Peter David Merges With The Infinite

I remember being handed a Hulk comic at summer camp, featuring the gray-skinned Hulk of the period.  I only knew the Hulk as the green skinned guy who yelled a lot and I was stunned at what I saw.  He was now a Vegas enforcer named "Mr. Fixit", and it was absolutely wild.  I soon learned through the Bullpen Bulletins, it was Peter David driving that effort.

Peter David's name was kind of everywhere for the first decade and a half I read comics, and of his many great efforts, I particularly liked his X-Factor and Supergirl.  He had a unique ability to find ideas that were out there, and, like The Hulk, turn them into something familiar but new.  X-Factor became a complex story about a mutant team affiliated with the Pentagon.  Supergirl went from the Matrix character to the Earth Angel inhabiting a dead girl to a girl who could kind of leap far and was bullet proof.  I assure you, this all made sense at the time.

He also transformed Aquaman, created Young Justice, handled She-Hulk, Star Trek, Superman and endless more.

David will be remembered among comic fans as one of the most creative minds of his era, making oddball ideas make complete sense and for caring so much about his work.  

I know he'd been having health issues for a while, and I'm sorry he passed.

Coogler Watch: Sinners (2025)

Watched:  04/26/2025

Format:  Drafthouse

Viewing:  First

Director:  Ryan Coogler

I guess Marshall is my "there's a vampire movie out, we're going" buddy.  And, really, Marshall was the ideal movie buddy for this one.  He's an avid music fan, a musician, and his rock sensibilities - when I met him in the early 1990's - were blues-based.  He's also a fan of vampire flicks, although I don't think I've convinced him to watch the Hammer vampire flicks yet. 

In addition, Marshall is well-read, and with an academic background in creative fiction, his critical analysis is always impressive.  But he refused to send me a blog post for this movie so that I didn't have to write one.  He is refusing me this one simple request, and so I am hoping if I butter him up enough with this high praise, next time, he'll do it.

Anyway - count me in with the people who loved Sinners (2025), and am excited about seeing it again.

SPOILERS

Greg Hildebrandt Merges With The Infinite

This is so strange.  Just last month, I was looking for collections of the work of Greg and Tim Hildebrandt.  

I've recently decided that as I slow my comics collecting to make sure I have collections of the works of the fantasy, sci-fi and commercial artists who impacted me as a youth - and the Hildebrandts were certainly among those.  And, whether you knew Greg Hildebrandt's name or not, it's likely you knew and loved his work.

Hildebrandt has passed at the age of 85.   

I can't even put my finger on why I can recognize a Hildebrandt versus a Larry Elmore, for example.  Or Joe Jusko or Frazetta.  Nerds will know what I'm talking about.  It's like recognizing handwriting.  But something about the stances, the framing and how light is painted gives it away.  The Pinocchio below throws me off because of the lack of humans.

Anyway - for decades, the Hildebrandts produced some amazing work that brought to life either words on a page or found the iconography in comics and movies.

John Cassaday Merges With The Infinite

For years, I've had a Superman comic on my wall in a frame.  It was a curious moment in comics history - and/ or Superman history.  A much ballyhooed signing of a popular television and movie writer to the title Superman had gone south and the writer had basically walked off the book.  A new writer - a local writer! - came in and took over Superman and... saved the day (thanks, Chris Roberson!).  

Roberson's work was great - that's another post - but Cassaday on this cover, as he'd been covering the title for a minute, was perfect.  It was Superman, lit from below, iconic, symmetrical, lantern jawed and strong without seeming impossible - a perfect design in my book.  And to this day, looking at that cover is one of the images I have in mind when I think of the wonder that Superman can be.

John Cassaday has passed at the age of 52.

Cassaday's work is some of my favorites from my adulthood, full stop.  His character work was astounding, his lines clean, his ability to convey emotion and meaning with a gesture insane.  His interiors were gorgeous, but I assume he just made so much more money doing covers, he just had to give it up.  I don't remember the last time I saw Cassaday doing a full comic book.  

Like many who survived the 1990's comics market, I came to him through Planetary - a joint with Warren Ellis that was one of those comics you just waited months for because it took that long to come out.  I won't go into what Planetary was about, but now I wish I had the collections.  Maybe DC will reprint it all.  It was a gorgeous, insane book spanning a secret world under our own and a brilliant concept.

He drew the Captain America I suspect they looked at *hard* when Marvel Studios was pondering how they'd portray Cap (yes, I know about Hitch's work... I stand by my statement).  Chris Evans seems much more the Cap of this post 9/11 run that changed Cap forever than he seemed Ultimate Cap's pain-in-the-ass American fighting man.

And, of course, his Astonishing X-Men is legendary.  His Lone Ranger work should have been far bigger than it was.

It's always a tragedy when someone passes.  And when someone who's work you like goes.  And worse when they're just 52.  

But we're comics-folk, and in fifty years, some comic nerd is going to be waving images of Colossus in his hand, talking about Astonishing X-Men and the great John Cassaday.  Someone is going to have his Superman as their lock-screen.  Someone is going to learn that Planetary was a comic in 2002 before it was a movie series starting in 2040, and they'll stare in wonder at what the human hand and eye could do.

Your work will be missed, sir.  And if the outpouring of grief online is any indication, you will be missed by the talent you worked with, the pros you knew and the fans, who universally attest to your kindness.  Not a bad legacy.

Shelley Duvall Merges With The Infinite

Actress and producer Shelley Duvall has passed at the age of 75.

Most folks from my generation first saw Duvall in Popeye, before we stumbled upon other Robert Altman movies and, of course, Kubrick's The Shining.  Duvall also produced children's shows - I remember stumbling across them in high school, but she left Hollywood by 2000.  

Duvall was a fellow Texan, and grew up in the Houston area.  Most recently, she lived in Blanco County, which is a short drive west from Austin and due north of San Antonio up 281.  

In the last decade, Duvall had been known to have issues with mental illness, and was known to the folks of Blanco.  In recent years, it seemed she had received some help and appeared in a film in 2023.

We'll miss knowing Ms. Duvall is out there, either as an actress or just living in Blanco.  

Doc Watch: Burden of Dreams (1982)

Watched:  07/03/2024

Format:  Criterion

Viewing:  First

Director:  Les Blank

As I mentioned when discussing Fitzcarraldo, as good as the movie is, it's probably more famous for the impossible conditions around the production of the movie - which was shot on location in the Amazon with a crew and cast comprised of indigenous locals and Klaus Kinski, famously one of the least agreeable actors to have ever walked the face of the Earth.

Burden of Dreams (1982) documents the production.  

I won't say the documentary fails to convey the catastrophe that was the production, but if you also saw Hearts of Darkness: A Filmmakers Apocalypse, a documentary chronicling the epically horrendous filming of Apocalypse Now, everything else is going to suffer by comparison.

Hearts of Darkness was originally captured by Coppola's wife, Eleanor Coppola, and so there's an intimacy to the conversations and scenes shown that Burden of Dreams is unable to achieve.   Burden of Dreams seems shot like a respectful third-party observing with the good-graces of Herzog and crew, and while it's a catalog of many of the miseries of the set - and there were innumerable setbacks and problems - it's not a camera rolling during conversations that feel private or raw, until maybe the end, where Herzog is clearly at his breaking point.

And while the emotional intensity and feeling of creeping dread is not there while watching Burden of Dreams, it's still an absolute ride watching events unfold, and the very obvious problems baked into what Herzog seemed hellbent on doing, against reason and logic.  And I wish the movie had been willing to be less dispassionate about how Herzog's weird hubris fucked with the lives of thousands of people, and got people injured and killed and disrupted multiple native tribes and the massive impact he had during his relatively short stay.  

Part of the problem is that a lot of what happened seems to have happened when the filmmakers weren't around, and so it's being reported to them when there's spats with or amongst the locals.  We never really see the rainy season, and they missed the whole part where Jason Robards shot weeks of film before taking ill and quitting the movie - meaning the movie also lost Mick Jagger.

Equally odd about the doc is that only Herzog and a few locals get real interviews.  We don't hear from Kinski, co-star Claudia Cardinale (I would love her version of events) or Miguel Angel Fuentes, who seems like he'd have plenty to say as a young actor.  

But what is abundantly clear is the recklessness and naivete with which the film was mounted, and the trust and hope the locals put in Herzog that doesn't seem to really pay off.  They're not dumb, and they know that, for example, if the boat's pulley system breaks and people are hurt of killed, it will not be Herzog who gets hurt - and they seem very unsure why they're supposed to be taking this risk.

Managing the long shoot - which has full stretches where nothing is shot - is insane, and it seems like a lot of trouble could have been managed with a better producer or production manager to ensure boats were where they needed to be, people were where they needed to be - but it's also clear if anyone tried to control this chaos, they'd have gone crazy while failing.  This is a movie that went up against the jungle and - much like Fitzcarraldo - maybe barely got what it wanted out of all the trouble it went through.

But, yeah, when you see Herzog sort of shrugging off his discomfort about hiring a prostitute for his film set to keep the peace - on the advice of a priest - you've gone through a rabbit hole.

Further - you may have seen memes or clips of Herzog's meditation on the jungle and what it represents, but it is - by far - the most powerful moment in the film, and by that time, you're inclined to agree with Herzog's take.

Anyway - I do feel like Fitzcarraldo is a richer experience for having had seen the doc and having some "how did they do that?" questions answered in this film.  I just wish they'd been able to get some better access.  

Dashiell Hammett at 130

Today, according to the internet and the granddaughter of the author, is the 130th Birthday of American writer, Samuel Dashiell Hammett.  

Hammett is probably best remembered as the author of The Thin Man and The Maltese Falcon, and - - among crime and mystery fiction fans - put down the foundations for what became the modern idea of a pulp/ noir detective.  Hammett's creations, Sam Spade (Maltese Falcon) and The Continental Op (short stories, Red Harvest, etc...), would be refined into Lew Archer by Ross McDonald and Philip Marlowe by Chandler.  The winding, complex stories would become standard issue for detective fiction, and Hammett's international impact can be felt in places as unlikely as Kurosawa and Leone movies.  

In many ways, we're still chasing Hammett.  

The leg up Hammett had, aside from an astoundingly punchy and economical prose, was his background as a Pinkerton Detective* and his first hand experience.  As well as his time swapping stories with his fellow private eyes.  

Hammett himself was as interesting a cat as they come.  He left his family, was an ardent leftist and anti-fascist, served in WWI and again in his late 40's in WWII in Alaska - despite a lifetime of health issues, and spent most of his middle-age and to his death as the lover of renowned playwright Lillian Hellman.    He served time for his political convictions,  and didn't publish any new original fiction for the last 25 of his life.

I've read all of Hammett's novels and a lot of his short fiction.  My bookshelf at home is kind of a mess of Hammett and Chandler, somewhat to the neglect of other writers.

I'm maybe a little quick to point to Hammett as the source of everything that came after, but that's okay.  I'll be that guy.  In my personal pantheon, he's about as important as it gets.  And I still very much reading my first Hammett, purchased in a used book store - a 1980's hardback collection of his books, starting with Red Harvest.  And it was one of those instances of feeling like you're both entering a whole new world and, also, this is what you've been looking for all along.  

Anyway - pick up some Hammett some time.  And if not that, put on The Thin Man or Maltese Falcon this week, and have a cocktail for Dash.  

*yes, I know the Pinkerton's legacy is complex to say the least

Happy Birthday, David Byrne

I very much remember the first time I heard or saw Talking Heads - because the two happened at the same time.  I would assume it was sometime in 1983 that the video dropped for Burning Down the House on MTV.  This would have made me about 9 years old, and it didn't take much to sell me on a video or song, but the band appearing in white tuxedos in what looked like a ballroom in a shoebox, and absolutely kicking ass - while also being replaced in some shots by folks who were *not them* in white tuxedos, did not need any literal translation.  It just made sense.

At the front of the band was a wild eyed man who looked like no other front-man in rock and roll.  He was thin, almost gaunt, with slicked dark hair and committed to the bit.  And in a landscape of Europop, American rock like Journey and Springsteen, and even the hints of punk that made its way to MTV, it was like seeing your awkward high school chemistry teacher strap on a guitar.

Radio play and MTV were enough for me.  I was into them, but I was also a kid happy with whatever form I was getting music.   I was aware from 4th grade that Talking Heads were not in step with the pop music scene, were not fitting neatly into any categories, but did their own thing.

Trina Robbins Merges With The Infinite

Cartoonist, comics-maker, artist, historian and beloved comics icon Trina Robbins has passed.

I became aware of Robbins around 2003 or so during the comics blogging boom, and learned of her work in Wonder Woman and underground comix at about the same time.  I have to assume it was a CBR or Newsarama interview tied to her Go Girl! comic I was picking up.

She became a figure within modern comics culture as someone who carved her own path, wasn't afraid to speak her mind and was deeply knowledgeable about the history comics, especially about women creators.

The last Robbins thing I picked up was a reprint of her (and Tanith Lee's) Silver Metal Lover adaptation that went into reprint via Kickstarter.

I recommend taking a look at her Wikipedia page as well as any tributes you see.  I'm not going to do her life and career justice here, but we want to mark the passing of one of the greats.

Ramona Fradon Merges With The Infinite

Literally just yesterday I pre-ordered three comics as they had covers by Ramona Fradon.  Today I have learned Fradon has passed.

Fradon had just retired this January at the age of 97 - and I assumed those covers were her last for DC.  That's a career, friends.  So, clearly, she was well and working right up til recent days.  Thanks to some good people on the internet, she'd been recognized for her role as a woman in comics during the Silver and Bronze Age - in a vastly male-dominated industry.  She was the right artist for many-a-project, and I'm glad she had a sort of late-career renaissance when folks recognized her.  And, frankly, her art was still great right up til January.

If you're unfamiliar with Fradon's style, she's credited with the original design for Metamorpho, a DC hero, and I tend to think of her work as tilting more towards cartoony than illustrative, with an excellent use of line to suggest character.  She's probably almost as famous for her work on Aquaman as Metamorpho, 

In addition to work across genres at DC, she also worked on Brenda Starr, Reporter, a newspaper strip.  

I'm sorry she has passed, but glad she had such a long life bringing so much great art to the world, and really enjoy a new generation of fans the last decade or so.

"Glory Boat" Splash Page Goes Up For Auction

A while back, Stuart asked me what original comics art I would like to own.  And the answer to that includes complex math in my head, but for simplicity's sake, I'd cut to the chase and say - probably the Glory Boat splash page from New Gods #6.  See above.

seen here in full color

Starting around 1971, The Fourth World Saga was Jack Kirby's original epic/ opus when he returned to DC from starting Marvel, the work spanning four titles:  New Gods, Forever People, Mister Miracle and Superman's Pal, Jimmy Olsen.  Unthinkable in the last thirty years, Jack Kirby, then 54 years old, pulled this off by drawing, plotting and writing 4 titles per month, in the process creating a universe on top of the DC continuity that had started, sort of, around 1938, give or take.  

Keith Giffen Merges With the Infinite

Comics legend Keith Giffen has passed.  

I can't begin to quantify how much an impact Giffen had on the industry and on me as a reader.

I knew Giffen first as one of the talents on the famed mid-80's Justice League America and I am the guy who still thinks we all dropped the ball not making The Heckler a top seller.  

He's responsible for so, so many characters and stories that make up the DCU, with amazing runs on Legion of Super-Heroes and innumerable other titles.  If Giffen's name was on it, it was worth checking out.  Just last week I was pricing a collection of his Doom Patrol on eBay. 

I'll just drop this wikipedia link here, because it's just way too much for me to repeat here.  The man was a giant, and responsible for countless ideas, many of which are the best at multiple comics publishers.  He gave us worlds upon worlds.  

I'm finding myself surprisingly shaken by Giffen's passing. He was one of the pros I always wanted to meet, and he was just in Austin, but I didn't make it to the Con.  I am sure the industry is going to be in deep mourning this week as folks say goodbye to their friend and inspiration.

Y'all take a minute to remember Mr. Giffen and all he brought to these worlds and this medium we love.

 

John Romita, Sr. Merges With the Infinite

John Romita, Sr., one of the classic Marvel bullpen of creators of the 60's-era (and well beyond) has passed.  

Much as Carl Barks was "the Good Duck Artist" to a generation or three, Romita was, to me, THE Spider-Man artist.  Sure, he did plenty else, but his work on Spider-Man was so foundational to the character, his design and humanity brought to each panel, a key player in re-figuring the style at Marvel, and therefore the style of modern comics.  

The world of Spider-Man was surely full of colorful characters, but they weren't defined by their powers, they had unique personalities and character, and Romita brought it right to the surface.  

He was also the artist who brought classic moments we're still dealing with in comics.

Like, the intro of Mary Jane Watson.

and, of course, everything with the Stacy's.

And that's how everything ended up with Gwen and Captain Stacy.  Everyone cool and living happily ever after.

I love this era of Spidey.  It's the height of personal and super-hero drama, and has Spidey working in a milieu I think he operates in best.  And when I think of this era, sure I think the title is well written, but it's also the Marvel Method, which means Stan worked out a storyline with the artist and cut them loose, to come back and fill in dialog later.  So it's artistic storytelling, refusing to rely on text or words.

We'll miss knowing Romita Sr. was out there.  We lost a giant this week.

The Great Al Jaffee Merges With the Infinite

Cartoonist/ artist Al Jaffee has passed.

If you don't think you know Al Jaffee, you do.  He was one of the staples of Mad Magazine for decades and decades.  He's the reason you were always trying to properly fold the back of your Mad into thirds.  

Jaffee was 102, which means he saw almost *everything* comics had to throw at the world.  He would have been about 17 when Superman arrived, fer chrissake.  His first work was published in 1942, and he joined Mad in 1955.  He delivered art to Mad until the end of 2019.  Mind-bending.  

As a cartoonist, Jaffee didn't just do fold-ins.  He also delivered classic Mad bits with a pitch and tone that informed the comedic sensibilities of the many generations who read his work.  I, myself, always appreciated the Snappy Answers to Stupid Questions, which it probably took me decades to deprogram myself from emulating.

That longevity and variety of offerings means Jaffee brought laughs to folks for 80 years.  I mean, I've lost a lot of time putting this post together just because I've been reading Jaffee's work.  It holds up like crazy!

We'll miss Jaffee, but, man, what a career. 

Angelo Badalamenti Merges With the Infinite

Composer and the gentleman who scored my middle high school years, Angelo Badalamenti, has passed.  

Charles Schulz at 100

Today marks the 100th birthday of cartoonist Charles Schulz, creator of pop culture force, comic strip and animation favorite Peanuts.  

The Peanuts characters are embedded into American and Western culture in ways that will mean they last for a few more generations at minimum - becoming indelibly associated with holidays thanks to cartoons playing each year for the past nearly 60 years.  These days, the cartoons live on over on Apple+, but there's also plenty of decoration and ornamentation that includes the staple characters, and who doesn't know the beats and moments of the specials, even if just by osmosis?

When Apollo 10 was mounting up, NASA asked to use Snoopy as their safety mascot.  Since, they've adopted Snoopy as a mascot for safety writ large and just kind of in general.  Even as we cross this 100th birthday, there's a Snoopy doll floating around inside Artemis as it circles the moon.  That's pretty amazing.  

Of course it all started with a comic strip, and Schulz drew almost 18,000 installments over 50 years.  He created household names, concepts (Lucy pulling the football away, kite-eating trees), brought diversity to the comics page and delivered a lot of joy into people's lives.  In an era of splintered interests, it's hard to understand how something like a daily comic strip could cross generational, geographic and sociological divides as a surprisingly smart reflection of the world.  

Schulz himself went by "Sparky", a name picked up from a comic strip, Barney Google (Spark Plug was the name of a horse in the strip).  He had comics in his blood and managed to keep his strip on track, and the translations of his characters to other media remarkably consistent.  It's hard to imagine fifty years of work, but he did it.  And the strips still run in papers across the country.

Schulz passed on February 12, 2000, but here we are, with Snoopy circling the moon.  Let's hope there's a Snoopy snack bar when folks are living up there.

Tim Sale Merges With The Infinite

Comics artist and illustrator Tim Sale has passed.  

Sale's work was singular, unmistakable, and reminded an industry what could be done with a certain minimalism if you knew how to capture the essence of character in gesture, expression and motion in a line.  He volleyed between Marvel and DC for a good bit, but I believe I remember learning of his work through Haunted Knight and then the superlative Long Halloween.  

His work at Marvel provided a depth to characters with whom we're all familiar on multiple series, such as Daredevil: Yellow and Spider-Man: Blue.  

As a Superman reader, it's hard not to point to the defining work of A Superman For All Seasons, a new chapter to the life of a young Man of Steel finding his place in the world.  It's a beautiful comic with a deeply sympathetic take on Superman that you simply wanted to comfort as he sought his place in the world.

Comic Artist George Pérez Merges With The Infinite

One of the first comics I read that turned me into a comics fan was in a DC Blue Ribbon Digest (1984), a reprinting of Tales of the Teen Titians #50, one of several landmark issues of the famous run by George Pérez and Marv Wolfman.  Even in that reduced size, I was blown away by the art - in detail, character design, and ability to convey and carry emotion.  And Tales of the Teen Titans was always full of emotion.  

a page from Tales of the Teen Titans 50

Hence, the name George Pérez was one I always took seriously and who made me realize the contribution of the artist in a comic book - both in partnering with the writers, but also how good work absolutely elevated everything in a comic.  

I was a boy when Wonder Woman was rebooted post-Crisis, and boys did not read Wonder Woman (this is the dumbest thing, but it was true).  So it's to my eternal regret that I missed the initial run of George Pérez's solo work on the title, which, if you've never seen it, is achingly gorgeous and simultaneously spawned a generation of artists trying to be Pérez. In the meantime, I've collected every issue and likely have most of it in 2-3 versions of collections.  I may love Kirby and his dynamic flow and over-the-top energy, but Pérez's vision of Themyscira, Olympus, of a professor's home - and his shockingly grounded writing of the series filled with Greek Gods and supernatural terrors also gave way to the emotions of tween girls, middle-aged military brass, and the brave face of a fish-out-of-water Princess making her way through modern-day Boston.  It's so good.

Pérez's Wonder Woman

With his work we don't talk about issues or runs, we talk about "eras".  That's the impact.  

Whether it was Avengers, the phenomenal work of JLA/Avengers or even his indie work - his look and his eye changed everything.

In recent years, it was known his eyesight wasn't great and his health was not good.  And in recent months he announced he was terminal, and would pass.  Unlike so many deaths, which happen as a surprise to the public, Perez's announcement allowed the fans to celebrate him and let him know the impact he'd made on them.  

There is no picture of modern comics I can muster that doesn't include Pérez.  He picked up the torch and the challenge Neal Adams put before everyone to push their work as hard as they could.  And it's unbelievable we'd lose two such giants within days of each other.  

But I am glad the industry and fans got to let him know what he meant.  Godspeed.

Comics Great Neal Adams Merges With The Infinite

Meeting Adams in November, 2013 

I am shocked and saddened to hear that Neal Adams passed on Thursday.

From The Hollywood Reporter.

Adams' work looms large for all comics fans, and for us Superman and Batman fans, it's seminal work.  Of course he's covered all sorts of other things.  Jamie has an Adams' Wonder Woman print on her office wall.  But to me he's the guy who brought Muhammad Ali to the DCU and advocated for Siegel and Shuster to be recognized financially and as creators when Superman: The Movie was in production.  

He brought an illustrative realism and humanity to his characters that pushed all of comics to a new level when he arrived, and he never quit pushing boundaries as an active creator right up to his passing.  

Do yourself a favor and look for some Neal Adams comics.  

Noir Watch: They Won't Believe Me (1947)

Watched:  10/02/2020
Format:  TCM Noir Alley
Viewing:  First
Decade:  1940's
Director:  Irving Pichel

An interesting noir with a series of curious twists and a solid cast.  Presented on TCM's Noir Alley, host Eddie Muller brought in author Christina Lane who recently released a book on the film's producer Joan Harrison, Phantom Lady: Hollywood Producer Joan Harrison, the Forgotten Woman Behind Hitchcock (which would make a welcome Christmas gift for us at Signal Watch HQ).  Harrison is worth discussing for her path into the film business, sensibility she brought to Hitchcock's story-telling, and... frankly, some of the other movies she's produced - including Phantom Lady* and Ride the Pink Horse - are fantastic and owe a lot of their story strength and sensibility to Harrison.

They Won't Believe Me (1947) is framed with a murder trial. Young is the defendant, and he's telling his tale/ spilling his guts from the witness stand, trying to explain what really happened, and which looks, honestly, really, really bad for him.