billyd75

Cinema Sunday: The Phantom of The Opera (1962)

Posted on June 1, 2014 by billyd75

Title: The Phantom of the Opera

Distributor: Hammer/Universal

Writer: John Elder (novel by Gaston Leroux)

Director: Terence Fisher

Producer: Anthony Hinds

Starring: Herbert Lom, Heather Sears, Edward de Souza, Thorley Walters, Michael Gough

Released: June 25, 1962

MPAA: UR

I own this version and the Universal film as well, but as with other previous reviews, you’ll find out why I think the Hammer Studios version is superior. Heck, just watch them both, and you’ll probably agree. Lon Chaney did a fantastic job as the Phantom, but Herbert Lom brings it to another level. This film did have the advantage of being shot many years after the Universal version, but it wasn’t some big budget film full of incredible special effects. No, it was the acting of Lom, De Souza, and Gough, that makes this film a winner. Now let’s get down to the story!

The film begins with some organ music playing in the bowels of an empty opera house. We then see the Phantom (Herbert Lom) and his minion (roll opening credits). We next see the opera house, as it’s filling up for the first night of a new show, allegedly written by Ambrose D’Arcy (Michael Gough). Ambrose and the theater manager, Mr. Lattimer (Thorley Walters), are quite excited about the good showing of people. In a dressing room backstage, a woman is readying her voice for the show. She’s the lead in this version of ‘Joan of Arc’, and seems a bit nervous because of some shenanigans that have plagued the theater as of late. As she continues warming up, the light in her room is put out by a creepy looking hand. Another man then enters the backstage area of the theater, the producer, Harry Hunter (Edward de Souza). He speaks with the stage manager, and the conductor about more mischief around the theater, but then he’s summoned to the dressing room of Maria, the star of the show. She’s terrified and explains to him that a man, dressed all in black, and with only one eye, entered her room and scared the life out of her. She claims she can’t go on, but Harry convinces her otherwise.

The play begins, and we see Lattimer and Hunter discussing the riddle of how a man like Ambrose wrote such good music. Ambrose then walks in, and sarcastically thanks Harry for his “compliment’, and Harry gives him a snarky comment right back. Harry then leaves the box, and Lattimer and Ambrose talk briefly. Ambrose notices an empty box, and questions Lattimer about it. Lattimer tells him that people do not like to sit there, because they believe it’s haunted. Ambrose gets angry, and tells Lattimer that he’ll speak to his superiors in the morning about this matter. Things are going fine, but then suddenly, we see something ripping through a piece of the set, and it reveals a man, hanging by his neck. People scream in terror, and the theater empties out. Ambrose instructs Lattimer to let no bad press attach itself to the opera, and the two part ways for the day.

Meanwhile, Harry is holding auditions for the lead role of St. Joan. One girl in particular, Christine Charles (Heather Sears), is singing her heart out, and impresses Harry. Ambrose and Lattimer walk in, and get angry at first, but when they hear the voice, they settle down. Ambrose is especially taken with Miss Charles (basically, he’s a horny dude that uses his money and power to get girls). He tells Lattimer to give her a note to meet him later for dinner. As the evening gets older, we watch, as Ambrose and Miss Charles have dinner, and at first, it seems very cordial. But, as Ambrose gets more and more drunk, he begins to show his true colors. He tells her that essentially, she has to sleep with him if she wants the lead role in his opera. She’s completely embarrassed, but gives in to his request in the end. Just as the two are leaving, Harry comes into the restaurant, and Miss Charles asks him to help her out of this jam. He gladly accepts, because he can’t stand Ambrose. When he realizes the scam is up, Ambrose leaves in a huff.

In the next scene, the two (Harry and Christine), are taking a carriage ride through the park (driven by Michael Ripper). She tells Harry that she recently had an experience just like the previous lead role, and that the same man spoke to her in the dressing room, telling her to get away from this place, and Ambrose D’Arcy. Harry then instructs the driver to take them to the opera house, to look for clues (Scooby-Doo style). The cleaning ladies are still there and don’t believe him when he tells them that he’s the producer of the show. He then asks if ay of them have found a diamond broach, and they scatter to search for it (a ruse to get them out-of-the-way). As the two get to the dressing room, the lights go out, and that sinister voice orders them to get away from this place or else! Just as they’re trying to figure out who this is, the cleaning ladies shriek, and run off. Christine and Harry are then greeted by the rat catcher (Patrick Troughton- image below), and he offers a few of this evenings catches for a nice “pie”. They tell him that they’re vegetarians, and then give him a few pounds to get lost. As he leaves the room, he gets stabbed in the eyeball by the Phantoms diminutive sidekick. The rats then scurry away, and Harry and Christine wonder what’s happened to the rat catcher. As Harry investigates, Christine is approached by the Phantom, she screams in fear, then faints. This draws Harry back to the room, but by that time, the Phantom is gone.

The next day, Ambrose is holding auditions for the lead role. When Harry finds out, he’s furious, and confronts him about it. Ambrose tells Harry that it’s his opera, and he’ll make the decisions. Harry accuses him of mistreating Christine, and basically firing her for not sleeping with him. Ambrose then fires Harry. Harry goes to see Christine, and tells her that he’s been fired as well, so they’ll go celebrate because they both ‘got the sack’ today. Harry notices some sheet music in the room, and asks the landlord where she got it from. She tells him that a musical genius named Professor Petrie used to live there, and wrote some incredible music while living at the apartment. Harry asks what became of him, and she tells him that he was killed in a fire at a printing shop years earlier. They (Harry and Christine) then spend a beautiful day together, and are falling in love with each other.

They later investigate the printing shop, and the man tells them that the man who broke in didn’t die, but ran off after being burned by a fire and some acid that he thought was water, trying to douse the flames. They go to the river (Thames), and then decide it’s time to call it a night. The two take another carriage ride (this time driven by Miles Malleson), and kiss in the carriage. Harry then takes her home, but not long after getting in the door, Christine is assaulted by the Phantom’s sidekick, and taken to his lair. Christine awakens to find herself as a captive of the two men, and then is told by the Phantom, that when she sings, it will only be for him. He will instruct her on how to become a great singer, or suffer the consequences!

Will Harry be able to save Christine, and figure out the secret identity of the Phantom? Will someone put Ambrose out of his misery?

OK, here we go with my thoughts:

As i said earlier, if you’ve seen both films, you’ll probably agree that this one is better than the Universal film overall. Herbert Lom is a great Phantom, but he really sells his role as Professor Petrie. Those scenes are extremely emotional, and he really shows his acting chops in them. As the phantom, he’s creepy, but the film has a different angle than the Universal film, and you’ll either love it or hate it, in the end. I won’t give it away, but the person who you really want to see get theirs at the end of the flick might not be the Phantom.

The supporting cast is very strong too, and Edward de Souza deserves the lion-share of the credit. He really has you believing he’s a big time music producer, and an all around butt kicking dude! He has a fight scene with the sidekick/minion guy, and tells off Ambrose every ten minutes. He’s a ‘man of action’ type in this film, and really reminds me of a James Bond sort of character. Michael Gough is also sensational, in his portrayal of the dastardly Ambrose D’Arcy. You really want to see this guy get throttled about ten minutes into the film. Thorley Walters adds his usual oddity to this one, and you get the quick cameos by Michael Ripper and Miles Malleson, too!

Listen, before you start throwing rocks at me for saying this one is better than the Universal flick, get out there and grab this movie, and give it a try. It’s extremely underrated, but has a great cast, solid plot, a top-notch music score, and incredible sets as you’ve come to expect from Hammer Studios!

Click here for the trailer!

Comics: The 1970’s Horror Explosion! Pt. 1

Posted on May 31, 2014 by billyd75

After those dreadful government hearings in the 1950’s about the comic book industry, the publishers decided to create an organization (The Comics Code Authority) that would oversee and approve of everything published. This stranglehold lasted until Lee, Kane, and Romita gave us “Green Goblin Reborn”, in 1971. This fantastic arc showed us the Osborn family, and their decent into madness. It also was a request from the government to show readers the dangers of drug use that prompted this story to be published. This helped relax the Comics Code Authority’s grip on what could and could not be shown in comics (from 1954 until that point- no Vampires, Werewolves, axe-wielding maniacs, drug use, etc., were allowed in comics, but Lee and Marvel decided to print the issues without the seal of approval).

People’s opinions vary, but it seems as if the Authority was created to more or less put EC Comics out of business. Why? Because they were the dominating force in horror/sci-fi comics, and nobody else could come close to doing what they were accomplishing. I haven’t personally read much of their content, simply because it’s very expensive, but from what I have seen (and heard from many people more knowledgeable than I), they were the best.

Marvel had given up doing horror books but did do a ton of stories that revolved around giant monsters and otherworldly beings from outer-space. These stories were created by giants like Jack ‘King’ Kirby, Steve Ditko, and Don Heck. Some of them were reprinted in books like Chamber of Chills, Monsters on the Prowl, and Where Monsters Dwell, just to name a few. There was the arrival of other titles that contained some new material as well (Chamber of Darkness), and were not hardcore horror, but “sophisticated suspense”, as DC Comics would call such material.

So, without further delay, let me present some of the reprint work, along with some new material from Marvel Comics, from the late 1960’s and the 1970’s! Enjoy!

Superstar Artists- John Byrne! Pt. 3

Posted on May 28, 2014 by billyd75

In this, the last installment of my John Byrne tribute, we’ll see some of his spectacular work on Captain America (with collaborator Roger Stern), his brilliant X-Men (with partner Chris Claremont) work, and a couple of nuggets from the mid-1970’s, in Marvel Team-Up! Whether it was Josef Rubinstein or Terry Austin on inks, you cannot deny the power of Byrne’s pencils. He really knew how to grab the readers eyes, and have them glued to the panels! So, get ready and strap on your seat-belt, because we’re getting cosmic and crazy with this post! Enjoy!

Cinema Sunday: The Curse of the Werewolf (1961)

Posted on May 26, 2014 by billyd75

Title: The Curse of the Werewolf

Distributor: Hammer/ Universal

Writer: Anthony Hinds

Director: Terence Fisher

Producers: Michael Carreras, Anthony Hinds

Starring: Clifford Evans, Oliver Reed, Yvonne Romain, Michael Ripper

Release: June 7th, 1961

MPAA: UR

As I continue to cut a path of movie madness through the Hammer Studios catalog, there are still a few that stand out to me. One of them is definitely The Curse of the Werewolf. It’s the only Hammer werewolf movie to my knowledge, and why that is can’t be explained rationally to me considering how good this film portrays the monster. He’s a tortured soul (maybe even more so than Chaney), and really gets you to feel sorry for him by the end of the flick. So, without anymore interruptions, let us forge ahead with this classic!

The movie begins with a beggar (Richard Wordsworth- image below) making his way through a village. He notices that there is no one in the streets, and that the church bells are ringing. He knows that it’s not Sunday, so this is very puzzling to him. He asks the one passerby that he sees about this situation, and the man directs him to a poster hanging on the side of a building. Since the beggar cannot read, he keeps moving until he finds a pub. Once inside, the “gentlemen” that are drinking tell him that the local marques (nobleman) is getting married, and the reception is taking place at his castle. They instruct him to go there in search of food and money.

The beggar makes his way to the castle, and inside we see the marques and his new bride. The marques (Anthony Dawson) is an evil and vicious man, and treats his servants like dirt. As the beggar knocks, a servant answers, and tells him to go away, but before he can leave, the marques tells him to come inside. He tells the beggar that he’ll give him food and wine if he’ll sing and dance for it. The beggar complies, and then after more of the shameless behavior from the marques, he intends to “retire” for the evening with his new bride (who appears to be half his age). On their way out, the beggar makes a snide remark, and the marques has him thrown into the dungeon. The only people he ever sees, are the jailer, and his mute daughter. Years pass, and the jailer dies off, but his daughter (Yvonne Romain), continues with the work load. One day, the girl is serving some food to the marques, and he attempts to assault her in his chambers. She bites his hand, and she is then thrown into the dungeon for her acts, with the beggar. The beggar then rapes her, but later, when she makes some commotion, and the guards take her back to the marques for a lesson. As he turns his back on her, she stabs him, and runs away.

Months later, after living in the forest, a man, Don Alfredo Corledo (Clifford Evans), sees the girl, and she’s on death’s door. He brings her back to his home, and his wife takes care of her, but they also find out that she’s a few months pregnant (from the rape). She eventually gives birth to a son, but dies shortly after delivery. Corledo and his wife then take the child as their own. As the baby is being baptized, the church rattles from a thunderstorm that’s raging outside. Corledo’s wife is very upset, and thinks this is a bad omen. Time passes, and in a nearby village, dead animals are being found with their throats torn out, and a wolf is blamed. The farmers have a hunter in their employ though, and he vows to kill the predator. He waits up one night, and hears a wolf howl. He sees something in the brush close by, and shoots.

The next morning, Corledo and his wife are stunned to see that their little boy has been shot. The two of them are at a loss on how the boy got out of the house without them knowing about it, and, why he was shot. Corledo questions his son, and he learns that his son has had bad dreams lately. He notices that his arms and hands are hairy, and he gets a worried look on his face. Corledo talks to his local priest about his son’s issues, but gets little help. The priest does explain however that sometimes demons can gain entrance to a soul, if the person is weak (or young).

At the local pub, a man (Michael Ripper), is going off about the full moon, and evil things being abroad during the night of a full moon. Corledo is next seen putting bars on the windows of his son’s room. The hunter is trying to figure out what to do, and then sees his wife’s crucifix on the wall. He then melts it down, and makes a bullet out of the slag. He now believes that it’s a werewolf doing these killings and that there is only one way to stop it from continuing. Again, he waits up for the beast, and is ready to shoot. He hears something close, and fires. As the gun goes off, we switch scenes to the Corledo home, and young Leon is struggling to pry open the bars and get out into the night (image below). Back outside, the hunter sees that he shot a dog, and believes it was responsible for the killings.

More years pass, and Leon (Oliver Reed) is now an adult, and leaving home for some work in another village. He seems to be cured, but there is an uneasy feeling from his surrogate parents. As he enters the town, a carriage splashes mud on him, but he seems to get over it quickly. A man then approaches him about work, and he gladly accepts. He’s shown a wine cellar, and then meets his workmate, Jose. The two bond quickly, and then one day, they hear a carriage approaching. They see a beautiful young woman (Catherine Feller), who’s the daughter of their boss. Within days, Cristina is running to the arms of Leon (after her boyfriend drops her off from their date), and the two kiss passionately.

After a long work week, both young men decide to go out to a seedy pub at the edge of town. A couple of prostitutes are showing them both a good time at the bar, and then Leon begins to feel queasy. One of the hookers takes him upstairs to “lie down”, and we now see that it is a full moon outside. As the young lady begins to do her tricks, she quickly finds out that Leon is more than meets the eye. In the next scene, the woman is lying on the floor, eviscerated. Jose comes to find his friend, and gets throttled for his trouble. Before the night is over, there is one more killing, as a drunk leaves the pub, and gets jumped by the werewolf.

The next morning, Leon awakens in his bed back at home. He’s covered in sweat and there is blood on his hands. His father sees the bars on the window have been broken. His parents and a priest attempt to tell him about his affliction, but he’s in denial. He runs off, and when he reaches the village, the police are waiting there for him, to question him about the murder of his workmate. He doesn’t give them anything to work off of, and they let him go. Later, Cristina visits his room, but Leon shouts at her to get away. She stays with him, and for some reason, his change doesn’t occur. He realizes this, but then her father intervenes, and keeps her away from him just as they are about to run away together. Leon is then imprisoned and under suspicion of murder.

As the moon rises, Leon gets that funky feeling, and transforms into the hairy beast once again. He kills the guard, and goes on a rampage throughout the village. Leon’s father feels as if it’s his responsibility to stop his son, so he grabs his rifle, and heads over to the village. The two then have a showdown in a bell-tower, Quasimodo style! Two enter, only one leaves!

OK, here are my thoughts:

This is one of the best werewolf movies of all time. It ranks right up there with the Wolfman (1941), no joke. Oliver Reed is a superstar in this film, and really steals the show. He’s strong as Leon, and even more dramatic when he’s the werewolf. The supporting cast really doesn’t add too much though, and other than Yvonne Romain (who dies 1/3 of the way through the film), most aren’t that memorable. A love story that has tragedy in it is very Shakespearean, and a lot like the 1941 Universal film, but this version was more vicious, and more exciting.

Of course, the sets were incredible too, and are a staple with Hammer films. The music score was quite good too, and lent some atmosphere to the film. The running time of the movie is standard for its time, but it just felt too short. More screen time for the monster, and more mystery about who the real monster was would have been better. Overall, those few things are more a nitpick than anything, and should never discourage anyone from seeing this Hammer classic! After viewing this film again, it seems to me that if the female lead roles would’ve been reversed (Yvonne is the love interest, and Feller the mother), things mat have been quite different. Not trying to downplay Feller’s contributions, but Yvonne Romain was definitely a better actress.

Get out there and look for this movie. I’m sure it’s available online or grab the Hammer Horror Series DVD set, and be ready for a Hammer marathon! See you next week!

Superstar Artists- John Byrne! Pt. 2

Posted on May 25, 2014 by billyd75

After seeing some of John Byrne’s awesome work on the Fantastic Four in my earlier post, I thought it was time for some of his other work, you know, stuff off of the beaten path. His early Avengers work, the West Coast run, Silver Surfer, and a Hulk story from Marvel Fanfare that will knock your socks off will be featured in today’s post. So, get ready to be dazzled! Enjoy!

Superstar Artists- John Byrne! Pt. 1

Posted on May 22, 2014 by billyd75

Another week, and another post that spotlights a giant in the comic book world! John Byrne has accomplished many things as an artist and a writer, but most hold him high for two specific runs in his lifetime (3 for me). First, is probably his X-Men work alongside longtime stalwart, Chris Claremont. That era of X-Men really put them on the map, and resurrected that team from the dead (HUGE thanks to Len Wein, Dave Cockrum (who’ll get his own spotlight soon!), and editor Marv Wolfman, as well). I’m going to start out with some of his work on Fantastic Four, and then move on to other titles. From action to the mundane, he could do it all. So, without further delay, get ready for some classic Byrne! Enjoy!

Superstar Artists- George Perez! Pt. 3

Posted on May 19, 2014 by billyd75

In this, the finale of my George Perez spotlights, we will see his early Avengers work. Most long time fans will recognize it immediately, some newer comic book fans may not. Either way, get ready for a real treat, because what you are about to see is magic! With inkers such as Mike Esposito, Ernie Chan, and Pablo Marcos (just to name a few), you can’t go wrong! Perez was really the first guy post-Kirby to really elevate his style, and become an absolute rock star with his fantastic talent, and genuine personality. Let us now take the journey through some of the earliest work by this legend! Enjoy!

Cinema Sunday: Ghidorah, the Three-Headed Monster (1964)

Posted on May 18, 2014 by billyd75

Title: Ghidorah, the Three-Headed Monster Distributor: Classic Media/ Toho Writer: Shinichi Sekizawa Director: Ishiro Honda Producer: Tomoyuki Tanaka Starring: Yosuke Natsuki, Yuriko Hoshi, Hiroshi Koizumi, Akiko Wakabayashi Released: December 20th, 1964 MPAA: NR Growing up, I was a huge fan of the Toho Studios Godzilla movies. Say what you will, but to a young kid, they were nothing short of extraordinary, and had me believing that nuclear bombs could change a salamander into a giant ravenous beast capable of destroying entire cities. This fact kept me glued to the television for hours on end when the movies were on. I didn’t realize it was a dude in a rubber suit until later, but that fact didn’t diminish my love for the genre! So, now, let’s get to this classic from Toho Studios! The movie begins with a room full of scientists and reporters, as they’re watching the skies, looking for UFO’s. One reporter doesn’t believe any of this nonsense, but then the scientists chastise her about the subject. Suddenly, a meteor shower occurs, and the scene then shifts to the local police precinct. They discuss how a princess, Salina Salno, (Akiko Wakabayashi) from the Himalayas, is on her way and she needs protection against a threat to her life. As the airplane speeds towards Japan, some conspirators talk about how they’ve planted a bomb on the plane to take her out. She then gazes out the window, and a bright light shines in her eyes, and a voice commands her to stand up, and leave the plane. Just as she jumps off the plane, the bomb explodes, destroying the plane. Back in Japan, some scientists are checking out some of the fragments from the meteor shower. As the expedition proceeds down a deep gorge, they realize something strange is afoot, because their compass’s aren’t working. They continue on, and eventually come to the site where a giant meteorite has landed. It almost appears egg-like, and the astonished scientists decide to make camp. Over at the police station, the cops, Detective Shindo (Yosuke Natsuki), and Chief Detective Okita (Akihiko Hirata), discuss the plane bombing. Just as they’re wrapping things up, reporters begin to flock to a park, where a mysterious woman is making outrageous claims about Earth, and its future. The audience heckled her, and she reprimands them for it. The girl tells them that she’s from Mars, and that the Earth is in terrible danger. As a local TV show gives a glimpse into what Mothra is up to, and then the police see a newspaper picture of this woman from Mars, and it looks exactly like the princess from the Himalayas. The ruler of the Himalayas sends his goons to Japan to take her out if it is really her. The police then question Professor Miura (Hiroshi Koizumi) about the possibilities of the princess surviving the bombing. He tells them that it’s possible, but highly unlikely. A news story breaks in on the TV, where the girl claiming to be from Mars is at the site of the crater from the meteorite, and she tells them all that Rodan is underneath the site, and is ready to rise. Just as the people are mocking her, the ground begins to shake, and Rodan appears! Next, we see a ship out at sea, floating along quietly. The quiet lasts about thirty seconds though, because Godzilla shows up, and uses his atomic breath to obliterate it. Over at the camp site, the scientists see that the meteorite is growing, and then finally, it explodes to show Ghidorah, the Three-Headed Monster! Back in the city, Godzilla and Rodan are tearing the city to pieces. Over at a doctor’s office, the girl claiming to be a martian is being examined. The doctor gives her a clean bill of health, but then she gives another warning. This time she tells them about Ghidorah, and his origin. She tells them that many years ago, Ghidorah came to Mars, and left nothing but devastation in his path. The government has a meeting to decide what to do. As they discuss options, the decision is made to have Mothra try to convince Godzilla and Rodan, to team up, and fight Ghidorah. Before the move can be made, Ghidorah attacks the city. Mothra is called, and begins to journey across the ocean to Japan. Meanwhile, Rodan and Godzilla are fighting each other on the other side of Japan. Mothra reaches them, and asks for help. Rodan and Godzilla wont listen though, and Ghidorah continues his destruction. The goons that were trying to kill the princess/martian finally get what’s coming to them, when a rock-slide smashes them into pulp. The scientists continue to watch as Mothra pleads with Rodan and Godzilla, but they couldn’t care less. Mothra (who’s not the original Mothra, but an offspring that’s still only a caterpillar) decides to try to take on Ghidorah by himself. After taking a beating, Mothra is ready to give up. Godzilla and Rodan then join the fight, to even the odds. One of the goons survived the rock-slide in the car though, and he shoots the princess, injuring her badly. Ghidorah and Godzilla are fighting nearby though, and an avalanche kills the goon. The three monsters, Godzilla, Rodan, and Mothra, give it one last try, and pounce on Ghidorah. The three manage to overtake the alien monster, and by combining their powers, they beat him- Mothra spins silk over Ghidorah’s head, and Godzilla picks him up, and slams him down on the ground. Realizing he’s outmatched, Ghidorah leaves the planet. OK, here we go: I don’t think anyone can argue the awesomeness of seeing these three monsters fighting the best evil monster, King Ghidorah. The visuals in this film are most certainly the aspect that carries it, and the fight scenes in particular. Some of the story was OK too, but it really doesn’t help carry the film or add much to the overall greatness. The cast all does an adequate job, and definitely deserve credit. The final fight scene was nothing short of great. Seeing Godzilla get tossed around was quit jarring to me as a child, because I thought he could never be beaten or handled like that in a fight. It was cool to see Rodan again, but I was a little disappointed with Mothra. I would have rather seen a fully matured Mothra, instead of the caterpillar version. Other than that, no complaints from me about the film. Listen, you’re either a fan of this genre or you aren’t, there’s no middle ground. If you want a deep plot with Academy Award winning acting, this isn’t for you. But, if you’re in the mood for some good old-fashioned action with guys in rubber suits smashing model cities, then get out and grab some Godzilla!

Image below by artist Jim Strate and first appeared in G-FAN magazine!

Godzilla- 2016

Superstar Artists- George Perez! Pt. 2

Posted on May 16, 2014 by billyd75

In my first post about George Perez, I showed some of his brilliant covers. This time around, I’ll be posting some great interior work from this titan of comics! His work on The Avengers is definitely something coming soon on my blog, but for now, I’ll be showing some of his crazy good work on the Fantastic Four! His pencils on this book rank right up there with the John Byrne run, in my humble opinion (it might even exceed it!). Along with inker Joe Sinnott, and writer/editor Len Wein, Perez had some extremely memorable issues, and I now present a few of them to you. Enjoy!

Superstar Artists- George Perez! Pt. 1

Posted on May 13, 2014 by billyd75

After finally getting to meet George Perez this past year at NYCC (2013), I became an even bigger fan of his if that was even possible (click here to read my con coverage about Mr. Perez). This gentleman is an incredible hard working, dedicated fellow, that is super nice as well. He spent hours that day at the table signing, taking pictures, and doing commissions. The man didn’t leave the table for hours on end to keep his fans happy.

I first discovered his awesome pencils in the pages of The Avengers, and sought out more from that point. He really did it all over the years, both for Marvel and DC. Who can forget his work on Crisis on Infinite Earths! No matter what your tastes, George Perez has done something you will love! Take a peek at some of his cover work! Enjoy!