Tag: Frank Chiaramonte

Detective Comics (1937) #514

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What a weak issue. I mean… it’s really weak. It’s competent in a way someone spending sixty cents might not complain, but it’s not good at all.

The feature is a Maxie Zeus story. Batman’s hunting him through a snow storm. There’s a scene where Dick and Alfred talk about worrying about him. It’s like they’re his wives waiting at home–which may or may not be a good take on the relationships, but Wein doesn’t explore it.

Instead, he introduces this hippie mountain man who loves all life. Maxie Zeus eventually kills him (after the mountain man loses it because Zeus kills a bird).

The art’s decent–Chiaramonte continues to be a bad inker for Newton–but the story’s just lame.

The Batgirl backup is terrible too. It’s Batgirl versus “the Queen of Serpents,” a circus performer who magically changes into a snake.

The issue’s just a complete misfire.

Detective Comics 514 (May 1982)

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What a weak issue. I mean… it’s really weak. It’s competent in a way someone spending sixty cents might not complain, but it’s not good at all.

The feature is a Maxie Zeus story. Batman’s hunting him through a snow storm. There’s a scene where Dick and Alfred talk about worrying about him. It’s like they’re his wives waiting at home–which may or may not be a good take on the relationships, but Wein doesn’t explore it.

Instead, he introduces this hippie mountain man who loves all life. Maxie Zeus eventually kills him (after the mountain man loses it because Zeus kills a bird).

The art’s decent–Chiaramonte continues to be a bad inker for Newton–but the story’s just lame.

The Batgirl backup is terrible too. It’s Batgirl versus “the Queen of Serpents,” a circus performer who magically changes into a snake.

The issue’s just a complete misfire.

CREDITS

Haven!; writer, Len Wein; penciller, Don Newton; inker, Frank Chiaramonte; colorist, Adrienne Roy; letterer, John Costanza. Sharper Than a Serpent’s Tooth!; writer, Cary Burkett; penciller, Jose Delbo; inker, Joe Giella; colorist, Tom Ziuko; letterer, Phil Felix. Editors, Dave Manak and Dick Giordano; publisher, DC Comics.

Detective Comics (1937) #513

Dc513

How did DC let this one get to the printers? Chiaramonte’s inks are a complete disaster. Maybe Newton was in a rush and Chiaramonte had to cover a lot but… it doesn’t even look like Newton here.

The story’s got some interesting parts, not the “Batman is missing” parts (Two-Face has kidnapped him and is holding him prisoner, keeping him alive due to lucky–or unlucky–coin tosses). Jim Gordon’s out of his job, which is interesting, Vicki Vale is telling Alfred she knows Bruce’s secret… unfortunately, neither of these parts get any real attention once the action starts. We also don’t get to find out why Two-Face’s girlfriend hates Batman. In a way, it’s “real,” but it’s also some sloppy editing.

The Batgirl backup is atrocious. Worst Delbo art yet (I make that comment a lot). But the writing’s bad too. The story’s trite, obvious and boring.

Detective Comics 513 (April 1982)

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How did DC let this one get to the printers? Chiaramonte’s inks are a complete disaster. Maybe Newton was in a rush and Chiaramonte had to cover a lot but… it doesn’t even look like Newton here.

The story’s got some interesting parts, not the “Batman is missing” parts (Two-Face has kidnapped him and is holding him prisoner, keeping him alive due to lucky–or unlucky–coin tosses). Jim Gordon’s out of his job, which is interesting, Vicki Vale is telling Alfred she knows Bruce’s secret… unfortunately, neither of these parts get any real attention once the action starts. We also don’t get to find out why Two-Face’s girlfriend hates Batman. In a way, it’s “real,” but it’s also some sloppy editing.

The Batgirl backup is atrocious. Worst Delbo art yet (I make that comment a lot). But the writing’s bad too. The story’s trite, obvious and boring.

CREDITS

…Is Better Than None!; writer, Gerry Conway; penciller, Don Newton; inker, Frank Chiaramonte; colorist, Adrienne Roy; letterer, Ben Oda. Duel with Demons!; writer, Cary Burkett; penciller, Jose Delbo; inker, Joe Giella; colorist, Tom Ziuko; letterer, Adam Kubert. Editors, Dave Manak and Dick Giordano; publisher, DC Comics.

Batman (1940) #346

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The cover villain is Two-Face but apparently he’s got a girl sidekick who’s the one who’s really after Batman. Presumably we’ll find out her story next issue.

The most interesting–I was just reading some comic creators on Twitter say critics use the word “interesting” to mean “bad,” which is ludicrous, but anyway–the most interesting thing about the feature is the way Newton draws Vicki Vale. She looks like a professional woman in her thirties, someone you could believe as a magazine editor. It gives her romance with Bruce a lot more heft, especially since it’s still not clear if she’s after him as a story or a lover.

The Catwoman backup disappoints. Jones spends three pages describing the backstory of the villain, then just a couple wrapping it up. It’s a decent wrap-up–Catwoman watches the villain die–and it’s well-written and the art’s ambitious and good. It’s just a slight finish.

Batman 346 (April 1982)

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The cover villain is Two-Face but apparently he’s got a girl sidekick who’s the one who’s really after Batman. Presumably we’ll find out her story next issue.

The most interesting–I was just reading some comic creators on Twitter say critics use the word “interesting” to mean “bad,” which is ludicrous, but anyway–the most interesting thing about the feature is the way Newton draws Vicki Vale. She looks like a professional woman in her thirties, someone you could believe as a magazine editor. It gives her romance with Bruce a lot more heft, especially since it’s still not clear if she’s after him as a story or a lover.

The Catwoman backup disappoints. Jones spends three pages describing the backstory of the villain, then just a couple wrapping it up. It’s a decent wrap-up–Catwoman watches the villain die–and it’s well-written and the art’s ambitious and good. It’s just a slight finish.

CREDITS

Half a Hero…; writer, Gerry Conway; penciller, Don Newton; inker, Frank Chiaramonte; colorist, Adrienne Roy; letterer, Ben Oda. In the Land of the Dead!; writer, Bruce Jones; penciller, Trevor von Eeden; inker, Pablo Marcos; colorist, Tom Ziuko; letterer, Shelly Leferman. Editors, Dave Manak and Dick Giordano; publisher, DC Comics.

Detective Comics (1937) #511

Dc511

Conway finds the right mix of Batman and Bruce Wayne antics for this issue. Robin’s in it too, which means there’s even less page time for Batman–Conway gives Dick his own subplots to deal with. It’s too soon to tell how they’ll tie into Bruce’s subplots, which here are concern for Jim Gordon’s career, the return of Vicki Vale and his position as a businessman.

Most impressive is the villain. Some costumed madman is terrorizing Gotham while Bruce has all sorts of stuff going on. The villain’s got a wacky power–he induces hallucinations in people–but there’s no origin, there’s no hackneyed villain moment where he tells Batman all his plans. He’s just the bad guy Batman’s got to deal with this issue.

It’s a really well-produced issue–Chiaramonte’s not the best inker for Newton, but the art’s still excellent. The fine narrative structure overcomes any deficiencies.

Detective Comics 511 (February 1982)

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Conway finds the right mix of Batman and Bruce Wayne antics for this issue. Robin’s in it too, which means there’s even less page time for Batman–Conway gives Dick his own subplots to deal with. It’s too soon to tell how they’ll tie into Bruce’s subplots, which here are concern for Jim Gordon’s career, the return of Vicki Vale and his position as a businessman.

Most impressive is the villain. Some costumed madman is terrorizing Gotham while Bruce has all sorts of stuff going on. The villain’s got a wacky power–he induces hallucinations in people–but there’s no origin, there’s no hackneyed villain moment where he tells Batman all his plans. He’s just the bad guy Batman’s got to deal with this issue.

It’s a really well-produced issue–Chiaramonte’s not the best inker for Newton, but the art’s still excellent. The fine narrative structure overcomes any deficiencies.

CREDITS

The ‘I’ of the Beholder; writer, Gerry Conway; penciller, Don Newton; inker, Frank Chiaramonte; colorist, Adrienne Roy; letterer, John Costanza; editors, Dave Manak and Dick Giordano; publisher, DC Comics.

Batman (1940) #342

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Conway’s promise of a Man-Bat story–the one he basically wasted the entire previous issue setting up–is not realized here. And I make that observation even with the issue having two fight scenes between Batman and Man-Bat and a bunch of flashback recapping his origin. It’s a silly story, requiring the reader to once again accept Batman is out of the loop.

I think some of the issue is with Conway trying to humanize Batman. He gives him faults and failings, but they’re contrived ones. Somehow the only faults Batman has are the ones moving the issue’s plot lines along.

Speaking of plot lines, this issue concentrates a lot on the mayoral race in Gotham. It’s not good or bad so much as a nice use of subplot.

Novick’s art is occasionally annoying, never spectacular.

The Robin backup’s just strange. Conway’s decided to write Robin’s narration like a Raymond Chandler detective.

Batman 342 (December 1981)

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Conway’s promise of a Man-Bat story–the one he basically wasted the entire previous issue setting up–is not realized here. And I make that observation even with the issue having two fight scenes between Batman and Man-Bat and a bunch of flashback recapping his origin. It’s a silly story, requiring the reader to once again accept Batman is out of the loop.

I think some of the issue is with Conway trying to humanize Batman. He gives him faults and failings, but they’re contrived ones. Somehow the only faults Batman has are the ones moving the issue’s plot lines along.

Speaking of plot lines, this issue concentrates a lot on the mayoral race in Gotham. It’s not good or bad so much as a nice use of subplot.

Novick’s art is occasionally annoying, never spectacular.

The Robin backup’s just strange. Conway’s decided to write Robin’s narration like a Raymond Chandler detective.

CREDITS

Requiem for a Hero; penciller, Irv Novick; inker, Frank McLaughlin; colorist, Adrienne Roy. Burn, Robin, Burn; penciller, Trevor von Eeden; inker, Frank Chiaramonte; colorist, Carl Gafford. Writer, Gerry Conway; letterer, Shelly Leferman; editors, Dave Manak and Dick Giordano; publisher, DC Comics.