One of the last of the Golden Age greats, artist Sheldon “Shelly” Moldoff, died today at the age of 91.
Best known for his work on the Batman titles between 1953 and 1967, Shelly first visualized such canonical characters as the original Batwoman, the original Bat-Girl, Bat-Mite, Clayface (Matt Hagen), Poison Ivy, and Ace the Bat Hound.
Shelly was a major contributor the DC / AA Comics lines, starting with the sports cartoon “Odds ‘N Ends” published in Action Comics #1. He took over Hawkman shortly after its creation. He also drew Blackhawk, the Black Pirate, Space Ranger, the Legion of Super-Heroes, the Batman and Robin team-ups in World’s Finest, an occasional Superman story, Gang Busters, a multitude of Jack Schiff’s public service pages during the 1950s, and the covers for the first appearances of The Flash (Flash Comics #1) and Green Lantern (All-American Comics #16).
During his long and bountiful career, Shelly also drew Kid Eternity for Quality Comics, Big Boy and many other commercial comics, and was one of the earliest contributors to EC Comics.
On a personal note, I had the privilege of hosting Shelly on many comics convention panels and always found him to be an affable, well-informed contributor. He honored my late wife on her 44th birthday with a beautiful recreation of the All-American #16 cover, which featured Linda’s favorite character.
Funeral services will be Tuesday at Kraeer funeral home, 1655 University Drive, Coral Springs Florida.
(Maxims: Political, Philosophical, and Moral, by Edward Counsel)
Except in comics.
I was doing a search for quotes about death when I found this one, which is so apropos. I never heard of Edward Counsel; did a Google search, but couldn’t find him?? Found a reproduction of his book on Amazon; the original was published before 1923. All I can gather is that he was an Australian who was born before 1900. Anyone who has more info is welcome to let me know in the comments section.
The reason I was looking for a quote about death – of which there seems to be milllllllllions – is because all us comic fans are buzzing about the YouTube video The Death and Return of Superman, by Max Landis (son of John Landis), who stars in The Chronicle. I was going to post it here, but Martha (Thomases) beat me to it three days ago – which amazingly points out that DC actually thought Tim Drake’s/Robin’s new costume was more of a P.R. event than Supe’s kicking of the bucket – so I won’t do that. All I can say is that, if by any chance you haven’t seen it, do so at once. You have my permission to stop reading this column, go watch it (it’s about 16:00 long) and then come back. It is bitingly hilarious, and exceptionally on the mark!!!! (Major kudos to Landis and his fellow actors btw!)
SPOILER ALERT!: Okay, I’m going to assume that you have either already seen the video or have taken the 16:00 to watch it before returning here, because I’m going to give away the ending here.
Landis concludes his short film by stating that Superman’s death and return opened the floodgates for other comic characters to die and then resurrect. In other words, said resurrection cheapened the dramatic impact of said death, and ended the ability of readers to mourn the loss of the character, because the reader knew the character would eventually return. Cynics like me will always point out that the death of a character in the comic book world is always due to (1) marketing; and (2) the dictates of Hollywood – as Martha ably points out in her column concerning Lois And Clark: The New Adventures of Superman.
As a comics writer, a editor, and a reader, the “make-believe” of death in comics really pisses me off.
I’d like to point out that the ability of fiction (any fiction, from comics to television to movies) to help children understand and cope with finality of death is incredibly important. J. M. Barrie understood this, as he has Peter Pan say “To die will be an awfully big adventure.” And of course, J.K. Rowling did not flinch from the meaning of death in the Harry Potter And The novels; it was one of the themes of her “magnus opus” – beginning with the main character. Need I remind you that Harry was an orphan?
Okay, young readers of comics are scarce these days. We all know that. But they are still out there; my eleven-year old niece Isabel being one of them. And children are curious about death. About six months after my husband left me, the family was out to dinner. Right in the middle of the laughter and the eating, Isabel, six years old at the time, said to me, “Is John dead?” (That was a conversation stopper, let me tell you.) Of course her parents had explained what had happened. But obviously Isabel couldn’t grasp the concept of marital separation and divorce, so all she knew was that John was gone, which in her thoughts equaled death… because, as her mom told me later, she had just seen a movie – I don’t remember which one, it might have been one of the Harry Potter’s – in which one of the characters died. And she was trying to wrap her young mind around “death.”
Which I think is good; our society tends to put death into a dark, dusty corner where it molders and mildews and mutates into something unbearably monstrous. Remember the uproar over Terry Schiavo? How about the Republican bullshit of equating Obama’s healthcare bill with death panels? And as a registered nurse in the operating room, I can’t tell you how many times I’ve seen terminally ill or extremely aged patients subjected to the stress of unneeded or useless surgery or treatment because the family insists on it because they can’t deal with the impending death of their loved one.
Death can be welcomed as an end to unending pain and torment. Death can be aggressively fought against with all the tools of modern medicine. Death can be sudden, or it can be stretched out into nanoseconds.
But death is real.
I’m still reeling from the death of Kara Zor-El – Supergirl – in Crisis On Infinite Earth. Don’t talk to me about the reboots.
The Very Short List of Comic Book Superheroes Who Have Died And Returned: Alfred Pennyworth, Aquaman, Aunt May, Big Barda, Bucky, Captain America, The Doctor, Elektra, Fahrenheit, The Flash, Firestorm, Green Arrow, Green Lantern, Hawkgirl, Hawkman, The Human Torch, Jean Grey, Moon Knight, Negative Man, Punisher, Robin, Supergirl, Superman, The Thing, T.H.U.N.D.E.R. Agents (many if not all), Wonder Man, Wonder Woman, Yellowjacket.
TUESDAY: Michael Davis. Sponsored by the Bacon Council.
The Internets (by which I mean, mostly, Facebook) buzzed this week with a YouTube video, The Death and Return of Superman. It’s really funny, written, directed, and starring Max Landis, son of one of my favorites, John Landis, and also the writer of this week’s box-office champ, Chronicle.
I like everything about this but the premise: that the powers-that-be at DC Comics decided to kill Superman because it was an easy way to draw attention to their flagship character and thereby increase his popularity.
Not true. If anything, in 1992, Superman was more popular than he had been since the John Byrne relaunch.
If DC was going to pull a stunt to make Superman more popular, they would have done it when I was first hired to be publicity manager at DC, in the summer of 1990. I remember going to a meeting about upcoming story lines, and being told that the big event for that fall was that the new Robin (Tim Drake) was going to get a new costume. Not just any costume, but one with a design actually approved by Tim Burton.
Oh, and Clark Kent was going to ask Lois Lane to marry him. And then she was going to say, “Yes.”
“That’s a much bigger story,” I said.
“No one cares about Superman,” I was told. “But the fans will want the first issue with the new costume. Push that story.”
I pushed them both, but, as instructed, I devoted more resources to Robin. I spent thousands of dollars having a costume made and finding an actor to wear the costume for a press conference. I got approvals up and down the Time Warner hierarchy.
For Superman, I sent out a simple press release. And that story exploded.
Over the next two years, Superman became more and more popular. The public followed the stories about Clark and Lois like they were Kardashians (only really in love). The wedding became such a hot story that Warner Bros. television wanted in, and created a series, Lois & Clark: The New Adventures of Superman.
There’s more money in television than in comics. The wedding would have to wait.
Here’s the part I didn’t know about until years later. The powers-that-be at DC needed a reason to stop the wedding. To their credit, they turned the problem over to the editors, writers and artists who worked on the series. Why would the wedding be postponed? Could Clark and Lois fall out of love?
No, that wasn’t in character. Even though they hadn’t taken vows, they were going to be together until death did them part (or, as fate would have it, The New 52). The only way to stall a wedding would be for one of them to die. Whose death would be more dramatically interesting?
The Death of Superman was never about killing Superman. It was about setting up the next storyline, World Without a Superman. These stories showed how the world went on without the Man of Tomorrow, and how he continued to have an impact on our lives.
We know Superman came back, and Landis does a great job of pushing the more ridiculous aspects to their (il)logical extremes. It’s funny stuff, and it’s funny because he actually knows something about comics.
Still, twenty years later, we’re still talking about it. The stories remain in print. Whether or not you liked it, the fact remains that the stories resonated with readers.
We all remember where we were when we first heard that Superman died.
We’ve got more with TV‘s original BATMAN cast including Adam West weighing in the upcoming DARK KNIGHT movie, Burt Ward on creating that catch phrase. Plus DC whores out WATCHMEN in a big way and Marty McFly may be landing on Broadway.
It’s been over four decades since BATMAN crashed into prime time TV. We edit down with Burt Ward (Robin), Julie Newmar (Catwoman) and Batman Adam West on what is was liked to be at the heart of the pop culture sensation. Plus TORCHWOOD isn’t quite dead and Walt Simonson grabs a shot at a new DC Universe graphic novel.
… or how I learned to stop worrying about Michael Davis and love his bombs.
So let’s just get this out of the way. The last Spanish class I took was senior year in high school. I did get an A in it. But between then and now I’ve filled my brain with other more important facts aside from the difference between juevos and huevos. One means balls. The other means eggs. But the one that means eggs also means balls… in the testicular vernacular. My bad.
Those who aren’t following the east-coast-by-way-of-living-on-the-west-coast-vs.-mid-west battle that’s taking place here in the hallowed halls of ComicMix, let me bring ya’ll up to speed. A few weeks ago, Michael Davis applauded DC’s reboot of their universe. He said it was a bold move by the powers-that-be, and while he didn’t love every single thing they did, his praise was for the top brass having the big ones to allow the universal reset. The following week, I said that the praise was silly. The reboot wasn’t really a reboot. It was slapping #1s on every book, rebooting a handful of titles and just assuming most everyone would take all their love and knowledge of the former continuity, and allow it to inform their reading of the new books. I think it’s not so much a bold move, as a lazy one that succeeded in doing exactly what the powers-that-be wanted it to do; it moved product, and created publicity. That doesn’t take balls. It takes a bottom line for net profits.
I was fine to leave the discussion at that: a gentleman’s debate on just how ballsy the move truly was. Michael Davis however, had other plans. He spent this week saying I was now Dead To Him, and proceeded bait me to tell all of you just how a snot-nosed punk (like me) might reboot the DC. For those who didn’t read his pitches, I recommend you do. Or actually let me save you the time; pretend it’s 1993 and go read some Milestone Books. Then look for all of them on the shelves today. Didn’t find ‘em? Me neither. So Mr. Davis, or as I now call you, … Mickey D… let me tell you (and the crowd forming around us) about how I might shuffle things around had I the One Ring, Sword of Omens, The Force, and the last name DidioLeeJohns.
Granted I don’t have the column space to denote 52 pitches mind you, but I’m chock full of ideas. Given the power, here’s a taste of what I’d do, with a real reboot:
Superman
Nothing needed to change from what they already are doing in Action Comics, really. Grant Morrison’s return to the Golden Age to draw inspiration makes me love this title and character again. The only thing I’d like to add? Agustus Freeman IV, a prominent member of the secretive “Metropolis Society” takes a young Clark Kent under his wing, to show how him to take his immeasurable power, and use it to the best effect for the greater good. But how does he know Clark’s secret? “I know a Kryptonian when I see one. And I haven’t seen someone from my homeland in 173 years.” Grant and Rags continue their collaboration.
Green Lantern
Fighter Pilot-Turned-Astronaut Hal Jordan is manning Ferris Aeronautics’ last hope for a government contract: an experimental small spacecraft using advanced propulsion technology. While out on its first voyage past Mars, a bright green light cuts across the sky. It impacts the red planet, hard. Always one to act first and think later, Highball Jordan lands to investigate. In a freshly made crater, an alien reaches out to Hal telepathically. “There isn’t any time. You must take me to Earth. I must see Doctors John Henry and Curtis Metca–” Before he can end his plea, a red flame engulfs the dying telepath. A vicious alien, with a fiery red glow, and an odd symbol etched into his chest, drips blood from its snarling mouth… hovering above menacingly. It lunges toward Hal. Grabbing the first thing that catches his eye, he flails a green obelisk at his attacker. Splorch! Hal throws the still smoldering crash victim into his shuttle, along with the now glowing green alien-smacker. He takes off towards earth, still pursued by the now-even-angrier blood-spitter. The ship lurches once. Twice. “Hal Jordan of Earth, you have the ability to overcome great fear. The war of emotion rages on. Welcome to the Green Lantern Corps.” A flash of emerald light, and the ship is hurdling towards a strange portal. Over the com system, Carol Ferris yells… “Hal! What’s going on?! We need the Sapphire back in one p–” Written by Geoff Johns. Art by Doug Mahnke.
Shadowpact:
Detective Chimp and a ragtag group of magically endowed heroes take mystically-themed odd jobs from out of their office… the back of the Oblivion Bar. First case? Getting June Moon put back together again, before the she tears the world into bits! (Hey, I loved this book when this was the pitch, and taking a few cues and characters from the already decent Justice League Dark would give this book a bit more levity, instead of unneeded angst. Plus, magic is cool.) Written by Gail Simone, art by Darwyn Cooke.
Teen Titans:
Everyone loves the circus… except Carmine Falcone. Don’t blame him though. Hally’s Circus turned down his offer for his family’s “amazing protection and accident insurance plan.” When the big top opened up that fateful night, it would never open up again. The only survivors? Dick Grayson, and Megan Moore. The Boy Wonder and the Girl of a Thousand Faces had their family taken away from them. Inspired by the heroes that have popped up around the world as of late (like the mysterious Batman of Gotham City, the Flash, and Superman) Dick and Megan vow to exact their revenge. But they can’t do it alone. A few Facebook messages later, a team of teens with amazing abilities unite to become the Teen Titans. Better not tell the adults. Written by Judd Winnick, art by Mike McKone.
Of course I have more pitches than these, but well, I only have so much space per week. I think I’ve made my point? The basic gist here is simple… Taking a chance by starting every book over, would allow a whole new set of readers an opportunity to get acclimated to characters they might otherwise feel are too heavy in history to start anew. And old fans can find that love of their characters, with just a few modern twists and a wink and nod. It’d be a move that – dare I say it – would take considerable huevos.
For those following along with all of the columnists here at ComicMix, no doubt you checked out Michael Davis’ article “Why I Like The New 52”and Michael made some great points. DC’s reboot of their entire line of superhero comic books was, as he so eloquently put it, ballsy. Oh, but the self-proclaimed Master of the Universe sadly is mistaken. To have completely rebooted 60+ years of continuity would take serious juevos. The fact is, DC hasn’t done anything close to that. It’s a point I’ve been jumping up and down on now for months… and who am I to disregard my own nerd rage over the issue. Let me get my soapbox, megaphone, and crazy pants. It’s rant-time, kiddos.
DC didn’t reboot much. In fact, they merely slapped #1’s on all their issues, and placed a gigantic asterisk besides nearly every single one. To call this the “New 52” is akin to calling Gus Van Sant’s Psycho completely original. You see, DC may have changed the numbering, but they haven’t reset their backstories. That is to say, they did – to a point.
Nearly every book they’ve put out has carefully chosen to pick events, mannerisms, and relationships established over the last half a century… and take us into their continuity mid-stream. You know David Copperfield didn’t actually make the Statue of Liberty disappear, he used a sly game of bait and switch. DC did the same thing. Whenever the fans asked the powers-that-be if a major event from continuity occurred in this new DCU or not… they waved their hands, misdirected us, and said “just keep reading.”
As Michael said, that takes serious balls.
Break it down. The New 52 reset a handful of the major players. Superman, Wonder Woman, and Aquaman were all spit-shined and given a thorough makeover. And their books are better for it. Superman’s series had been crushed under event after event. From his “death” to the his “electric blue and red” days, to the rise of New Krypton to its eventual fall, casual fans could hardly hit the shelf and feel like they could relate. Wonder Woman’s title was bounced from several amazing writers, who all tried in their own ways to add depth, class, and angst to Diana’s stories. But aside from murdering Maxwell Lord, what kid on the street could tell you what she did since?
And Aquaman? Where do I begin? Water-hand, squid-head, Sub-Diego. I rest my case. Putting a #1 on those books and forgetting the last 10-15 years, isn’t such a bad idea when your parent company starts clamoring for more widespread appeal, is it?
And other books? Still confusingly convoluted beyond reproach. In the Batman corner of the DCnU, there’s Bruce’s bastard son-turned-Boy-Wonder, Nightwing, Tim Drake, a Black Batman, Batman Inc., a Joker with a misplaced face, Batwoman, and Babs “Miracle on 34th Street” Batgirl. You can put all the #1’s you want on those books, but find me a kid who bought them who didn’t immediately take a stroll down Wikipedia lane to make sense of the countless callbacks to continuity which is now unconstructed. In Batgirl alone, all we know for sure is there was an accident, she lost the ability to walk, she got it back. Did the Joker shoot her? Well, all DC says is “keep reading.”
In Green Lantern’s sector, we have no less than four active Earth Men wearing the emerald ring. For those who picked up their shiny #1’s of GL, GL: Corps, and GL: Emerald Knights were treated to the following backstory: At some point there was this thing called Blackest Night… maybe. Hal Jordon killed a Guardian of the Universe, who had a Red, Yellow, Orange, Green, Blue, Indigo, and Violet power set… maybe. Kyle Rayner was the last GL… at some point? Sinestro now has a Green Ring. Again, these plot points were all in their respective #1’s. If you had no knowledge of these characters before starting these books, how would you approach getting your bearings on all this backstory? Ask DC, and they’ll gladly tell you “keep reading.”
Now, let me be clear and fair here. I read a ton of DC books. I love many of them. Of the New 52, Action Comics, Batman, Batgirl, Green Lantern, Animal Man, and Justice League Dark barely make it home before they’re read with near rabid fervor. As a fan of all of these characters, I have a great understanding of their mannerisms, backstories, and relationships to fill in the gaps that their respective books have yet to cover. Because modern comics are written more cinematically, their creative teams bank on the fact that their fan base isn’t coming into their books completely cold. In the case of newer characters, or transplants from Wildstorm, these books aren’t fairing so well. With 3 issues in, November’s top sellers were Justice League, Batman, Action, and Green Lantern. Blue Beetle, Omac, and Voodoo? 89. 104. 105. Without the allure of “read and see what continuity we kept, and which we threw out with the bathwater…” fans weren’t as kind.
Before the books all came out, we fans debated hotly how much of our continuity would be thrown into this potluck reset. DC cleverly keeps moving the target on the answers. The truth of the matter is this: The allure of a universal restart in comics is a pipe dream at best. At the end of the day, comic books are a business first. The DCnU was a stunt that paid off in spades.
To end 60+ years of backstory, and start all over simply will never happen. The industry thrives on the soap-opera format; keep what works, and forget the rest. If you pay close enough attention you’ll just go mad. I started this out as a rant on Michael Davis’ kudos to the DC’s testicular fortitude, but in looking at the stack of their books, and my dwindling bank account? It tells me Michael was right all along.
DC, you made me madder than hell, and took more of my money than you ever did before… all so I could make a grand sweeping point. And now, after I’m done shouting from the rafters, I realize that’s all you ever wanted me to do in the first place. Good for you. That took serious balls.
Comics legend Jerry Robinson died this morning at the age of 89.
Best known for his work with Bob Kane during the earliest days of Batman, the Trenton, New Jersey born artist started off as a teenager lettering and inking the Batman feature in Batman, Detective Comics and World’s Finest Comics. As Batman rapidly grew in popularity, he progressed to the role of character designer and, shortly thereafter, penciler of the feature. It was Robinson who named Dick Grayson “Robin,” not after himself (as often reported) but after N.C. Wyeth’s famed illustrations of Robin Hood. Shortly thereafter, Jerry designed Batman’s most famed enemy, The Joker. His original art for that initial design, in the form of a playing card, has been on display at various museums across the nation.
(It should be noted that the late Bob Kane disputed this and most other creator-credits regarding The Batman. As a matter of contractual obligation, DC Comics gives Kane sole creator credit for the feature, a matter of significant dispute with Robinson as well as writer Bob Finger.)
In later years, Robinson started an international newspaper syndicate (the Cartoonists & Writers Syndicate) and wrote an important history of the comics medium, titled The Comics: An Illustrated History of Comic Strip Art. He also served as president of the National Cartoonists Society in the late 1960s.
His other comic book work included Bat Masterson and Lassie for Dell Comics, Black Terror for Standard Publications, Green Hornet for Harvey, Vigilante and Green Arrow for DC (with his friend and frequent collaborator, Mort Meskin), Green Lama and Atoman for Spark Publications, Journey Into Mystery, Battlefront, Crime Exposed, Strange Tales and Battle Action for Marvel, Rocky and His Fiendish Friends for Gold Key, and Astra for Central Park Media.
Jerry received numerous honors and tributes during his long life, including four separate awards from the National Cartoonists Society: the Comic Book award in 1956, the Newspaper Panel Cartoon in 1963 for Still Life, the Special Features Award in 1965 for Flubs and Fluffs, and the Milton Caniff Lifetime Achievement Award in 2000. He was inducted into the Comic Book Hall of Fame in 2004 and, in 2010, was the recipient of the first annual The Hero Initiative Dick Giordano Humanitarian Award for his “outstanding efforts in changing comics one day at a time.”
The Giordano award focused on Jerry’s less-well known work as a political activist obtaining the release of jailed and tortured cartoonists in Uruguay and the Soviet Union. He also joined Neal Adams and others in the creator rights movement and aided Superman creators Jerry Siegel and Joe Shuster in their struggles with Warner Communications / Time Warner in obtaining recognition and financial security for their efforts.
[[[Jerry Robinson: Ambassador to the Comics]]], the definitive history of this critically significant cartoonist, was published by Abrams late year.
On a personal note, I had the honor and privilege of dining with Jerry and discussing both politics and comics on numerous occasions during the 1970s, 80s and 90s. When, last year, we met up at the Baltimore Comic-Con at the reception prior to his Giordano Award presentation, I found Jerry to be as gracious, as warm and as sharp as he had ever been, and he entertained my daughter with stories peppered with quotes from material I had written about him many, many years earlier.
It was one of the most wonderful moments of my life.
We hold in our hands the covers for DC Comics this February. As a child of four can plainly see, these comics have been hermetically sealed in a CGC 9.9 slab, and they’ve been kept in a #2 mayonnaise jar under a giant stack of returned copies of Holy Terror since noon today.
What do we have worth noting? The new look of Darkseid, and we’re far enough into the new 52 books that it’s time for Batman to start crossing over in all of them. Plus Mara Jade, the red-haired assassin who fell in love with her blond-haired man she was sent to kill– oh, I’m sorry, that’s from Star Wars. This is Mera in a jade outfit. Our mistake.
Walking home from food shopping, thinking about this week’s column. Thinking about all the “news that’s fit to print” (and some not) about the portrayal of women in comics. And I thought, has anyone written about the portrayal of men in comics? I’m talking down and dirty, hot stuff, glistening muscle, chest hair or no chest hair?, blue brown or green eyes, skin-tight costume, hunky super-duper M-E-N.
Distaff geeks unite!
I’ll start. Off the top of my head, and in no particular order:
Dick Grayson, a.k.a. Robin in New Teen Titans written by Marv Wolman and drawn by George Pérez. He looked like a guy I had a crush on in high school… and for years afterwards.
Clark Kent, a.k.a. Superman, drawn by Curt Swan, Jerry Ordway, John Byrne, and many others, up to and including Rags Morales and Jesus Marino.
Hal Jordan, a.k.a. Green Lantern. Just read recently that Julie Schwartz wanted him to look like Paul Newman. Explains a lot.
Scott Summers, a.k.a. Cyclops. Who’s behind those Foster Grants?
Peter Parker, a.k.a. Spider-Man. It was Revenge of the Nerds, thanks to J. Michael Straczynski and John Romita, Jr!
Adam Strange. Why can’t a Zeta-beam land him in my bedroom?
Now for the “live-action”:
Christian Bale makes delicious eye candy and engenders dirty thoughts as Bruce Wayne/Batman. But isn’t it odd that the comic version doesn’t make my “off-the-of-my-head” list?
Of course the true superhero, Christopher Reeve. “Easy, miss. I’ve got you.”
And I have always, always, always had a thing for Robert Downey Jr. Can’t tell you how many times I’ve watched Iron Man. Even sat through Iron Man more than twice just to look at him. Special mention for Sherlock Holmes.
Not so much for the blondes, generally. Though there is Chris Hemsworth as Thor. And Robert Redford (“See ya, Hubble”) in The Way We Were. And Jason Lewis as Jared Smith on Sex And The City – the scene where he shaves his signature long, blonde, thick hair in solidarity with Samantha as she loses her hair due to the chemotherapy, well, every man who has ever questioned why his girlfriend or wife left him should be chained to a chair ala Malcom McDowell in A Clockwork Orange and forced to watch that scene over and over and over until he screams Igetitigetitigetitigetit!
uh, sorry ‘bout that. where was i? she said sheepishly.
John Wesley Shipp as The Flash on the too-soon cancelled TV series.
No quibbling allowed on the next four. I am the columnist. I am allowed my all things Buffy. Anyway, maybe they started out as live-action characters, but they all appear in comics now. And don’t give me any lip about any of them not technically being superheroes. I don’t see you fighting demons and vampires and saving the world over and over again.
David Boreanaz as Angel, first on Buffy and then on the eponymous TV series. Broody, morose, dark and tragic. A vampire Hamlet.
Alexis Denisof as Wesley Wyndam-Pryce. I envy Alyson Hannigan.
James Marsters as Spike, a.k.a. William the Bloody. Just for the record, I’m one of those who believe in Spike and Buffy 4 Ever. S.W.A.K.
J. August Richards as Charles Gunn. He almost didn’t make the list, ‘cause his selfish actions led to the death of Fred, but I can’t deny that bod’!
Anthony Stewart Head as Rupert Giles. Loved him ever since the Folger commercials. ‘Sides, I’m a sucker for British accents. Ask John Higgins.
What’cha think of my choices, fellow geek women? Who are yours? Martha, y’ wanna start?
One of the last of the Golden Age greats, artist Sheldon “Shelly” Moldoff, died today at the age of 91.
