Darwyn Cooke: A Remembrance of His Work

I had a completely different, much lighter piece planned for yesterday, and I'll probably post that recommended reading next Friday, but when I heard the new that Darwyn Cooke, easily one of my favorite cartoonists in comics, had entered palliative care for aggressive cancer,  I decided to pull back and write an appreciation of Cooke's work and post it today. Sadly, it was just confirmed that Darwyn Cooke has passed away, and while part of me wanted to wait a little longer, I decided instead to just pour out my feelings right here and right now.

I picked up Batman: Ego, a prestige format one-shot that Cooke both wrote and drew the week it came out, and that was a comic that completely blew me off my feet. It was an examination of Batman's psyche, diving into the dark recesses of why Batman does what he does, and when I put it down, I looked at the name of the creator and I though, "This guy is going to be huge." I found out he had next to no comic credits before that. but had worked with Warner Animation on Batman: The Animated Series and Batman Beyond, and you could see the influence of those shows' designs on his work, or vice verse, but everything Cooke touched had its own special Cooke feel as well.

Cooke didn't stick to one genre. While he drew amazing superheroes, he didn't even stick to one universe. His work on DC was usually reminiscent of the Silver Age, with bright, bold panels, but he drew the first arc of Ed Brubaker's Catwoman, one of the most noir influenced of any Batman title, and Cooke wrote and drew the original graphic novel Selina's Big Score, a prequel to that run that was an absolute noir. While he wrote two charming, Silver Age-inspired Spider-Man stories in the anthology title Tangled Web he also pencilled an issue of the late X-Force series, a character spotlight on U-Go-Girl, a comic that was very modern in theme and tone, as well as a the spinoff mini-series Wolverine/Doop.

It was clear from his work how much Cooke loved crime stories. Not only did he do Selina's Big Score, but he resurrected Will Eisner's The Spirit for DC, following Eisner's mystery man/crime formula, folding Denny Colt into a more modern milieu without losing what made the series what it was. And his adaptations of Donald Westlake/Richard Stark's Parker series were a delight, these gritty noir stories adapted perfectly into comics, with style that matched the content; I write a recommendation of them very early on in this blog's life, and those books are some of the best adaptations of prose into comics that I have ever read.

There's so many other things Cooke did, that it wold take a series of posts to discuss them all. His Before Watchmen: Minutemen spotlighted his attention to historical detail. His work on Jonah Hex and All-Star Western showed he was just as capable with Westerns as he was with crime stories. He drew countless covers for all manner of comics. His last work (to date anyway. We can hope for some remaining work to make it out as a tribute), Twilight Children, was a sci-fi or fantasy piece with Gilbert Hernandez that was a strange little tale of a town in Latin America that is nothing like anything Cooke had done before.

And I've left one piece off this post until the end, because it was something that is so special to me that I wanted to thing a bit before I wrote. DC: The New Frontier was a retelling of the origins of the Silver Age of DC Comics set in a more or less historically accurate late 1950s. The Red Scare is in full swing, and racism is a day to day fact. But, despite all of that, it is a story of hope, of the dawning of a new age, of heroes, and of possibility. It is a comic that is filled with every DC hero you can imagine, and many an obscure Silver Age appearance. Martian Manhunter is a huge part of it, and Cooke captures the lost soul/stranger in a strange land thing better than most. Hal Jordan, the test pilot, is the standard bearer for the age, as he was a hero in both identities, but ti doesn't skimp on the big three either; as a matter of fact, his Wonder Woman in the series is one of the most physically intimidating and fascinating portrayals of the character I've ever seen. I not only bought all six issues, but I have the gorgeous, slipcased Absolute Edition with tons of research and background, and it's one of my favorite graphic novels in my collection.

I sadly never got the chance to meet Darwyn Cooke. I read all sorts of stories about him; some said that he could be prickly, others said he was a warm, pleasant soul. I think that just makes him human. He was the number one artist I would have wanted to get a commission from, and would have paid top dollar, and although I probably would have asked for the Batman Beyond suit to stay with my Batman theme, it would have been hard to resist asking for Martian Manhunter. Sadly, that will never come to pass. I wish he could have done a couple more Parker adaptations. I wish he could have released the Image mini-series, Revengeance, that was announced last year. I wish his family could have spent more time with him. My condolences to the Cooke family, and I hope you know how much his work touched me and his other fans. Thank you, Darwyn Cooke.

In his memory, the Cooke family has asked for donations to be made to the HERO Initiative and the Canadian Cancer Society.

Reviews of Comics from Wednesday 12/11

Batman #26
Story: Scott Snyder
Art: Greg Capullo

"Zero Year" continues in this issue, with Batman dealing with Doctor Death and the GCPD. The deeper into this new version of Batman's origin we get, the more I like it. While it does borrow bis from earlier stories, it's not a greatest hits version, trying to strip mine elements from all the different Batman origins. Scott Snyder  is creating a new story that still stays true to Batman's history, and that adds some new elements. The big change this issue is the revelation of exactly what Bruce's problem with Jim Gordon is. After the fakeout with Lucius Fox from the end of the previous issue, and knowing Gordon and Batman's relationship is what it is in the present, I'm sure Snyder has something up his sleeve, especially especially since John Layman's Detective Comics "Zero Year" crossover focused on Gordon's incorruptibility. It's interesting to add this wrinkle into Batman's past, giving him a reason to distrust Gordon instead of Gordon distrusting Batman as in Year One. Meanwhile, the Doctor Death storyline is a great little Batman versus a mad scientist story, and using Doctor Death, the first "name" villain in Batman's history, is a nice nod; I also have to say the new visual for him is creepy, and something not seen in Batman comics in the past. The flashbacks to Bruce's journey to become Batman and the sensory deprivation ritual takes touches of Grant Morrison's run and adds them in; frankly, Morrison's work is usually so quickly retconned out of continuity or ignored, it's nice to see an element hearkening to it. I hope we get some resolution with Death in the next issue, so we can move back to the Riddler, but Snyder is playing with a large canvas, and that scope is part of what makes "Zero Year" an interesting Batman story.

Batman: Li'l Gotham #9
Story & Art: Dustin Nguyen and Derek Fridolfs

Batman: Li'l Gotham is proving itself to be more than just a way to read stories that feel like they could have taken place in the pre-Flashpoint DCU; it feels like a spiritual successor of Batman: The Animated Series. This struck me this issue not only because it featured a cameo by Simon Trent, the Grey Ghost, a character from one of the best episodes of B:TAS, "Beware the Grey Ghost," but also because it took that element and worked it seamlessly into the world that creators Dustin Nguyen and Derek Fridolfs have created. That sort of synthesis is what made B:TAS great; it took the best elements of Batman and mixed them together to create something uniquely its own. The first story in this issue has Batman and Robin chasing Clayface into Gotham Comic Con. There's a lot of con and fandom humor, but none that is mean spirited towards the fans. Damian's plan to draw Clayface out at the end of the issue is a hilarious moment, and perfectly suited to Damian's personality. Nguyen gives Batman a speech at the end to Damian when Robin is upset about changes made to his favorite comic character that perfectly reflects the best attitude one can have about continuity, one I share. The second story, a Labor Day story for The Carpenter, contractor to the supervillain set, is a cameofest, with appearances by most of Batman's rogues, plus some others from around the DCU. Paul Dini created The Carpenter during his run on Detective Comics and Batman: Streets of Gotham, and being a Dini creation, she fits perfectly into a world that is heavily influenced by his animated series work. This title is starting to wind down, with only three issues left, and I am going to miss this breath of fresh air every month.

Lazarus #5
Story: Greg Rucka
Art: Michael Lark

The second arc of Greg Rucka and Michael Lark's dystopian future series, Lazarus, kicks off with the fallout from the first arc still being felt. Forever Carlyle is still regretting the death of an innocent man, something a Lazarus, a family enforcer, probably shouldn't, and her evil brother (More evil? More overtly evil?) is on the run. When Forever arrives at a border with another family's property where he might have fled, she is confronted by a group of serfs serving the other family as guards. They immediately begin to be verbally abusive, and Rucka makes a quick and very matter of fact comment about rape culture and rape threats; he doesn't dwell on it, but makes his point and moves on. As the scene ends, Forever is shot from behind by one of the men, and instead of massacring them herself, she uses her words, wits, and the fear of her powerful family to get the others to execute the man themselves. This level of intellect is part of what makes Forever such and interesting character. There are new characters introduced, and we get the first look at what it's like to be a person in this world who has no connection to the ruling elite, and its not a pretty picture. The other scene in the issue that left a strong impact was seeing a very young Forever sparring with a teacher, and the callousness with which her "father," the head of the Carlyle family, treats her. The world of Lazarus is being built brilliantly, and each issue gets us closer to a turning point for Forever. There are plenty of dystopian stories out there, but Lazarus is top of the heap, with a grounding in reality and characters who are well rounded.

Richard Stark's Parker: Slayground
Story: Donald Westlake as Richard Stark; adapted by Darwyn Cooke
Art: Darwyn Cooke

I think I said about as much as I could about the excellence of Parker and these adaptations as I could in my recommended reading on Parker but a new volume is something to be looked forward to, and Slayground lives up to, and exceeds, it's predecessors. In an interview, I believe Cooke said that Slayground was one of his favorite of the Parker novels, if not his favorite, and from nearly the first page, I could see why. Not only does this put Parker in the place where he works best, behind the eightball with only limited resources, but it is a visually impressive story. Parker is trapped inside a closed amusement park with men hunting him, and so the set pieces that the story is set against work perfectly with a medium with a strong visual component. The mostly silent sequences where Parker slowly sets up traps for the mobsters and crooked cops that are going to come after him are some of the best Cooke has ever done, and it makes the payoff as Parker springs these traps all the more satisfying. It's a tour de force from both Westlake and Cooke, and it's probably my favorite graphic novel of the year. Also, this book contains the short story, "The Seventh," originally available only in the beautiful oversized hardcover collection Parker: The Martini Edition. You should still check out The Martini Edition for its gallery of extras, but its nice that if you don't have $75 to drop, you can get to read this gem too.

Sherlock Holmes: Moriarty Lives #1
Story: David Liss
Art:Daniel Indro

Dynamite Entertainment's newest Sherlock Holmes related series is one focusing on Holmes's archenemy, Professor James Moriarty. For a character who appeared in only one story, and who was mentioned in only one other, by his creator, Professor Moriarty has taken on a life of his own. He's appeared in countless movies, short stories, novels, and comics. I've read more than a few stories of Moriarty surviving his battle with Holmes on the Reichenbach Falls, but I was curious to see what writer David Liss would do with it. Liss impressed me with his Marvel work on Mystery Men and Black Panther, with a great noir sensibility, and while this isn't a noir, it is a well rounded portrait of Moriarty. Moriarty is brilliant, conceited, and the perfect match for Holmes. Told through his internal monologue, we see exactly to what degree of contempt and respect Moriarty holds his great nemesis; Holmes hangs over the action, despite not appearing. The story picks up directly as Moriarty pulls himself from the river after being swept away from Holmes, and he immediately sets out to return to power. He demonstrates his own skills of deduction, and his cruel calculating nature. But Moriarty seems to have a soft spot for a pretty face, and when he falls afoul of locals in protecting a pretty barmaid, Moriarty makes a pledge to protect her prized possession when she is felled by the local Baron, an alchemist. While the world of Sherlock Holmes is one of pure rationality, it is often mixed with the supernatural in pastiches, and so Moriarty versus an alchemist is not jarring. With the issue's end, Moriarty is on the run, and has a very different prize with him than he expected. The people pursuing the Professor should know that the prey with nothing left to lose is the most dangerous, and I have a feeling Moriarty will be far more than they can handle.

A Monday Hodgepodge of Reviews and SDCC News

So, after spending a week in San Francisco (and alas not San Diego), I'm quite a bit behind in my reading, with a week and a half's books waiting to be read, but I will try not to leave the Matt Signal faithful without something to read. So, I'm tossing out three reviews for new Image Comics first issues from the past month, and then some of the news that got me the most excited from San Diego Comic Con this past weekend.

Lazarus #1
Story: Greg Rucka
Art: Michael Lark

This book was one of my things to look forward in 2013 and it is as good as I expected it to be. Greg Rucka is a writer known best for his strong female protagonists, and our new lead, Forever Carlyle (or Eve for short) looks to be the next in a line that includes Kate Kane, Renee Montoya, Tara Chace, Carrie Steko, and Dex Parios. The world of Lazarus is a dystopian future ruled over by powerful corporate families. Eve is the Lazarus of the Carlyle family, a member of the family whose duty it is to defend the family interests, and has been equipped with extra normal abilities to do it, mostly the ability to heal any wound and to rise from the dead. The book opens with Eve being killed, and then returning to exact revenge on those who killed her. We see her relationship with one of her brothers, which is a cold one at best, and see him more or less sic her on the people who might have leaked family information with the same care that Montgomery Burns sics his hounds on any of the townspeople of Springfield. That might seem like a funny analogy, but this world is one where everyone who rules is a Mr. Burns, so it's more chilling than that. It seems that the series is going to be about Eve finding her way when she realizes just how corrupt the system is, and how unloved she truly is by her family, how she is simply viewed as a tool, which is a strong thematic core, but after only one issue there's only so much I can infer. Michael Lark is one of my favorite artists in comics, and his work here is some of, if not entirely, his strongest. The world is gritty, hard, and there is an edge of desperation to the common people that is so at odds with Eve's family that Lark makes so clear. The first issue of a series set in another time or another world is an exercise in world building, by both writer and artist, and Lark does a tremendous job, both in the intense violence of the early pages and the quieter moments as Eve does her job efficiently back with the family. The second issue of Lazarus arrives this Wednesday, and it is one of the most anticipated books of the week for me.

Ghosted #1
Story: Joshua Williamson
Art: Goran Sudzuka

Ghosted is a supernatural caper title, something like Thief of Thieves meets The Haunting. Jackson T. Winters is a master thief rotting in jail and waiting to die. The opening prison scene is brutal, showing rape, murder, and violence as if they are everyday occurrences in jail, which they are. But when he's broken out of jail by an eccentric rich man and his gorgeous fixer, he's given an opportunity to escape all that. But he has to pull off something he's never done before: he has to steal a ghost. Despite a firm belief that there's no such thing as ghosts, Winters takes the deal, assembles a team of expert con artists and crooks, picks up a psychic he doesn't trust, and heads to a big mansion that's about to be torn down to find a ghost for his benefactor. By issues end, the whole party has arrived at the haunted house, and are inside. We see through the eyes of the psychic that this house is indeed very haunted, although her response to that proves that she has her own agenda. While we haven't gotten to know any of these characters except Winters too well, there's great potential in this odd and diverse cast, and writer Joshua Williamson has done a great job of setting the scene. Goran Sudzuka, probably best known as one of the artists on Y: The Last Man, has done a beautiful job with this issue, and the spirits as he draws them are creepy and perfectly in tone with the horror end of the book.

Sheltered #1
Story: Ed Brisson
Art: Johnnie Christmas

At a survivalist camp, as the end times near (or so its inhabitants think), the children rise up and kill their elders, leaving them to move forward in what will be a new world. That's the premise behind Ed Brisson and Johnnie Christmas's Sheltered. While we don't get to the thrust of the arc of the series until the end of the first issue, we get a very solid issue, starting with a typical day in the life at the camp. We meet people, mostly teenagers, and see what it's like living off the grid. Only at issue's end, when a seeming attack from the outside turns into one from within, do we see what's really going on. Ed Brisson, whose Murder Book back-ups in Near Death fit perfectly with that neo-noir, and whose sci-fi mystery Comeback was one of my favorite Image minis of of late last year, does a great job of making these characters three dimensional; these aren't your stereotypical redneck anti-government whackos, but people who care about their families and children, only to have it go horribly wrong. Johnnie Christmas has an angular style, somewhere closer to realistic than a Bill Sienkiewicz or Ashley Wood, but still lanky and somewhat off kilter, which works for a story where the world is upside down. Next issue is when the series will really shift gears into what it promises, a story of youth trying forge a different world, something that I have a feeling will not end well.


Now, as for San Diego, well Marvel and DC didn't announce a whole lot of new comic related projects, and Image had talked about all their new projects during Image Expo, but still there were a few things to get excited about:

-  Firstly, we have a December release for the next of Darwyn Cooke's brilliant Parker adaptations, Slayground. New Darwyn Cooke is always something I'm excited for, and Parker is the height of his craft, so this is big news.

- Jimmy Palmiotti and Amanda Conner are going to be cowriting a Harley Quinn title. Frankly, DC probably doesn't need another Bat related title, but Harley is a fun character, and Palmiotti is one of their strongest writers. While I haven't read much Amanda Conner has written, the Supergirl short in Wednesday Comics, was charming and fun, so I look forward to seeing what she can do in a longer form. We don't know the artist yet, but the first cover at least is by Conner, and is her typical wonderful.

- Joe Hill's new comic project, his first after the end of Locke & Key, will be NOS4A2: Welcome to Christmasland, a prequel to his most recent novel, the brilliant and decidedly creepy NOS4A2. With art by Stuff of Legend's Charles Paul Wilson III, and with covers by Locke and Key's Gabriel Rodriguez (who did chapter art and the inside covers for the novel), this looks to be another great horror story from Hill.

- Marvel had a couple interesting X-Men items, and of special interest is Wolverine: Origin II, a project that I wouldn't be excited for except for the fact that Kieron Gillen is writing it, whose Uncanny X-Men run was one of the strongest in years, and it will feature Mr. Sinister, my favorite X-villain, and one who Gillen wrote masterfully. I also find myself curious about Amazing X-Men almost in spite of myself, since I don't want to buy another ongoing X title, but Jason Aaron and Ed McGuiness are a great team, and Nightcrawler's return is a plus, as I feel he has been missed more than any other character in the X-titles.

- Finally the superhero movie news. I'm curious to know where Thanos is headed, now that it's been revealed Avengers 2 is called Age of Ultron and there's no sign of him in Guardians of the Galaxy, which I'm feeling more confident about as more is revealed. But the big one is a Batman/Superman movie. That just speaks to my inner fanboy in ways that I can't begin to describe.

Recommended Reading for 7/13: Richard Stark's Parker

If I have one favorite creator currently working in comics, it would be Darwyn Cooke. Attaching his name to any project is a sure fire way to get me to buy it; a comic company could put out Darwyn Cooke's The Phone Book, and I would snag it first day (on an unrelated note, what will we as a culture do when we don't have the phone book to reference as the object of boredom?). Cooke is a double threat as one of comics' premiere writer artists. His pacing in both aspects of his career is impeccable; his plots know when to take their time and expand on a plot point and when to barrel forward at top speed. His art style is clean and detailed, with dynamite action and prefect flow from panel to panel. Some of his best works (especially DC: The New Frontier) harken back to a nostalgic 1950s and 1960s, with an art deco design that feels so real you could walk into it.

Donald Westlake was one of the great writers of noir and hard-boiled fiction; his name is mentioned in the same breath with Raymond Chandler, James M. Cain, and Dashiell Hammett. He wrote in an era where men were hardcases and women were dames, and the world was a place of shades of grey. For a genre that often has cardboard cut outs for characters, Westlake knew how to create a fully formed character who was still a noir protagonist. Westlake and Cooke's styles line up perfectly in that they both know exactly how to pace a story, and one of Cooke's first original graphic novels, Selina's Big Score, has the feel of one of Westlake's great capers. So it's only fitting that Cooke's current tour de force and opus is a series of adaptations of some of Westlake's best known books; under the pseudonym Richard Stark, Westlake wrote over 20 novels starring the criminal Parker, and Cooke has set out to adapt four of the best.

While Parker stories have been adapted for other media before, Westlake never let the filmmakers who made those films call the protagonist Parker. One aspect of these adaptations that is especially cool is that, Cooke so impressed the author, he was given the blessing to use the Parker name, and Cooke has not let Westlake down in his faithfulness. Cooke does not use any word that was not from the original novels. He does not put in all the narration, since the art does so much of that storytelling, but Cooke does not stray from Westlake's original blueprints. And why would he need to? When you have a perfect gem, there's no reason to cut it.

Parker is a career criminal, and completely unrepentant about it. He does whatever he needs to to make a buck, and doesn't particularly care who might get hurt along the way. Not the least bit a hero, Parker doesn't even really qualify as an anti-hero, except for the fact that he's usually knocking over guys who are even worse than him. He has few friends, and as for the women he is with, well he might care about them, but they don't exactly have a great life expectancy. Parker is the prototypical noir protagonist; a loner who just looks out for number one . Despite this (or at some times maybe becasue of it), you can't help but root for Parker, wanting to see him get even or get what he deserves, and to see him put paid to the other bad guys.

So far, Cooke has released three full length Parker adaptations, all published by IDW publishing: The Hunter, The Outift, and The Score. The first chapter of The Outfit was a highlight from another Parker, The Man With the Getaway Face. He also released a short adaption from another Parker novel, The Seventh. Any of the three graphic novels are readable on their own, so feel free to start at any point, but I would recommend starting with The Hunter, which is the first Parker novel, and gives you access to Parker's version of 1962.

The first two Parker adaptations are stories of Parker getting even. The Hunter sees Parker, having escaped a betrayal by his wife and his partner, seeking them to exact his revenge, while The Outfit has Parker escape a mob hit just to rip the mob off and exact his revenge. Parker is usually cast in the roll of the underdog at the beginning of the stories, but always comes out on top by outthinking and outshooting his targets. The Parker novels are all elaborate capers. A pleasure of them is how elaborate the capers are, but without being so elaborate as to be confusing to the reader. Parker plays every side of every situation against the others, and does it with a cold precision.

Cooke draws Parker looking like none of the numerous actors who have played him; he is Westlake's Parker come to metaphoric life. He is a handsome man with a glint of malice in his eyes. Cooke does a great job of making the reader see those gears turning in Parker's mind. Even after Parker gets plastic surgery to help him escape his old life, he is still the same Parker, and there's things in his facial expressions and in the gestures and poses that Cooke gives him that make it clear that this is the same man. All his characters have a great look about them, and he does a great job of capturing Westlake's characters.

Cooke is an artist's artist, and he does some great things with style throughout the series. He has thoroughly researched the era, and everything, from the architecture, to the cars, to the clothes are authentic from the early 60s. Especially noticeable is the sequence in the middle of The Outfit where we see Parker pulling off a series of daring heists against the mob. Each of the capers is drawn in a different style; one is a magazine article from a Time-like magazine, one is a cartoon, etc. It's a testament that while each of these short pieces are very different, they are all clearly from the same artist; they're all so different from Cooke's distinct style, but all fit within the world that the story's are set in, and all are part of one man's vision.

One of the hardest aspects I have found for many comic book artists to really get right is a good fight. Not a battle between titans, but the chase between two guys before they start punching and kicking the hell out of each other, and the aftermath. And while Cooke can draws gorgeous cityscapes and beautiful women reclining seductively with the best of them, he is also one of the best fight artists I have ever seen. Parker is a tough guy, and he often settles things with his fists and gun, and when Parker is having a throwdown with someone, Cooke's knowledge of continuity on panel shines through. You can absolutely follow the fight from punch to punch, and it's brutal. The fights aren't gory, but they are real, and you can feel your face ache when Parker lands a good punch.

Another aspect of Cooke's art that really stands out in the Parker adaptations is the coloring. Coloring is usually for me one of those arts in comics that I don't notice unless it's shockingly terrible or amazing. The Parker adaptations are two color, and not just black and white. The coloring has a yellow to it that makes me think of old newspapers and magazines, which does a great job of adding to the nostalgic feel of the books. The page quality is also a lovely weight and feel. These are BOOKS, something to be looked at, held, and enjoyed. No glossy stock or quick binding that will fall apart. These are volumes to put on your shelf and go back to look at later to appreciate the work IDW put into producing them.

This week saw the release of the third of the Parker adaptations, The Score, with the final one, Slayground, announced for next year. The Hunter, The Outfit, and The Score should all be available at any comic book shop, and if they're not right there, ask your local retailer to order them. And if you fall in love with Parker like I have, see if you can track down the Parker Martini Edition, reprinting the first two volumes in an oversized, slipcase format, with the original short from The Seventh, and a gallery of all the actors who have played Parker as drawn by Cooke. It's worth the look, trust me.