Sunday, June 30, 2013

Daily Panel | The Superman Power Trifecta







All from New York World's Fair #1 (June 1939). Written by Jerry Siegel; drawn by Joe Shuster.

A seriously great comic in which Lois and Clark cover the New York World's Fair and have a series of adventures related to it. Great banter between the two reporters (and Lois and Superman) and the short adventures are all fun and exciting.

Saturday, June 29, 2013

Daily Panel | 'I declare war on reckless drivers!'



From Action Comics #12 (May 1939). Written by Jerry Siegel; drawn by Joe Shuster.

In an especially odd mission, Superman tries to put an end to automobile fatalities by destroying impounded vehicles, used car lots, unsafe manufacturers, and generally terrorizing careless motorists. Some of his actions - scaring a drunk driver into sobriety, for example - are noble, but others - like physically harming radio employees to bully them into letting him on the air to declare his war - are pretty awful.

Friday, June 28, 2013

Daily Panel | Black Gold. Texas Tea.



From Action Comics #11 (April 1939). Written by Jerry Siegel; drawn by Joe Shuster.

Superman fights probably his most despicable opponents yet: stock brokers who are selling shares of what they think is a dry oil field. I'm pretty sure that stocks don't work the way they're described in this story, but suspending disbelief, these guys are unrepentantly heinous.

Superman gets back at them by buying up all the bad stock, then personally drilling for oil on the property until he finds it. He then sells back the stock to the crooks for an enormous sum and destroys the well.

Temple Runners hate cephalopods



[via Ape Entertainment]

Thursday, June 27, 2013

Daily Panel | 'You loathsome wretch!'



From Action Comics #10 (March 1939). Written by Jerry Siegel; drawn by Joe Shuster.

Another undercover adventure for Superman, this time to a prison chain gang that's being inhumanely run by a corrupt warden. Interestingly, Clark Kent learns about this from an escapee, but betrays the escapee's trust - while also earning the disgust of Lois and all the other newspaper staff - by turning in his source. In the end, it's an act of heroism on his part - willing to be hated because he thinks turning in the escapee is the best way to prove what's going on at the prison - but it goes to show that though Superman always does what he thinks is right, that doesn't mean that he always is.

Wednesday, June 26, 2013

Daily Panel | Wanted: Superman!



From Action Comics #9 (February 1939). Written by Jerry Siegel; drawn by Joe Shuster.

In case there was any question to the legality of Superman's actions in Action Comics #8, in the next issue the cops are out to get him. Lois to the rescue.

Tarzan 101 | Tarzan of the Funny Pages



Celebrating Tarzan's 101st anniversary by walking through Scott Tracy Griffin's Tarzan: The Centennial Celebration.

In January 1929, the first Tarzan newspaper comic strip debuted, an adaptation of Burroughs' Tarzan of the Apes by Hal Foster. That's a sample above, via a wonderful tribute to Foster on the Collectors Society message boards. The adaptation was such a success that they kept it going with Return of Tarzan and beyond, though Rex Maxon was brought in to replace Foster, who got busy with other things.

The strip continued to adapt novels until it caught up with Burroughs and then moved on to adapting movies and even radio adventures. Griffin chronicles all of this and shows examples of strips from all the major contributors: Foster, Maxon, Burne Hogarth, Ruben Moreira, Bob Lubbers, John Celardo, Russ Manning, Gil Kane, Mike Grell, and Gray Morrow (who drew from freelance scripts, including one by Scott Tracy Griffin himself). The strip is still going and - according to Griffin - remains the fifth longest running strip today.

Here's a quick chronology of who worked on the strip and when he started:
  • Hal Foster (daily: January 1929)
  • Rex Maxon (daily: June 1929)
  • Rex Maxon (debuted the Sunday color strip: March 1931)
  • Hal Foster (Sunday: September 1931)
  • Burne Hogarth (Sunday: 1937)
  • Ruben Moriera (Sunday: 1945)
  • Dan and Sy Barry (daily: 1947)
  • Burne Hogarth (Sunday: 1947)
  • John Lehti (daily: 1948)
  • Paul Reinman (daily: 1949)
  • Nick Cardy (daily: February 1950)
  • Bob Lubbers (1950; starting with Lubbers, one artist drew both daily and Sunday strips)
  • John Celardo (1954 )
  • Russ Manning (1967)
  • Reprints (1971)
  • Gil Kane (1979)
  • Mike Grell (1981)
  • Gray Morrow (1983)
  • Eric Battle (2001)
  • Reprints (2002)
  • Roy Thomas and Tom Grindberg (2012)

Tuesday, June 25, 2013

Daily Panel | Filthy, crime-festering slums



From Action Comics #8 (January 1939). Written by Jerry Siegel; drawn by Joe Shuster.

Another example of Superman's fighting for social justice: he demolishes inhabited slums, knowing that the government will send aid to rebuild nicer homes for the residents. This kind of activity got repeated in future versions of the character, but always with the government's endorsement and support. In Action Comics #8, he's working all on his own.

Monday, June 24, 2013

Daily Panel | 'But I already have a strong man!'



From Action Comics #7 (December 1938). Written by Jerry Siegel; drawn by Joe Shuster.

Superman joins a circus to keep it from going under and falling into the hands of some shady characters.

Learning to love Lois Lane



I wrote a guest post for Women Write About Comics' celebration of Lois Lane's 75th anniversary. It's been just over a month, so I'm hoping it's cool to repost it here. I got some negative feedback to the original article that indicated some readers had misunderstood my point, so I've re-titled the essay and lightly edited it for clarity. I hope it's obvious that I like Lois a lot. The point of the essay is simply to explain why this wasn't always the case and what changed, so that hopefully someone else can make the same journey I did.

I’m thrilled that Lois Lane is getting her own celebration during the 75th Anniversary of Action Comics #1, but I haven’t always felt that way. It took me a long time to warm up to her. Some of that is my fault, but most of the blame falls on the storytellers who’ve made comics about her over the years. I can take responsibility for my own lack of empathy, but in order for readers to feel something about a character, there first has to be some effort from the creators to make a character worth having feelings for. Lois hasn’t always had that, and the problem goes all the way back to her first appearance.

To be fair, Action Comics wasn’t created for adults to read and analyze. No one involved in it had any idea that any person ever would be looking at it with a critical eye towards social commentary and gender issues. It was made for kids and the relationships are all very straightforward. Everything is centered around Superman, of course. He’s the protagonist and readers are supposed to root for him without questioning why. Even when he breaks the law – which he did nearly every single issue in the early days – it’s understood that he’s doing it on behalf of the oppressed and needy. Anyone who helps Superman or cheers him on is a good person. Anyone who gets in Superman’s way is bad. Unfortunately, Lois fell into that second category for decades.

It’s not quite as simple as that. Even in its childishness, Action Comics presented Lois as a confusing character. Superman desires her, but has no idea how to treat her. By creating the outrageously meek persona of Clark Kent (and in those early comics, it was definitely Clark who was the fabricated personality, not Superman), he intentionally pushes Lois away with his timid behavior. But whenever he has an opportunity to relate to her as Superman, he still gets in his own way by being snobbish and indifferent to her, if not outright hostile.



Young boys with a developing interest in girls would be able to relate to what Superman’s doing of course. Clark represents the way they fear being treated by the girls they want to get to know. Superman, on the other hand, represents how they wish things were: a flipping of roles so that the boy has the upper hand and is able to reject the girl. The Clark/Lois/Superman triangle makes complete sense in that context. But it doesn’t make a lot of sense in the context of how healthy, functional adults really act.

If these fantasy characters were real people, Superman would be acting like a complete lunatic. He wants a relationship with Lois, but sabotages any chance at that at every possible turn. Lois is at least consistent and understandable. Her anger towards Clark seems harsh at times, especially when she calls him things like “unbearable coward” and “spineless worm,” but she’s committed to her contempt. And she’s just as unswerving in her adoration of Superman. For that reason, she feels a lot more real than Superman does.

The irony is that she’s not the main character and not the one that readers are intended to identify with. And recognizing one’s self in this early version of Superman meant seeing Lois as an obstacle. If one of Superman’s goals is to be with Lois, then he should be. Young boys aren’t going to see his dysfunctional nature as the problem; if there’s something preventing his relationship with Lois, it must be her. So immature boys see her either as a judgmental harpy with Clark or a fawning gold-digger with Superman. Either way, the subtext becomes that she’s not worthy of him. The problem is her.



Stated another way, Lois is a victim of being the supporting character in Superman’s story. As she was introduced and written for decades, she wasn’t a fully developed character with her own dreams and reasons for doing things. She was just an obstacle to Superman’s getting what he wanted. And it wasn’t just that she got in the way of his having a relationship with her, either. She constantly tried to sabotage his career as a journalist by stealing his stories. She tried to undermine his superhero work by proving that Clark Kent and Superman were the same person. She jeopardized his mission to save the world by constantly getting in trouble and so monopolizing his attention.

This role for Lois carried into future stories – including those in other media – so that even once Superman had corrected some of his childish behavior, Lois was still an antagonist. A perfect example is the 1948 movie serial starring Kirk Alyn. Alyn plays Clark Kent as a gentle character, but he’s not as cartoonishly pathetic as Siegel and Shuster depicted him. In order to keep the Lois/Superman relationship intact though, Lois still has to dislike Clark, but it’s not as clear in the serial as in the comics why that is. She’s been promoted from writing sentimental human-interest stories (her job in Action Comics #1) to being an ace reporter, but she’s still threatened enough by the novice Clark Kent that she actively interferes with his proving himself a capable journalist.



Lois’ situation would only get worse in the comics, especially when she (sort of) got her own series. As the title suggests, Superman’s Girlfriend, Lois Lane continued to focus on Lois in relation to her connection with Superman. Her being in love with him from the early issues of Action Comics reached ridiculous levels and continued even when she’d gotten to know him well enough to see what a jerk he often was to her.

In short, later writers (in comics and other media alike) amplified elements of what was already a problematic, juvenile relationship as depicted by Siegel and Shuster. And since Superman was the hero, Lois was the one who came off looking horrible. As I said above, the creators didn’t make any effort to present Lois in a way that inspired feelings for her as an individual.



As comics fans began to age – and as it began to be apparent that not only boys were reading these stories – readers started seeing Lois differently. Instead of simply a cog in Superman’s story machine, she was a character all her own, and a pretty awesome one. She was a reporter during a time when there weren’t a lot of women reporters. She was actually the cool, consistent, and sane person in the Clark/Lois/Superman relationship. All those times where she got into trouble could also be seen as brave and heroic.

Some of those older, more thoughtful readers became writers. And some of those got to write Superman comics and reveal a different side of Lois Lane. That began spilling into other media, too. What was becoming noticeable in Superman: The Movie was perfectly clear in Lois and Clark. Lois had the potential to be hardcore and badass. Completing the cycle, the comics began reflecting this even more.

It’s a tough transition to make for fans who grew up on old depictions of Lois Lane. Because of that, she still has a long way to go before she’s universally accepted as a complete character who should be allowed to function as the protagonist in her own story. Even if the story has Superman’s name on the cover, Lois is important enough to his world that 75 years later she should have her own set of goals and motivations beyond just affecting Superman’s actions.

And she often does; I’m not saying that it never happens. It just needs to happen more. Because when storytellers begin consistently treating Lois as a real character and not just someone who gets in Superman’s way, more readers will be better able to see her that way too.

Sunday, June 23, 2013

Daily Panel | Superman's murderous manager



From Action Comics #6 (November 1938). Written by Jerry Siegel; drawn by Joe Shuster.

A con man takes advantage of Superman's popularity by claiming to represent the Man of Steel's financial interests. He sells all kinds of licensing rights and even hires an actor to appear as Superman and vouch for him, but Lois figures out the scheme.

Saturday, June 22, 2013

Daily Panel (Part 2) | You don't have to read my mind.



From Action Comics #5 (October 1938). Written by Jerry Siegel; drawn by Joe Shuster.

Action Comics #5 continues with Lois of course going to cover the accident at the dam. Her car breaks down (told you this was the beginning of a formula) and Superman rescues her. Unlike her 1978 movie counterpart though, this Lois is quite vocal about her feelings for the Man of Steel.

Daily Panel | No job for a girl



From Action Comics #5 (October 1938). Written by Jerry Siegel; drawn by Joe Shuster.

As Glen Weldon points out in Superman: The Unauthorized Biography, Action Comics #5 is the first Superman story to put the classic formula together. It all starts with a dam bursting and Lois' editor telling her that she can't handle the story because she's a "girl" (his words).

Friday, June 21, 2013

Daily Panel | Superman's real name has always been Richard



From Action Comics #4 (September 1938). Written by Jerry Siegel; drawn by Joe Shuster.

Another undercover adventure for Superman, but this one was especially weird. Superman needs to infiltrate a football team to stop a game from being fixed, so he replaces one of the players. Without the player's permission.

Superman drugs the guy and keeps him tied up in a flophouse while he takes the poor schmuck's place. He ends up fixing the guy's miserable life in a spectacular way, but still...

Bob Hope hates cephalopods



Thursday, June 20, 2013

Daily Panel | This party is not going to end well



From Action Comics #3 (August 1938). Written by Jerry Siegel; drawn by Joe Shuster.

Another example of Superman's fighting social injustice by sticking it to the Man. In this issue, he battles a greedy industrialist who's skimping on safety measures in his mine. What's interesting about the story is that Superman only appears in costume in one panel. Most of the time he's undercover as a mine worker. This wouldn't be the last time Superman took the undercover approach either.

Tarzan 101 | Tarzan's Africa



Celebrating Tarzan's 101st anniversary by walking through Scott Tracy Griffin's Tarzan: The Centennial Celebration.

Like yesterday's post on the Ape-English Dictionary, there's no way for me to properly relay the information in Griffin's section on "Tarzan's Africa." At least, not a way that I'd feel good about. It's just maps, so I could scan them all and post them, but the point of these posts isn't to steal from Griffin's book.

His double-page spread of Mel Greifinger's map above wouldn't fit on my scanner anyway, but he also includes some smaller scans of nine maps from Burroughs' own notes. I'd dig a whole atlas of enlarged scans of those, but they're interesting even at the smaller size and include areas like Pal-ul-don, Pellucidar, the Lost Empire, etc. I don't want to turn this into a direct ad for Tarzan: The Centennial Celebration, but this is a chapter best experienced directly.

Wednesday, June 19, 2013

Daily Panel | For Truth and Justice



From Action Comics #2 (July 1938). Written by Jerry Siegel; drawn by Joe Shuster.

In his earliest appearances, Superman didn't fight supervillains; he fought against social injustice like war profiteering, usually by exposing the greed of whomever was behind the injustice and them forcing him to stop. Hence his "never ending battle for Truth and Justice." The American Way part wouldn't be added until he became a rallying point for patriotism during WWII.

Tarzan 101 | How to Speak Ape



Celebrating Tarzan's 101st anniversary by walking through Scott Tracy Griffin's Tarzan: The Centennial Celebration.

Though none of these posts do justice to the amount of information in Griffin's book, this one and tomorrow's are especially unequal to the experience of reading Tarzan: The Centennial Celebration for yourself.

Last week we covered Griffin's section on the Tarzan fan clubs and mentioned Burroughs' Tarzan Clans of America and his Official Guide for it. Part of that guide included a complete glossary of terms Burroughs developed for the ape language spoken by Tarzan and his tribe; Griffin reproduces the whole thing (I estimate around 250 words) in his book, in both Ape-English and English-Ape.

Before perusing the dictionary though and learning that the Ape word for "friend" is "yo" and "popo" means "eat," Griffin's readers get a brief overview of the language, its use in the Tarzan novels, a note from Tarzan at the Earth's Core about pronunciation ("It sounds to man like growling and barking and grunting, punctuated at times by shrill screams..."), and the canonicity of "umgawa."

Tuesday, June 18, 2013

Daily Panel | 'You needn't be afraid of me. I won't harm you.'



From Action Comics #1 (June 1938). Written by Jerry Siegel; drawn by Joe Shuster.

Trying something new. I'm not sure what this is going to be or how often I'm going to do it, but I know I want to talk comics more on this blog and I don't have a lot of time to do it. Sharing favorite panels from comics I'm reading might be fun.

Been reading a lot of early Superman lately, so you'll probably see some of that for a while. I've come to love Joe Shuster's loose, almost careless style. It's dangerous and exciting.

Adele and Baltimora in 'Tarzan and Rain'



I am never listening to any other song ever again. (Mashup by The Reborn Identity)

Monday, June 17, 2013

Start the presses! Kill All Monsters is ready for print.



I updated the Kickstarter page a week or so ago, but just realized that's the only place I've mentioned that Kill All Monsters has gone to press. If all goes according to plan, it should be on its way to distributors (including me, for Kickstarter supporters) in another week or two. After that, it'll start its journey to supporters and stores. I'll of course keep you updated as we hit milestones.

(Image from the awesome Dateline: Silver Age)

Wednesday, June 12, 2013

Tarzan 101 | Tarzan for Children



Celebrating Tarzan's 101st anniversary by walking through Scott Tracy Griffin's Tarzan: The Centennial Celebration.

Burroughs was concerned that Tarzan's popularity among kids would cause the ape man to be seen as a children's character, but that didn't prevent the author from serving his younger audience in some significant ways.

To start with he wrote a Tarzan story directed primarily at children. It was a publisher's idea, as was the notion of having Tarzan meet a couple of young twins: a boy and a girl. Burroughs went with the concept, but - uncomfortable with presenting a young girl in skimpy jungle clothing - changed the lead characters to two boys. The result was The Tarzan Twins, the book that Burroughs wrote after Tarzan and the Ant Men and later regretted dumbing down for kids. The story was pretty limited in its scope and the two boys spend most of it trapped in a village of cannibals before they escape and run into Tarzan at the end.

The Tarzan Twins didn't sell a lot, but Burroughs wrote a sequel anyway, Tarzan and the Tarzan Twins with Jad-bal-ja, the Golden Lion. This one was a little more expansive and also got a girl into the plot. Picking up where the first book left off, the boys are quickly separated from Tarzan and run into some priests of Opar who've captured the daughter of a missionary, intending her for human sacrifice. Tarzan and the girl's father eventually meet up and plan a rescue, while the children are also working hard to survive and hopefully to escape. The two stories were combined in 1963 as Tarzan and the Tarzan Twins with illustrations by Roy G. Krenkle (including my favorite ever drawing of Queen La, below). The missionary character would go on to show up in Tarzan and the Lost Empire, asking Tarzan to help find another of his children.



The Tarzan Twins weren't the only effort to make Tarzan accessible to children. There have been many children's editions of the regular novels, as well as pop-up books, Endless Quest books (a Choose-Your-Own-Adventure knock-off that began as a Dungeons and Dragons series, but eventually included characters like Tarzan and Conan), and - most recently - Andy Brigg's series for YA readers. In addition to books, Burroughs served kids not only by licensing all kinds of Tarzan toys and games, but also by starting a fan club for children that he hoped would become as big as the Boy Scouts of America.

Burroughs' Tarzan Clans of America was probably the most organized attempt at a Tarzan fan club, but it wasn't the first. In a chapter called "The Tarzan Clubs," Griffin goes through the history of organized Tarzan fandom, starting with the grassroots efforts of boys like Herman Newman (The Tribe of Tarzan) and Isaac Boorstyn (The Edgar Rice Burroughs Club). Both kids corresponded with Burroughs and got not only his endorsement, but also ideas from the author about activities and rewards for club members. It was Burroughs' hope that the clubs could go international, with each local tribe choosing its own totem.

Signal Oil was the first to launch a fancy, corporate club with membership cards, buttons, and prizes. The company also sponsored the 1932 Tarzan radio show, but had to discontinue the club when it got bigger than they could afford to manage. Burroughs was inspired by its success though and started his Tarzan Clans with an Official Guide that taught groups how to structure themselves, organize meetings, play official games, sing official songs, and make Tarzan-inspired weaponry. He hoped that MGM would sponsor the club as part of the publicity for Tarzan Finds a Son, but no dice. When WWII broke out and the U.S. focused its attention overseas, the Tarzan Clans of America fell by the wayside.

Tarzan stories, on the other hand, continued to inspire children for decades.

Monday, June 10, 2013

Draw All Monsters | Frankie B. Washington and Daniel Mead



Frankie B. Washington (Robot God Akamatsu) went and colored that RGA/KAM piece he did a while back. It's gorgeous and available as a print from Frankie's DeviantArt page.

Also on DeviantArt is this great piece by Daniel Mead. I didn't realize how excited I would be to see Dressen's SkullBot standing next to classic giants from Mazinger Z and Ghostbusters. It's the tenth in a series of giant-related pieces, so check out Mead's gallery for the rest.



He also did a SkullBot solo...



...and one of Spencer's LionBot too.



Really cool work by both of these guys!

Thursday, June 06, 2013

Tarzan 101 | Tarzan and the Castaways



Celebrating Tarzan's 101st anniversary by walking through Scott Tracy Griffin's Tarzan: The Centennial Celebration.

As I mentioned yesterday, Tarzan and the Castaways is made up of three different stories: two short stories and a novella. The novella is the title story and was originally called "The Quest of Tarzan." In it, Tarzan receives a head injury and yet another round of amnesia (and muteness), leading to his capture and being sold to an animal show as a wild man.

In a supplemental chapter called "Tarzan the Aphasic," Griffin points out that Burroughs himself had taken a nasty blow to the head during a fight in Toronto in his 20s. Burroughs suffered migrane headaches and mild amnesia later in life, which he attributed to the incident. That may have also have inspired his use of amnesia in Tarzan's adventures, but there's no denying that it was an easy way to prolong tension by preventing Tarzan from taking action and saving the day too soon. Burroughs used it often.

Back to "The Quest of Tarzan," the animal show is shipwrecked while crossing the Pacific and Tarzan has to protect the diverse group from a tribe of lost Mayans who inhabit a South Seas island. The story was serialized in Argosy in 1943, but wasn't printed in book form until it was renamed and collected with two short stories in 1965.

The short stories are "Tarzan and the Jungle Murders" and "Tarzan and the Champion." In "Champion," Tarzan tries to stop a couple of big game hunters who are using a machine gun to kill their prey. One of them is the world champion heavyweight boxer who challenges Tarzan to a match just before all three characters are captured by a returning character from Tarzan and the Forbidden City.

"Jungle Murders" is especially interesting because Burroughs was trying to take the series in a new direction inspired by Sherlock Holmes. His idea was to make Tarzan into a jungle detective who could use his abilities to solve murders or find missing people and items. In "Jungle Murders" he gets involved with a couple of groups of competing spies who infiltrate a safari and start killing people. Burroughs sold the story, but publishers weren't too excited about the detective angle as a permanent direction, so he dropped it.

That concludes the original, canonical Tarzan stories written by Burroughs. Starting next week, we'll follow as Griffin looks at Tarzan in other media, beginning with children's books, then working our way into comics, movies, TV, and beyond.

Wednesday, June 05, 2013

Tarzan 101 | Tarzan and the Madman



Celebrating Tarzan's 101st anniversary by walking through Scott Tracy Griffin's Tarzan: The Centennial Celebration.

The last three novels in the Tarzan series get confusing because they were published all out of order from how Burroughs wrote them. They're not necessarily confusing to read, but they are to write about. Last week we talked about Tarzan and the Foreign Legion, which was the last Tarzan story Burroughs wrote, but not the last published. Before he wrote Foreign Legion, he wrote Tarzan and the Madman as well as a couple of short stories and a novella that would be combined in book form as tomorrow's entry. The order in which they were written goes:

  • "Tarzan and the Jungle Murders" (a short story we'll talk about tomorrow)
  • "Tarzan and the Champion" (the other short story we'll talk about tomorrow)
  • Tarzan and the Madman
  • "Tarzan and the Castaways" (the novella we'll talk about tomorrow)
  • Tarzan and the Foreign Legion

I incorrectly stated last week that Foreign Legion was the first and only Tarzan story to be published as a complete novel without first being serialized in a magazine. That's only half correct, because while Tarzan and the Madman was intended for magazine serialization, it was never published in that format. It was rejected by six magazines and remained sort of a lost tale until it first appeared in novel form in 1964, fourteen years after Burroughs' death.

The story is inspired by real-life "feral child" Lucas, who may have been raised by baboons or simply have been an unfortunate, mentally challenged young man who was exploited and coached to exhibit feral behavior. Either way, he was getting a lot of attention shortly before Burroughs wrote Madman. It's an interesting juxtaposition, putting the fantastical Tarzan character side by side with a more realistic depiction of what someone might be like who was raised by apes.

Naturally Burroughs includes other Tarzan tropes in the story, including yet another lost race and the idea that Tarzan and the madman are close enough in looks that people blame Tarzan for the madman's actions. It's Tarzan's quest to clear his name that drives the plot.

Tuesday, June 04, 2013

Michael of the Kryptonian House of Dar



I always figured that Siskoid and I must be related; I just didn't realize that our shared heritage was Kryptonian. Find out what family you belong to by answering a few questions at the Man of Steel website.

Monday, June 03, 2013

Birthdays are jungle days





My birthday was last week and a couple of dear friends helped me celebrate with these awesome sketches. The one on top is by Jess Hickman and the bottom one is by Uko Smith. Obviously, they know what I like.

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