R.I.P: Joanne Siegel
It’s not hard to argue that the single most influential, and popular, comic book artist in the 1970s was Neal Adams. His work at DC Comics on Superman, Batman, Deadman and Green Arrow/Green Lantern was groundbreaking, both in visuals and design. Nobody drew like Adams. He was exciting, his art was realistic, vibrant and appeared to be light years beyond anyone else was capable of at the time. His influence was as widely felt on the industry as that of Jack Kirby by 1976 and with that influence he wielded a lot of power. Adams had moved from DC to Marvel where he worked on the X-Men, The Avengers, Thor and the Inhumans before forming into his own company, Continuity, with Dick Giordano, a company that still exists today. With Continuity Adams worked when and where he pleased and was able to mentor artists across an entire generation. The amount of artists that Continuity nurtured and developed is legion and reads like a who’s who of comic books for the past thirty five years, Trevor Von Eeden, Terry Austin, Michael Netzer, Alan Kupperberg, Steve Leilahoa, Bob McLeod, Tom Grindberg, Al Milgrom, Frank Brunner – the list is almost endless. Certainly with a multi-million dollar movie in the offering, a major cross-over project being published in the form of Superman vs. The Amazing Spider-Man and the resulting hype the last thing DC Comics and Warner Brothers needed was any adverse publicity, and certainly not from one of its star artists. However once Jerry Robinson made the call that’s exactly what they got.