We here at Beyond want your perusing experience to be an easy one. With that in mind we’re developing up some more banners for you to punch as soon as you’ve figured out what you like best. They’ll be appearing here and there – mostly Moon stuff to highlight events regarding ol’ chalk face. These are testers. Let us know what you think.
Frank Miller is an American comic book artist, writer and film director best known for his brooding, dark, film noir depictions of famous comic characters and the development of noir dystopias, Batman: The Dark Knight Returns, Sin City and 300, Ronin and Daredevil: Born Again. Batman : Dark Knight Returns is viewed as a seminal work in comics history, mandatory for any that want to understand what (along with Alan Moore’s Watchmen) changed the face of comics so dramatically in the 1980s. He is also, nowadays, a liberal hate figure after outspoken statements regarding protest camps in the US and UK against multinational corporations. This, among other things, has placed a pall over his previous work, calling into question his politics and views on women, crime and society.
Miller was born in Olney, Maryland and raised Montpelier, Vermont, the fifth of seven children of a nurse mother and an electrician/ carpenter father. He was raised as an Irish Catholic.
Setting out to become an artist, Miller recieved his first published work at Western Publishing’s Gold Key Comics imprint on the comic book version of The Twilight Zone, drawing ‘Royal Feast’ in issue #84 (June 1978), and “Endless Cloud” in #85 (July 1978). Jim Shooter, one-time Marvel Editor-in-chief recalled Miller’s attempt to join DC, emboldened by his sign up with Western Publishing. “He went to DC, and after getting savaged by Joe Orlando, got in to see art director Vinnie Colletta, who recognized talent and arranged for him to get a one-page war-comic job”.
Miller’s first listed work is the six-page “Deliver Me From D-Day”, by writer Wyatt Gwyon, in Weird War Tales #64 (June 1978). A two-page story, however, written by Roger McKenzie and titled “Slowly, painfully, you dig your way from the cold, choking debris…”, appears in Weird War Tales #68 (Oct. 1978). Other fledgling work at DC included the six-page “The Greatest Story Never Told”, by writer Paul Kupperberg, in that same issue, and the five-page “The Edge of History”, written by Elliot S. Maggin, in Unknown Soldier #219 (Sept. 1978). and his first work for Marvel Comics, penciling the 17-page story “The Master Assassin of Mars, Part 3” in John Carter, Warlord of Mars #18 (Nov. 1978).
Miller’s style was never super hero orientated but in an industry that was he had little choice but to pursue it, practicing the form and bringing Superheroes to life well enough to secure a position as regular fill-in and cover artist on a number of titles, including Peter Parker, Spectacular Spider-man #27–28 (Feb.–March 1979) which featured a character that grabbed Miller’s attention. As Miller recalled in 2008 “… as soon as a title came along, when [Daredevil signature artist] Gene Colan left Daredevil, I realized it was my secret in to do crime comics with a superhero in them. And so I lobbied for the title and got it”
Although still conforming to traditional comic book styles, Miller introduced his noir style to the pages of Daredevil on his debut, joining on a finale of an ongoing story written by Roger McKenzie. Living in Hell’s Kitchen in the 1980s Miller sketched the roof tops of his surrounding neighbourhoods and imbued the title with a greater accuracy than fans had seen before. New York was now a more dangerous place. His work was cited as reminiscent of German Expressionism’s dramatic edges and shadows as the Red Devil fought mostly now at rooftop level, among the water towers, pipes and chimneys.
Miller’s run was successful enough to bring Daredevil back from being a bi-monthly title to a monthly one but that was far from the limit of the success. With the departure of Roger McKenzie, Miller took over as writer and penciller, with long time collaborator Klaus Janson on inks introducing a skittish, visceral feel. Art became to form. Violence bled (within the limited parameters of the Comics Authority), fear was felt, anger and danger were portrayed. Everything was comics +. This was a slightly more frenetic, powerful version of the superhero canon – the focus on the darkness in the lives of the bright tights. Issue #168 saw the first appearance of the ninja mercenary Elektra, who despite being an assassin-for-hire would become Daredevil’s love-interest. Miller would write and draw a solo Elektra story in Bizarre Adventures #28 (Oct. 1981). This further characterised Miller’s work on Daredevil with darker themes and stories. This peaked when in #181 (April 1982) he had the assassin Bullseye kill Elektra. Miller finished his Daredevil run with issue #191 (Feb. 1983); in his time he had transformed a second-tier character into one of Marvel’s most popular.
Additionally, Miller drew a short Batman Christmas story, entitled ‘ Wanted: Santa Claus: Dead or Live’ written by Denny O’Neill for DC Special Series #21 (Spring 1980). This professional introduction to the Dark Knight was to prove a point at which the comic industry stopped being something and developed into another entirely. It was the moment that comics began to move into a more graphic, realistic, emotionally dynamic, engaging and challenging era. Elsewhere, Alan Moore was working on The Watchmen and would be asked in future to write The Killing Joke and further darken the world of Gotham and it’s central hero. But nothing that Moore was writing on the Dark Knight compared to one of the most important pieces of comic book literature in history. With Klaus Janson and Lynn Varley, Miller began to put together a fractured tale of a future without a Batman and a Bruce Wayne broken by the loss of Jason Todd. Now older and slower, a mournful Wayne is presented again with taking on the banner of the Bat. Only this time the world in which the caped crusader stepped into was very different…
Working with Chris Claremont at Marvel on Wolverine 1-4, inked by Josef Rubenstein and spinning off from the popular X-Men title, Miller used the series to expand on Wolverine’s character. The series was a critical success and cemented Miller as an industry star. Taking an older, curmudgeonly and effectively lonely character and dropping him into a world of greater brutality and violence proved very popular – the Wolverine series still continuing today, surviving the collapse of comics in the mid 90s and still going strong. While other great artists such as Adam Kubert and Marc Silvestri continued and concreted it’s success, Claremont and Miller set the tone. Brutal, fringe figures were quickly becoming Miller’s niche.
In Miller’s first creator-owned title, Ronin, Miller had found himself with his original quarry, DC, and he was given the opportunity to further the concept of the isolated figure of violence on the edge of society. Ronin revealed most clearly the influences of Manga and bande dessinée artforms on Miller’s style, both in the artwork and narrative style. In the early 198os Miller and Steve Gerber proposed a revamp of DC’s central figures entitled ‘Man of Steel’, ‘Dark Knight’ and the frankly less inspiring ‘Amazon’. This proposal was rejected, however the first shoots of a seed of an idea were clearly being shown in those proposals. While the Man of Steel and the Amazon remained as they were, The Dark Knight was set to rise. In 1985, before the release of Miller’s finest work, he was honoured as one of the 50 honourees in the Company’s 50th Anniversary publication Fifty Who Made DC Great. Had they left it one more year, Miller would have rocketed into the top 5 with the release of the Dark Knight Returns.
Having never left, in 1986, the Dark Knight Returned and was welcomed with open arms. A four issue mini-series it featured a Gotham gone downhill, unprotected by a figurehead crime fighter as it had been time immemorial in the wider DC Universe. This was the first Elseworlds, a parallel world inhabited by a familiar but substantially different set of characters who could now live or die without consequence. However, Miller was never going to let them off that easily…
At the age of 55, Bruce Wayne returns to the hilt and takes back his role of Batman, it showcased a more adult form of comic-book storytelling by heralding new waves of darker characters. Miller, much like Moore, absorbed a great deal of the world around it though Miller twisted his into a more immediately engaging shape. Punk Gangs and Neo Nazis rule the streets alongside older, more familiar foes – all now even darker than before. The smell of paranoia over the Cold War and the threat of Nuclear War is musky in The Dark Knight, increasing the pall of murk that has descended on Gotham. Simultaneously though Miller gave voice to both liberal and right wing opinions during the series, through continual talking heads on various invented TV shows. With the themes of media, crime, personal responsibility, federal control, public opinion and the futility of redemption, Dark Knight represents a dark and risible future. It was excellent. A timely chime on a bell of collective paranoia, it tapped perfectly into the state of mind of society at the time. Rather than the patronising resolution by brightly coloured gods – here the solution contains only glimmers of salvation but deep shades of absolutism. It satisfies fully as emotional resolutions are struck so rarely in the real world, rarely in conjunction with the resolution of situations. In Miller’s world there are no easy answers. His worlds roll on beyond the final panel, stories often unfinished, character’s unresolved. 25 years later the collected novel remains a timeless best seller.
But what was to come next would cement Miller as a legendary artist and writer but it will be his move to LA that will reveal him as a true auteur. Noir bleeding from every pore, Sin City was still almost a decade away…
Part 2 will be here Next Tuesday
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.
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.
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.
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.
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.
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.
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.
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.