draftmanship, and his pride is in the simple imparting of feelings, ideas and story – setting him apart from the many peers of his that arew notable for their distinct style. Jurgens is a legend because he appears not to be. His stories live on in legend where his name, perhaps, does not. Surely, when a true artist is pressed that is the value of his work and for me, it is something that Jurgens represents. Unsurprisingly, without even trying.

Practitioners 36: Adam Kubert

Adam Kubert is probably best-known for his work at Marvel Comics, in particular for a sporadic run on the solo Wolverine title with writer Larry Hama, a short run with writer Peter David on the Incredible Hulk and numerous stints on various X-Men titles. Adam Kubert is noted for his raw, dynamic art style, combined with fluid storytelling and noteworthy pacing. He’s also known for his experimentation in art style and storytelling, being one of the first mainstream (i.e. Marvel or DC employed) comic book artist to experiment with the pencils-straight-to-colour approach with Steve Bucellato on The Incredible Hulk.

On his X-Men run, Kubert was teamed up with European colorist Richard Isanove, who subsequently followed Adam to the Ultimate X-Men project, perfecting the pencils-to-color approach seen on most of Ultimate X-Men covers. Kubert has been criticized not meeting monthly deadlines on certain issues, which often required hiring fill-in artists, a penchant that Kubert himself has admitted to having. In a 1998 Wizard interview with Jim McClaughlin, Kubert apologized to fans for the slow output, explaining that readers and fans now expect more of illustrators, and that the onus rests on the artist to spend time creating more detailed and well-drafted illustrations. This he has always achieved but the maintenance of his beautifully crafted, characteristic and dynamic work justifies almost any timescale.

If anyone had any doubt: Pencils (right) to inks (left) on Hulk: 2099 (Marvel)

Although Kubert remains a talented penciller, the choice of inker for his work greatly influences the quality of the final printed page. While searching for artwork to use as examples I had to dismiss several (one in particular from DC) that didn’t showcase his work well enough. It has been argued by fans and critics alike through various mediums such as the internet and comic publications, that some of Kubert’s finest work has been embellished by the British inker Mark Farmer, especially his runs on Wolverine and The Incredible Hulk for Marvel Comics. While talented inkers, notably Danny Miki and John Dell, lent their talents to Kubert’s pencils during his runs on Ultimate X-Men and Ultimate Fantastic Four respectively, reaction to the final artwork was mixed due to the stylistic nature of the inkers which did not lend itself well to Kubert’s normally lush drawings, leading to increasing calls that Adam Kubert should once again be paired up with Mark Farmer, even more so now that Kubert has moved to DC Comics as of 2006.

When Marvel Comics launched the industry-changing Ultimate Universe series in 2001, Kubert was chosen as the penciller for the second launch book Ultimate X-Men. His storytelling and distinct style coupled with writer Mark Millar’s well crafted tales, made the book an instant success. Kubert was also chosen as the penciller to launch the ultimate universe version of Marvel’s first family, the Ultimate Fantastic Four, once again with writers Mark Millar and Brian Michael Bendis. Both series launched to commercial and critical acclaim, firmly establishing Kubert as an industry heavyweight and one of Marvel’s “go-to guys” for their major projects.

An accomplished inker, he received an Eisner Award for his inking duties on the Dark Horse-DC Comics Batman vs. Predator crossover in the early 1990s. In addition to this, Kubert is well renowned for his lettering ability, being the youngest professional comic book letterer at the age of only 11 years old. His very own handwriting was used as the template for the font used in the Ultimate X-Men comics, additionally Kubert’s early lettering work in Heavy Metal magazine was used by DC Comics as the basis for most of the fonts used in their comics and magazines.

Both Adam and his brother Andy signed exclusive contracts to work for DC Comics in 2005. Kubert illustrated Superman: Last Son, co-written by Geoff Johns and Richard Donner (director of the 1978 film Superman) – his first project for DC Comics. He was to begin contributing to the story arc with Action Comics #841 (July 2006). However, he was not involved until issue #844, published in October 2006.

Issue #845 was released on December 3, 2006 to similar acclaim and again DC had to go back to press for a second printing on the February 23, 2007. Issue #846, part 3 of the “Superman: Last Son” storyline, was originally scheduled to be released December 30, 2006 was released on February 28, 2007. The next part of the story was scheduled to be a 3D issue released in April 2007. Further delay forced DC Comics to bring in substitute creative teams and delay the fourth part of the “Last Son” storyline and 3D issue to #851, which was released in early July 2007.
According to a April 2007 post on the Internet forum Newsarama, Johns stated that the delay was made to accommodate Kubert’s schedule and that the final part of the “Last Son” storyline would be in Action Comics Annual #11.The annual went on sale on May 7, 2008.

Following his work on Superman he penciled the Final Crisis tie in, DC Universe: Last Will and Testament, written by Brad Meltzer.

Last Will and Testament by Brad Meltzer and Adam Kubert (DC)

His last work for his latest tenure at DC was the Batman and The Outsiders Special, released in February 2009. This issue, written by Peter Tomasi, highlighted Alfred Pennyworth’s efforts to recruit a new team of Outsiders in the wake of Batman’s apparent death. After the release of the book, Kubert said he was pleased with his work at DC and had done, “what set out to do,” which was to draw Superman.

May 2009 marked Adam Kubert’s return to Marvel, his first interior work being published as one of two stories in Wolverine #73 and 74. Following this he contributed several covers to New Mutants and Wolverine: Weapon X, and penciled the “Dark Reign” tie in, The List: Amazing Spider-Man.

While he has returned to penciling for Marvel, he will continue to work for DC, contributing the stories for the upcoming Wednesday Comics Sgt. Rock feature, drawn by his father. He has since stated that he is Marvel-exclusive, but they are allowing him to work on the Sgt. Rock feature as he had signed on to do it before his contract at DC was up.
Following these Kubert will be doing pencils on the upcoming Astonishing Spider-Man & Wolverine.

Superman Renounces US Citizenship, Communists Win. Apparently.

Action Comics #900 dropped yesterday and with it came a short story in which Superman renounces his US citizenship. I tend not to post up stuff like this because I tend not to buy into the hype of big moments like this, however I have discovered a real love for reading people’s reactions about these stories. Without further ado, I present a selection of comments from Fox News‘ reporting of the story.

genuineguy 
“Until I see Superman’s long form birth certificate, I’ll never believe he was an American to begin with.”
dmag142
“this is part of a continuing assault on our children.”
oldsoldier10
“Good Riddance I am sure his Kansas parents were Alkita anyway, and Choi supports back in the 60’s it’s only logical SM wants to spread the “Visions from his father,” and create a new world order. I hear Sorrose is sponsoring him for French citizenship.”
Craig 
“These commie-bastards taking over everything”
trupatriot73
“Just another example of how the leftist media is trying to infiltrate our children’s minds with their communistic filth.”
mormoncountry 
“I like Hancock better, anyhow”

I know, I know. No good can come of swimming in the toxic slime of news site comment boards, but it did give me a giggle. I never cease to be amazed by people’s ability to be offended by relatively  meaningless stuff. Still, if you think this story is controversial, just wait for the ret-con! 😉
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