COMICS

George Pérez, legendary ‘Wonder Woman’ and ‘Teen Titans’ comic book artist, dies at 67

Published

2 years ago

May 7, 2022

George Pérez, a legend of DC Comics frequently considered one of the best comic book artists of all time, died Friday from pancreatic cancer. He was 67. He is survived by his wife, Carol Flynn. In her statement, Eza announced the official memorial for Pérez will take place this month during the comics convention MegaCon Orlando. The service will be open to all.
Last December, Pérez announced that he was diagnosed with pancreatic cancer. The news of his death was shared by his close friend, Constance Eza, who posted a statement on Pérez’s Facebook page and her personal Twitter.
“Everyone knows George’s legacy as a creator,” Eza’s statement reads. “His art, characters and stories will be revered for years to come. But, as towering as that legacy is, it pales in comparison to the legacy of the man George was. George’s true legacy is his kindness. It’s the love he had for bringing others joy — and I hope you all carry that with you always.”
Famous for his detailed, realistic renderings that captured both the power and the humanity of superheroes, Pérez rose to prominence for his work on “The New Teen Titans,” which saw him co-create popular characters such as Starfire, Cyborg, Raven and the menacing Deathstroke. He penned some of the most critically-acclaimed superhero comics of all time, including two extended runs on “The Avengers” and the groundbreaking event series “Crisis on Infinite Earths.”
Although primarily an artist, he also wrote several comics, including a much-celebrated run on “Wonder Woman,” often considered the definitive storyline of the iconic heroine. Accolades he received during his time as an artist include four Eagle Awards, two Jack Kirby Awards, an Inkpot Award and a lifetime achievement Inkwell Award for his work as an artist.
Born in 1954 to a Puerto Rican family in the South Bronx, Pérez aspired to be an artist from an early age. When he was 19, he began working for Marvel Comics as an assistant to “Fantastic Four” artist Rich Buckler. In 1974, he made his debut as an artist in a story for the anthology series “Astonishing Tales.” He would go on to do the art for multiple other Marvel titles, co-creating the White Tiger, the company’s first Hispanic superhero, with Bill Manto in “Deadly Hands of Kung Fu.”
Other titles he had stints on included “Fantastic Four” and “The Inhumans,” but his most notable Marvel title was “The Avengers.” A regular artist on the title from 1975 to 1980, Pérez drew many notable storylines for the comic, including “The Korvac Saga” from writer Jim Shooter. He also co-created the characters Henry Peter Gyrich and the Taskmaster during his run.
In 1980, Pérez was approached by DC Comics to do the art for “The New Teen Titans,” a relaunch of the teenage superhero team helmed by Marv Wolfman, who he previously worked with on a story for “Fantastic Four Annual.” Pérez penciled the title for five years, and it proved a breakout hit, becoming the highest-selling comic for DC. Over the course of his time working on the series, Pérez attracted attention for his dynamic page layouts, honing his detailed, expressive style. After leaving the title in 1985, he would return for an extended stint in 1988, penciling and co-plotting a new origin for Wonder Girl Donna Troy.
After his initial “The New Teen Titans” run, Pérez collaborated with Wolfman on “Crisis on Infinite Earths,” a 50th anniversary DC Comics event series designed by the company to act as a soft reboot for its characters. The epic 12-issue limited series, which sees the heroes of DC band together to defeat the intergalactic Anti-Monitor as it attempts to destroy the multiverse, is often credited as an influence for many other large-scale event crossovers in comic books. Pérez’s artwork for the series, which saw him draw numerous, extremely detailed crowd scenes featuring the heroes of DC, attracted praise. His cover for the seventh issue of “Crisis,” which shows Superman mourning a dead Supergirl, has become one of the most famous and frequently homaged covers in the history of comic books.
Following the end of “Crisis on Infinite Earths,” Pérez joined the “Wonder Woman” comic book to help steer a full-scale relaunch of the character. Although he initially worked as a co-plotter for writers Greg Potter and Len Wein, Pérez eventually took over full scripting duties, writing either solo or with co-writer Mindy Newell. Pérez’s depiction of Princess Diana was more athletic and brawny compared to other artists’ takes on the character, and the reboot significantly altered her backstory, giving her a more in-depth connection with the Greek pantheon of gods. Pérez’s run would be cited by Patty Jenkins as a key influence on her 2017 blockbuster “Wonder Woman” film.
Pérez left “Wonder Woman” in 1992, following a dispute with DC over their treatment of his mini-series “War of the Gods,” which he created as a celebration of the character’s 50-year anniversary. Pérez felt that DC wasn’t doing enough to commemorate the anniversary, particularly when they neglected to put the story on newsstands, making it only available in specialty comic book shops. After DC stopped him from having the characters Steve Trevor and Etta Candy marry in the final issue of the miniseries, in favor of having the next “Wonder Woman” writer William Messner-Loebs include the wedding in a future issue, Pérez stopped working with DC for several years.
During this period, Pérez returned to Marvel to pencil the event series “Infinity Gauntlet,” from Jim Starlin, which became a top-seller and would act as an inspiration for the Marvel films “Avengers: Infinity War” and “Avengers: Endgame.” Due to a heavy workload with “War of the Gods” and the stress of his dispute with DC, Pérez was unable to finish “Infinity Gauntlet,” with artist Ron Lim handling the last two issues.
However, following “Infinity Gauntlet,” Pérez began working more extensively with Marvel again, including on the 1992 “Hulk: Future Imperfect” miniseries with writer Peter David, often considered the all-time best story for the character. In 1994, David and Pérez also collaborated on the 1994 miniseries “Sachs and Violens,” and he would later have a stint as a writer on “Silver Surfer.”
In 1998, Pérez returned to “The Avengers” for a relaunch of the series with writer Kurt Busiek. The back-to-basics series saw Pérez receive acclaim for dynamic, clean artwork. After leaving the series Pérez and Busiek reunited for the 2003 crossover miniseries “JLA/Avengers,” which saw both teams encountering each other and teaming up to combat a threat. Pérez was one of the original artists of a planned “JLA/Avengers” crossover in the ’80s, which was cancelled due to company disagreements, and his pages would be published in the collector’s edition of the miniseries. Pérez depicted many crowd-pleasing moments over the course of the series, including Superman dual-wielding Thor’s hammer and Captain America’s shield.
After “JLA/Avengers,” Pérez’s output slowed down, though he remained active as an artist for many years. In 2005, he was one of the artists for “Infinite Crisis,” a follow up to “Crisis on Infinite Earths,” and in 2008 he served as the main artist on “Final Crisis: Legion of 3 Worlds.” In 2007, he drew the first ten issues of “The Brave and the Bold,” working with writer Mark Waid.
In 2012, he again stopped working for DC after departing from his role as writer and cover artist of “Superman,” which he helmed during the DC Comics New 52 reboot. Pérez explained his decision as a result of disagreements regarding rewrites of his material and poor editorial planning regarding the reboot. After leaving DC, he wrote and drew a sci-fi miniseries “Sirens” for Boom! Studios from 2014 to 2016. He announced his retirement due to health issues in 2019.

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BOOKS

Nommo Awards 2024: And the nominees are…

Published

1 month ago

June 13, 2024

Geek Afrique

The shortlist for the African Speculative Fiction Society’s Nommo Awards 2024 was announced on Wednesday, June 12, 2024. The Nommo Awards celebrate science fiction, fantasy, and speculative fiction. Since 2016, the event has been an annual affair celebrating writers in the categories of Best Speculative Novel by an African, Best Speculative Novella by an African, Best Speculative Short Story by an African, and Best Graphic Novel/Comic by an African.

Nommo laurels have been clinched by Nnedi Okorafor, Tade Thompson, Akwaeke Emezi, Tochi Onyebuchi, Lesley Nneka Arimah, Nana Akosua Hanson, Ekpeki Oghenechovwe Donald, Innocent Chizaram Ilo, Suyi Davies Okungbowa, Wole Talabi, Nerine Dorman, T. L. Huchu, Pemi Aguda, among others.

The shortlist for the 2024 edition is as follows:

Novel

Bones and Runes, Stephen Embleton (Abibiman Publishing, 2022)

Dazzling, Chikodili Emelumadu (Hachette; Wildifre, Headline Publishing Group, 2023)

Don’t Answer when They Call Your Name, Ukamaka Olisakwe (Masobe Books, 2023)

Shigidi and the Brass Head of Olabufon, Wole Talabi (Gollancz and DAW Books, 2023)

Vagabonds!, Eloghosa Osunde (Harper Collins; 4th Estate and Riverhead Books, 2022)

Warrior of the Wind, Suyi Davies Okungbowa (Orbit Books, 2023)

Novella

Broken Paradise, Eugen Bacon (Luna Press Publishing, 2023)

Land of the Awaiting Birth, Oghenechovwe Donald Ekpeki and Joshua Uchenna Omenga (from Between Dystopias: The Road to Afropantheology, SF & Fantasy, 2023)

The Lies of the Ajungo, Moses Ose Utomi (Tordotcom/Masobe, 2023)

Undulation, Stephen Embleton (from Mothersound: The Sauútiverse Anthology, 2023)

Short Story

A Name is a Plea and a Prophecy, Gabrielle Emem Harry (Strange Horizons 14 August, 2023)

Blackwater Children, Moustapha Mbacké Diop (Haven Speculative Fiction, Issue 7, Nov 2022)

Destiny Delayed, Oghenechovwe Donald Ekpeki (Asimov’s Science Fiction, Vol 46, May/June, 2022) Kɛrozin Lamp Kurfi by Victor Forna (Apex Magazine, 2023)

Like Stars Daring to Shine, Somto Ihezue (Fireside Fiction, July 2022)

Loom, Solomon Uhiara (Dark Matter Magazine No. 8, 2022)

My Mother’s Love, Naomi Eselojor (Hexagon Issue 10 / Fall, 2022)

Osimiri, Chinaza Eziaghighala (Fission #2: Volume 1, An Anthology of Stories from the British Science Fiction Association, BSFA & HWS Press, 2022)

The Way of Baa’gh, Cheryl S. Ntumy (Mothersound: The Sauútiverse Anthology, Android Press, 2023)

Graphic Novel

Die Strandloper, Daniël Hugo (Dream Press & Daniël Hugo, 2022)

Grimm’s Assistant, Mamode Ogbewele (Mode Comics, 2023)

WindMaker volume 1, Roye Okupe, Sunkanmi Akinboye, Toyin Ajetunmobi and Godwin Akpan (Dark Horse Comics, 2022)

The winners will be announced at a yet-to-be-disclosed venue and date.

COMICS

Countdown to Lagos Comic Convention 2023 begins

Published

11 months ago

September 13, 2023

Geek Afrique

The yearly geek event is Nigeria’s most prominent, and this year promises to grow with more to showcase, and inspire.

By Mariam Abdullahi

The most-anticipated geek event in Nigeria, the Lagos Comic Convention, is set for a return. With just 10 days left, the one-day extravaganza will take place at Landmark Event Centre from 9 a.m. to 7 p.m. on Saturday, the 23rd of September, 2023. As always, a star-studded list of Nigerian creators will be in attendance, with most of the companies and studios already billed to appear, or have a major corporate presence.

The attendance count for this remarkable event continues to grow each year, and GeekAfrique will update you on that as the figures become available. The prediction is that this year will be huge, as Nigeria continues to feature prominently on the global pop culture scene.

The theme for this year’s convention involves the rise of AI and concerns around its use, so it is bound to be interesting.

A short statement on the event’s official website reads: “Attending LCC is an exhilarating and unforgettable experience! Make the most of your weekend in Lagos, play and cosplay your way through the city with a variety of things to do. It’s time to get your geek on! We’re looking forward to welcoming you again to this edition of Lagos comic [convention].”

The attendance count for this remarkable event continues to grow each year, and GeekAfrique will update you on that as the figures become available. The prediction is that this year will be huge, as Nigeria continues to feature prominently on the global pop culture scene.

You can buy tickets in advance HERE.

COMICS

Why Nigerian comics are taking the world by storm

Published

1 year ago

April 28, 2023

Geek Afrique

Over the past few years, Nigerian comic books have been making waves in the global comic book industry. From their unique storytelling style to their stunning artwork, are being celebrated for their authenticity. What’s the reason for this tour de force?

By Mariam Abdullahi

Nigerian comic books are breaking new ground in terms of representation. For years, the comic books available to readers have been dominated by Western superheroes, with little room for diversity. Nigerian comic books, on the other hand, showcase a wide range of characters, from traditional folklore heroes to contemporary superheroes. These characters are not only diverse in terms of race and ethnicity but also in terms of gender.

This diversity is refreshing and exciting, as it provides a space for underrepresented voices to be heard. One very good example is the YouNeek Universe’s array of titles, like ‘Malika’, ‘E.X.O’, and ‘Iyanu: Child of Wonder’ (currently being developed as an animated series for Cartoon Network). Most recently, Comic Republic was announced to have inked a deal with a major Hollywood production company to produce TV shows based on their line of comics.

There will be more international deals announced as they year goes on. After all, Nigerian comic books are celebrated for their unique storytelling style, known for their use of local languages, dialects, and colloquialisms. This approach not only adds authenticity to the stories but also creates a sense of familiarity for local audiences. Moreover, the use of folklore, mythology, and history provide a fresh perspective on African history and mythology.

They are also praised for their stunning artwork, with work by artists like Etubi Onucheyo, Jide Okonkwo, Mustapha Bulama, Kro Onimole, Chigozie Amadi, Bolaji Olaloye, Godwin Akpan, and many more. They are known for vibrant, colourful, and dynamic art styles, with visually stunning and unique styles that stand out.

For years, they have struggled to get their work recognized on a global scale, but thanks to tech and especially the internet, Nigerian creators now have an ever-widening platform to showcase their talents, and providing a space for them to tell their stories. These stunning comic books also play a vital role in promoting literacy and education. In a country where illiteracy rates are high, comic books provide an accessible and engaging way for people to learn.

Nigerian comic books and their creators often address social and political issues, making them an excellent tool for educating people on important issues. A couple of years ago, the works of writer/illustrator/cartoonist/editor Abdulkareem Baba Aminu were included in the award-winning anthology ‘The Most Important Comic Book On Earth’ alongside that of Alan Moore, John Wagner, Cara Delevingne, Charlie Adlard, and 300 other leading environmentalists, artists, authors, actors, filmmakers, and musicians.

Some Nigerian comic books are even available in local languages, making them accessible to a wider audience. There is also a number of publishers making giant strides, like Spoof!, Vortex, Epoch Comics, Comic Republic, and others. It’s safe to conclude that Nigerian comic books are changing the narrative of African storytelling, as attested to by the high quality of writers and creators, bringing out fresh and compelling stories, characters and concepts.

For too long, African stories have been told by outsiders. That is changing fast, with the rise in showcasing the richness and diversity of African cultures, challenging stereotypes, and promoting a more nuanced understanding of Africa. Overall, they are taking the world by storm for good reason, providing a space for underrepresented voices to be heard, promoting diversity, and showcasing Nigerian talent. As the global comic book industry continues to evolve, Nigerian comics are sure to play an increasingly important role in shaping its future.