X-Force

Practitioners 37: Peter David (Part 2)

Peter David is an American writer of comic books, novels, TV, Movies and Video Games. In part One we looked at how Peter David came to arrive in comic books, in Part Two we arrive at how he changed the fcae of comic histories most prominent characters.

Peter David made his name on - and a legend of The Incredible Hulk with 12 Years as writer


Having been given an unpopular and derided title like the Hulk David discovered that he had greater creative control so far away from the central, more popular titles. This enabled him to investigate and test out his storytelling with impressive results. Within his first 12 month run on Hulk, David had reintroduced his estranged wife, destroyed the Hulkbuster base, sending several characters turn-coat and on the road with Bruce Banner (trying to contain his other persona), introduced X-Men – for a rematch with Wolverine, and X-Factor (who he would write for in the mid-nineties), effectively kill Hulk and have him return as the more cerebral Joe-Fixit, a figure in contention with the less intelligent Green persona. David concentrated on the recurring theme of the Hulk/ Bruce Banner’s multiple personality disorder, his periodic changes between the more rageful and less intelligent Green Hulk and the more streetwise, cereral Grey Hulk, and of being a journeyman hero, whicxh were inspired by Incredible Hulk 312 (October 1985) in which writer Bill Mantlo (and according to David himself Barry Windsor-Smith)had first established that Bruce Banner had suffered childhood abuse at the hands of his father. These aspects of the character would later be used in the slightly misaligned but well-intentioned 2003 film adaptation written by Michael France and directed by Ang Lee. In his 12-year run as writer of Incredible Hulk, in which he worked with luminaries and upcoming talents as Todd McFarlane (there when he got there) Gary Frank, Liam Sharp and Adam Kubert he developed the character further, revealing a third, and potentially less engaging Hulk. Banner and the Hulk merge in a more balanced character, retaining the intelligent characteristics of Bruce Banner and the strength and power of the Hulk. The effect was impressive. The now intelligent Hulk found a new relationship with his former wife Betty Ross and along with friends Rick and Margot found himself in control of a secret cabal of immortal heroes known as the Pantheon. David gave Hulk everything he wanted, access to his intelligent mind, strength and access to a private jet and technology bordering on magic. This is where David excels. He puts no limitations on the potential for change in his characters in order to explore possibilities in the story and is fearless in progressing the story at a break neck pace. He also listens to his artists, asking the newly signed Liam Sharp, fresh from success in the UK and US with Marvel Uk’s Death’s Head 2, what character he would like to draw. Gary Frank’s first comic book project with Marvel Uk was drawn upon as well, as the Marvel UK characters Motormouth and Killpower arrived in the pages of Hulk. Using the newly empowered Hulk as a platform to deal with difficult issues such as AIDs, false political imprisonment and homophobia. Not forgetting who was reading the book however, he soon brought the furious, sub-intelligent Hulk back to the pages of Hulk, leaving him lost and alone in the Everglades, effectively restarting the story of the only journeyman struggling with his own demons. Not to say he didn’t throw in Swamp-Thing and Speedfreak for good measure.

And was after he had been freelancing for a year, and into his run on Hulk, that David felt his career as a writer had been cemented and he began to make approaches to DC, being offered a four issue mini-series of The Phantom by Mike Gold. Finally – and astonishingly given that he had been employed on a Marvel title for a year, David only then left his sales position to become a full time writer.

Dreadstar (DC Comics)


David took on Dreadstar during its First Comics run, with issue 41 after Jim Starlin left the title, and remained on it until issue 64 (March 1991), the final issue. David’s other Marvel Comics work in the late 1980s and early 1990s includes runs on Wolverine, the New Universe series Merc and Justice, an excellent run on the original X-Factor, including issue 92 (with Joe Quesada), as part of the Fathers and Sons crossover which incorporated X-Men 25.
Peter David launched the future universe of Marvel with Spider-man 2099, a beautifully realised, dystopian tale of Miguel O’Hara, a futurist scientist who develops powers comparable to a spider in the corporate-run streets of a monolithic New York. Intelligent, witty and deliberately referential of the original without touching directly on its predecessor thematically or literally, Spider-man 2099 helped launch the entire 2099 Universe which lasted for the better part of a decade and took in almost every character in the Marvel Universe and redeveloped them. David set the tone for it all.

At DC Comics in 1990, David wrote an Aquaman miniseries, The Atlantis Chronicles, detailing the history of Aquaman’s home city Atlantis. This has since been cited by David as one of the works he is most proud. His following Aquaman mini-series Aquaman: Time and Tide and the subsequent run of 46 issues on the ongoing series gained notoriety as Aquaman lost a hand early in the series, which was later replaced with a harpoon, a feature of the character that lasted David’s full tenure on the book. He also wrote DC’s Star Trek comic books (though openly opined that Star Trek is better served in novel form as they’re not particularly visual), as well as Supergirl and Young Justice, the latter cancelld in order to transfer the assembled characters to the newly reformed Teen Titans monthly.

David’s work for Dark Horse comics has included the Spy Teen Adventure, SpyBoy, which appeared between 1999 and 2004 and a 2007 mini-series. Other independent work includes Soulsearchers and Company, which is published by Claypool Comics and the Epic Comic’s Sachs and Violens, which he produced personally with co-creator George Perez.

David returned to Marvel with Heroes Reborn: The Return for Marvel, in which the Marvel Universe’s lost characters that had disappeared in an event a year before returned to the Marvel Universe as well as a run on a new series of Captain Marvel, which was critically acclaimed.

David and his Second wife, Kathleen. wrote the final English-language text for the first four volumes of the manga series Negima for Del Ray Manga. In 2003, David began writing a new creator owned title , Fallen Angels, for DC Comics, using material left from development of the now-defunct Supergirl title as well as writinga Teenage Mutant Nija Turtles Mini-series for Dreamwave that tied into the animated television series broadcast that year. After Dc cancelled Fallen Angels, David relaunched at IDW the same year. He went on to produce Spike: Old Times one-shot and Spike Vs Dracula mini-series, based on the character from Buffy the Vampire Slayer and Angel Tv series.

X-Factor 92 (Peter David, Joe Quesada, Marvel Comics)

In 2005, David briefly returned to the Incredible Hulk but only lasted for 11 Issues due to work pressures. He also developed a new title Friendly Neighbourhood Spider-man, beginning witha 12-part ‘The Other’ storyline in which Spider-man discovers he is dying, lost a fight during a traumatic fight with Morlun, underwent a metamorphosis and developed new powers and greater understanding of his abilities. Yet again whenever experimental alterations are made to popular characters, this proved controversial with readers, who were bemused perhaps by the extended stingers coming out of Spider-man’s arms and the association of a Spider totem from which his powers were derived. David’s run ended with issue 23.

Following on from David’s original and successful run on X-factor in the early 90s, he wrote a successful MadroX (Multiple Man) title for Marvel the same year which led to the reintroduction of the X-Factor title, using characters from David’s original tenure Multiple Man, Strong Guy, Wolfsbane) working as private investigators in a detective agency of the titular name. David’s work on the title proved popular with Ain’t It Cool News and David found that the new Opt in/ opt out policy on Crossovers and greater forward planning on titles made his second tenure much easier. However, his decision to create a homosexual storyline between established characters, Shatterstar and Rictor (a confirmation of clues that had been established in X-Force years earlier) drew criticism from Shatterstar’s Co-creator Rob Liefield, though Editor-in-Chief and former creative partner on David’s original run on X-Factor supported the story. The title eventually won a 2011 GLAAD Media Award for outstanding comic book for his work on the title.

Peter David announced in 2005 that he had signed an exclusive contract with Marvel, his independent works Spike, Fallen Angel and Soulsearchers and Company ‘grandfathered’ into the agreement. David wrote the dialogue for The Dark Tower: A Gunslinger Born, a comic book spin-off from Stephen King’s Dark Tower novels, bringing his career full circle. He then wrote Marvel’s Dark Tower comic book adaptations as well.

David took over She-Hulk after Dan Slott left, from Issue 22 to 38, a run which won praise. He also wrote Halo: Helljumper, 2009 Ben 10: Alien Force Manga book published by Del Rey, Ben Fold’s Four, a ‘Little Mermaid’ story in Jim Valentino’s Fractured Fables anthology that won more praise from Ain’t it Cool News, an adaptation of the 1982 film Tron to tie in with the 2010 sequel of the same name and a John Carter from Mars prequel to the film due out next year.

Peter David is a genius. His methodology is to block out different days for different projects, allowing him to be prolific in his work. Assured, well liked and professional, Peter David is a quiet voice in a creative industry but one with an enormous fan base exclusively based on the enjoyment of his work. His writing conveys his enthusiasm, wit and humour as well as never losing grip on issues close to him. Unafraid of controversy and generous in his plotting and pacing, David is a joy to read. A clear reason as to why his works are reprinted through Marvel, available as Masterworks collections and including full runs of his writing.

Practitioners 35: Andy Kubert

Andy Kubert was born on February 27, 1962, the third member (after father Joe and elder brother Adam) of one of the most famous comics artist families.

While Kubert started at DC Comics, drawing Adam Strange and the Batman Vs Predator crossover, he is probably best known for his work at Marvel Comics, specifically the company’s X-Men titles. With the move of Jim Lee to Image in the early nineties, Kubert (who had already been providing cover art – including Gambit’s introduction on Uncanny X-Men and a brief stint as that titles penciller) became penciller for what was the No.1 title in the world. Starting at Issue 19, Kubert caught the potential disaster of Lee’s departure and maintained the quality. Not dissimilar to Lee’s style, Kubert maintained the lightly lined, crosshatched, clear and concise style readers had enjoyed and actually clarified the panels more so than Lee himself.

Andy Kubert’s run on X-Men was a game changer as it maintained the quality of the X-Men line through the all important X-over event that captured the work of Peter David, Joe Quesada, Adam Kubert and Greg Capullo – all legends in the field. Andy Kubert was penciller on the flagship title of not just the X-line but Marvel itself and continued to push out exceptionally engaging compositions throughout the run. While his work was perhaps less accurate and realistic than his brothers (working on Wolverine at the time), Andy’s work had a subtlety and finesse that his brother didn’t. Relying on light line work and fine detail to augment the story, Kubert’s style was more illustrative and naturally drew the onlooker into the page. Kubert’s grasp of emotive splash pages and unique angles and physicality gave new life to characters such as Gambit and Beast, their natural gymnastics perhaps less impactful under another, less confident artist. His work continued to develop and found itself increasingly enhanced by new colouring techniques as the pencil and ink linework could be more easily brought out of the page; the background and foreground becoming more distinct; a minor detail that his early X-Men work suffered from at times. Far from being a Jim Lee imitator, Kubert was his own artist, developing the characters away from Lee’s original designs however slightly.

Offering it a lighter touch, the emotional impact of the events in the story found greater scope. The romance between Gambit and Rogue that encapsulated the intelligent writing that was taking place in X-Men developed naturally under Kubert’s artistry.

In 2003, Kubert worked on Neil Gaiman’s Marvel 1602, a beautifully rendered story dropping the most central Marvel characters into the centre of the Elizabethan England at the end of Monarch’s reign. Kubert’s linework matched perfectly the lighter ink work of the period. His representations of the characters timeless and at the same time recognisably the characters of modern day. In it enhanced pencil was used, with the image painted from Kubert’s pencil line work. The effect was staggering and made clear Kubert’s natural illustrative style. Although always precise and meticulous, Kubert’s focus is not always on the central character and he enjoys playing with compositions, not necessarily filling any panel with the characters but allowing the surroundings to impose on the action. This is undoubtedly the work of an assured artist. To be able to jump from X-Men to a project like 1602 successfully shows the range of work Kubert is capable of handling.

Both Andy and his brother signed exclusive contracts to work for DC comics in 2005. While his brother Adam has returned to Marvel comics following his 3 year deal with DC; Dan Didio has confirmed that Andy still has projects with DC. Fundamentally Bat related. Kubert provided covers for Blackest Night issues of Green Lantern and Blackest Night: Batman miniseries. Andy worked with his father Joe on the first two issues of DC Universe Legacies, a 10 issue miniseries chronicling the history of the DC Universe. On top of this Andy contributed to Batman 700, teaming up with Grant Morrison to tell more tales of Damian Wayne as Batman in the future of the over-sized anniversary issue. ‘Flashpoint’ – a Flash centric event is due to start this year (2011).

Kubert is an artist who alters the projects he touches. He has handled two of the most well known franchises for the two largest comic book companies in the world and left all concerned wanting more. The youngest Kubert, Andy had something to prove and it can certainly be argued that his work is considerably more popular and well received than his brother or father. Having also handled Millar’s Ultimate X-Men – a challenge as he effectively anchored the original designs in the mid to late 90s – it’s clear that Andy Kubert is a quietly famous and exceptional talent among equally talented artists. This cannot be ascribed to genes alone, as Kubert has handled the most well known projects in the world and made them more memorable.