Happy Birthday, Joe Kubert!

Today is Joltin’ Joe Kubert’s birthday!

Nobody could draw tough guys and action like Joe Kubert. His name is synonymous with comic book hard core mega-action! In fact, one could say that Joe Kubert comics helped me while growing up. I didn’t go through puberty, I went through Kuberty!

Tarzan #245 featuring a very special guest appearance by Schatzi (January 1976).

Kuberty is that time on a young boy’s life when, bereft of other role models, he takes inspiration, strength and solace from classic tales of heroism and bravery in the search for adulthood. My strong sense of ethics and morality all came from the lessons I learned from comic books, mainly the four color adventures rendered by Big Joe K. You could do worse in life than emulate Sgt. Rock or Tarzan.

My mom is also a Joe Kubert fan, though she didn’t know it. The only comic she ever read when younger was the adventures of The Rock and still knows all the classic characters by heart. Go mom!


Wikipedia entry on Joe Kubert

September 2007 PS Magazine
! Free preventive maintenance magazine in PDF form courtesy of the United States Military! Featuring awesome military art by Joe, a really surreal cover and maybe even a Joe Kubert caricature of Angelina and Brad!

All my Kubert

Joe Kubert’s influence on Rick Veitch and his latest effort.

News story about the Joe Kubert School of Cartooning. Ignore the dumbtard user comments.

What If…Joe Kubert never emigrated to America?

The Golem! Joe Kubert has visited the legend of the Golem a few times in his career. Most notably in his character of the Ragman, co-created with long-time DC partner Bob Kanigher.

But this Golem by Joe from the Golden Age of Propaganda Comics has a special charm all it’s own.

Crunch C-Rack, indeed.


Zoltar, not to be confused with Moltar or Maldor

Set piece from the film Beastmaster 3 in the exterior dining area of the Studio Diner, adjacent to the Stu Segal studio in San Diego. Ate a birthday breakfast there the other day. The balcony has an awesome view overlooking a canyon and the back of a warehouse with a large number of barrels marked as containing flammable materials.

You can see how the props were used in the film here.


Hey baby

I generally dislike the on-going Spider-Girl series from Marvel. Well to be accurate, not disliked exactly, more like didn’t really care about the concept. Which is odd because the entire run is like reading a late-seventies Marvel series and as everyone knows 1970s Marvel was just about the best Marvel ever! I can’t blame Defalco, Frenz, Buscema and the rest for my lack of interest. They are doing what many creative teams seem unable to do these days…regularly put out a title without undue delays while giving quality entertainment.

But then I became a bit more interested in the book because of one character I noticed in Spider-Girl #12 (Nov 2007)


Darn it. Now I have to keep buying this series just to see what is going to happen with Little Ben.

Homicidal infants are always good for sales.


Friday Catblogging

Way back before comic book artists at conventions charged high rates for sketches in order to offset or discourage the predatory practices of “fans” who then quickly turn around and sell the art they procure online, I was lucky enough to meet up with the cartoonist, the late B. Kliban, who was a guest at the 1981 San Diego Comic Con. We were lounging at the hotel pool (he was a guest, I was a Comic Con attendee pretending I was allowed pool-side with the celebrities). We talked for a bit and eventually I let him know my mom was a big fan of his work and that she had all of his books and several merchandised items.

Unprompted, Kliban asked for my convention art pad I carried around for autographs and sketches and drew a variation of his “Sneaker Cat” piece. I was prepared to pay a premium for the work but he refused any gratuity. What a gentleman. I had the sketch professionally framed and presented it to my mom for her birthday.

I heard from other people shortly after that meeting that Kliban would often give away his art. Sometimes when people asked Kliban to autograph a book of his strips he would take the book and tell the autograph-seeker to return sometime later that day. To their surprise, Kliban would have filled the margins and blank spaces of the pages of the collection with cartoons, notes and other drawings. Since Kliban was a big deal with best selling cartoon books and a licensing franchise in full swing that he could remain so approachable was pretty cool.

I’m not saying that the creators of today would not perform a similar feat for a real fan but certainly the market of today would make an artist think twice about giving away a sketch, because in many instances the artist would in effect be working for free for someone who is basically a reseller out to make a quick buck off of their work.

Thanks again, Mr. Kliban. Your gift adorns a wall of my mom’s house to this day.