Practitioners 37: Peter David (Part 2)

Peter David is an American writer of comic books, novels, TV, Movies and Video Games. In part One we looked at how Peter David came to arrive in comic books, in Part Two we arrive at how he changed the fcae of comic histories most prominent characters.

Peter David made his name on - and a legend of The Incredible Hulk with 12 Years as writer


Having been given an unpopular and derided title like the Hulk David discovered that he had greater creative control so far away from the central, more popular titles. This enabled him to investigate and test out his storytelling with impressive results. Within his first 12 month run on Hulk, David had reintroduced his estranged wife, destroyed the Hulkbuster base, sending several characters turn-coat and on the road with Bruce Banner (trying to contain his other persona), introduced X-Men – for a rematch with Wolverine, and X-Factor (who he would write for in the mid-nineties), effectively kill Hulk and have him return as the more cerebral Joe-Fixit, a figure in contention with the less intelligent Green persona. David concentrated on the recurring theme of the Hulk/ Bruce Banner’s multiple personality disorder, his periodic changes between the more rageful and less intelligent Green Hulk and the more streetwise, cereral Grey Hulk, and of being a journeyman hero, whicxh were inspired by Incredible Hulk 312 (October 1985) in which writer Bill Mantlo (and according to David himself Barry Windsor-Smith)had first established that Bruce Banner had suffered childhood abuse at the hands of his father. These aspects of the character would later be used in the slightly misaligned but well-intentioned 2003 film adaptation written by Michael France and directed by Ang Lee. In his 12-year run as writer of Incredible Hulk, in which he worked with luminaries and upcoming talents as Todd McFarlane (there when he got there) Gary Frank, Liam Sharp and Adam Kubert he developed the character further, revealing a third, and potentially less engaging Hulk. Banner and the Hulk merge in a more balanced character, retaining the intelligent characteristics of Bruce Banner and the strength and power of the Hulk. The effect was impressive. The now intelligent Hulk found a new relationship with his former wife Betty Ross and along with friends Rick and Margot found himself in control of a secret cabal of immortal heroes known as the Pantheon. David gave Hulk everything he wanted, access to his intelligent mind, strength and access to a private jet and technology bordering on magic. This is where David excels. He puts no limitations on the potential for change in his characters in order to explore possibilities in the story and is fearless in progressing the story at a break neck pace. He also listens to his artists, asking the newly signed Liam Sharp, fresh from success in the UK and US with Marvel Uk’s Death’s Head 2, what character he would like to draw. Gary Frank’s first comic book project with Marvel Uk was drawn upon as well, as the Marvel UK characters Motormouth and Killpower arrived in the pages of Hulk. Using the newly empowered Hulk as a platform to deal with difficult issues such as AIDs, false political imprisonment and homophobia. Not forgetting who was reading the book however, he soon brought the furious, sub-intelligent Hulk back to the pages of Hulk, leaving him lost and alone in the Everglades, effectively restarting the story of the only journeyman struggling with his own demons. Not to say he didn’t throw in Swamp-Thing and Speedfreak for good measure.

And was after he had been freelancing for a year, and into his run on Hulk, that David felt his career as a writer had been cemented and he began to make approaches to DC, being offered a four issue mini-series of The Phantom by Mike Gold. Finally – and astonishingly given that he had been employed on a Marvel title for a year, David only then left his sales position to become a full time writer.

Dreadstar (DC Comics)


David took on Dreadstar during its First Comics run, with issue 41 after Jim Starlin left the title, and remained on it until issue 64 (March 1991), the final issue. David’s other Marvel Comics work in the late 1980s and early 1990s includes runs on Wolverine, the New Universe series Merc and Justice, an excellent run on the original X-Factor, including issue 92 (with Joe Quesada), as part of the Fathers and Sons crossover which incorporated X-Men 25.
Peter David launched the future universe of Marvel with Spider-man 2099, a beautifully realised, dystopian tale of Miguel O’Hara, a futurist scientist who develops powers comparable to a spider in the corporate-run streets of a monolithic New York. Intelligent, witty and deliberately referential of the original without touching directly on its predecessor thematically or literally, Spider-man 2099 helped launch the entire 2099 Universe which lasted for the better part of a decade and took in almost every character in the Marvel Universe and redeveloped them. David set the tone for it all.

At DC Comics in 1990, David wrote an Aquaman miniseries, The Atlantis Chronicles, detailing the history of Aquaman’s home city Atlantis. This has since been cited by David as one of the works he is most proud. His following Aquaman mini-series Aquaman: Time and Tide and the subsequent run of 46 issues on the ongoing series gained notoriety as Aquaman lost a hand early in the series, which was later replaced with a harpoon, a feature of the character that lasted David’s full tenure on the book. He also wrote DC’s Star Trek comic books (though openly opined that Star Trek is better served in novel form as they’re not particularly visual), as well as Supergirl and Young Justice, the latter cancelld in order to transfer the assembled characters to the newly reformed Teen Titans monthly.

David’s work for Dark Horse comics has included the Spy Teen Adventure, SpyBoy, which appeared between 1999 and 2004 and a 2007 mini-series. Other independent work includes Soulsearchers and Company, which is published by Claypool Comics and the Epic Comic’s Sachs and Violens, which he produced personally with co-creator George Perez.

David returned to Marvel with Heroes Reborn: The Return for Marvel, in which the Marvel Universe’s lost characters that had disappeared in an event a year before returned to the Marvel Universe as well as a run on a new series of Captain Marvel, which was critically acclaimed.

David and his Second wife, Kathleen. wrote the final English-language text for the first four volumes of the manga series Negima for Del Ray Manga. In 2003, David began writing a new creator owned title , Fallen Angels, for DC Comics, using material left from development of the now-defunct Supergirl title as well as writinga Teenage Mutant Nija Turtles Mini-series for Dreamwave that tied into the animated television series broadcast that year. After Dc cancelled Fallen Angels, David relaunched at IDW the same year. He went on to produce Spike: Old Times one-shot and Spike Vs Dracula mini-series, based on the character from Buffy the Vampire Slayer and Angel Tv series.

X-Factor 92 (Peter David, Joe Quesada, Marvel Comics)

In 2005, David briefly returned to the Incredible Hulk but only lasted for 11 Issues due to work pressures. He also developed a new title Friendly Neighbourhood Spider-man, beginning witha 12-part ‘The Other’ storyline in which Spider-man discovers he is dying, lost a fight during a traumatic fight with Morlun, underwent a metamorphosis and developed new powers and greater understanding of his abilities. Yet again whenever experimental alterations are made to popular characters, this proved controversial with readers, who were bemused perhaps by the extended stingers coming out of Spider-man’s arms and the association of a Spider totem from which his powers were derived. David’s run ended with issue 23.

Following on from David’s original and successful run on X-factor in the early 90s, he wrote a successful MadroX (Multiple Man) title for Marvel the same year which led to the reintroduction of the X-Factor title, using characters from David’s original tenure Multiple Man, Strong Guy, Wolfsbane) working as private investigators in a detective agency of the titular name. David’s work on the title proved popular with Ain’t It Cool News and David found that the new Opt in/ opt out policy on Crossovers and greater forward planning on titles made his second tenure much easier. However, his decision to create a homosexual storyline between established characters, Shatterstar and Rictor (a confirmation of clues that had been established in X-Force years earlier) drew criticism from Shatterstar’s Co-creator Rob Liefield, though Editor-in-Chief and former creative partner on David’s original run on X-Factor supported the story. The title eventually won a 2011 GLAAD Media Award for outstanding comic book for his work on the title.

Peter David announced in 2005 that he had signed an exclusive contract with Marvel, his independent works Spike, Fallen Angel and Soulsearchers and Company ‘grandfathered’ into the agreement. David wrote the dialogue for The Dark Tower: A Gunslinger Born, a comic book spin-off from Stephen King’s Dark Tower novels, bringing his career full circle. He then wrote Marvel’s Dark Tower comic book adaptations as well.

David took over She-Hulk after Dan Slott left, from Issue 22 to 38, a run which won praise. He also wrote Halo: Helljumper, 2009 Ben 10: Alien Force Manga book published by Del Rey, Ben Fold’s Four, a ‘Little Mermaid’ story in Jim Valentino’s Fractured Fables anthology that won more praise from Ain’t it Cool News, an adaptation of the 1982 film Tron to tie in with the 2010 sequel of the same name and a John Carter from Mars prequel to the film due out next year.

Peter David is a genius. His methodology is to block out different days for different projects, allowing him to be prolific in his work. Assured, well liked and professional, Peter David is a quiet voice in a creative industry but one with an enormous fan base exclusively based on the enjoyment of his work. His writing conveys his enthusiasm, wit and humour as well as never losing grip on issues close to him. Unafraid of controversy and generous in his plotting and pacing, David is a joy to read. A clear reason as to why his works are reprinted through Marvel, available as Masterworks collections and including full runs of his writing.

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Practitioners 27: Frank Cho

We here at Beyond the Bunker hope to list the greatest and best creatives in the history of comic books. In a continuing series (available every week on Tuesday) the most innovative, inspirational and important comic book visionaries will be appearing here. Check on the link below to see if one of your favourites has been included yet.

Frank Cho is a controversial character in current comics. In a market where female depiction has been maligned at times and mistreated, female characters often portrayed as goddesses or weak and endangered victims. Some have broken these rules and if considered more carefully, Cho has in some ways. You will not see a continually weakened or needy figure in a woman but neither will you see a dominant and removed amazon at all times. His female characters dominate with their looks, exposing most of all the weaknesses in the surrounding male counterparts and the effect a beautiful woman can have. Not always sympathetic, at times mysoginistic in its post card humour level of nudity, Cho’s work hails back to older (and not entirely gone) ideals. While women now can (and should) enjoy all the same rights as men in society why can we not still marvel at their appearance as an ideal? While both sexes obsess about the ideal image of women in society, Frank Cho has decided on his and he loves them dearly – and frankly would like us to too.

The second of three children, Frank Cho, born Duk Hyun Cho, he was born near Seoul, Korea in 1971, but moved to the United States at the age of six, raised on Beltsville, Maryland. After graduating High Point High School in 1990, he attended Prince George’s Community College where he got a scholarship to attend the Maryland Institute College of Art in Baltimore, which he declined because he disliked the school’s academic focus. Cho ended up transferring to the University of Maryland School of Nursing, which he says was his parent’s idea. Cho eventually graduated with a B.S. in Nursing in 1996. None of this is relevant however because his education never impacted on his art work.

Cho received no formal training as an artist. Looking at his work this defies belief as his line work and control of layouts, composition and detailing is level to the most advanced draftsmen.

He got his start writing and drawinga cartoon strip called ‘Everything but the Kitchen Sink’ in the weekly Prince George’s Community College Newspaper ‘ The Owl’ where he was also comics editor. He then started drawing the daily comic strip University2 for the Diamondback, the independent student newspaper of the University of Maryland, College Park. After graduation, Cho adapted elements of his work for use in a professionally syndicated comic strip, in the form of Liberty Meadows, in which Cho created a comedic comic strip about the activities of the staff and denizens of the titular animal sanctuary / rehabilitation clinic.

In it Cho mixed up his styles freely borrowing Walt Kelly’s (classic American animator and cartoonist) style of drawing anthropomorphic animals, throwing in savage muscle men, apes and dinosaurs in an elaborate homage to multiple illustrators, including Frank Frazetta and Barry Windsor-Smith’s original Conan the Barbarian run. Cho even referenced other comic strips in his own with cameos by Calvin and Hobbes, Lil Abner, Hagar the Horrible and Dilbert. He created a weird little world he found personally appealing and others did too. He made cultural references from Michelangelo to the movie Deliverance and adverts for Crest Toothpaste.

But it was Brandy Carter – a beautiful animal psychiatrist and Jen – Brandy’s roomate. A sexy Rocket scientist who enjoys toying with men, the central characters that caught the affections of most of the readership. Many assume Cho began with Good Girl art as he is second only perhaps to the legendary Adam Hughes in reknown for his versions of vaguely realistically depicted (if unrealistically proportioned) beautiful ladies. In this respect, Cho borrowed predominantly from Dave Stevens, the creator of the lavishly designed Rocketeer comic book who died in 2008. His good girl artwork was part of what made Rocketeer a massive success, thanks to clear, beautifully rendered anatomy (male and female) and exaggerated bomber art style.

Cho signed a fifteen year contract with Creators Syndicate, an independent distributor of comic strips and syndicated columns for daily newspapers. Cho has since admitted this seemed a long time eventually but blamed it on ‘having a bad lawyer.’ Getting tored of Newspaper censorship, Cho severed his contract with Creators Syndicate and converted Liberty Meadows to a monthly publication. It was during this period that Cho came into contact with Marvel comics as part of more wide professional material he has worked on independently over the years. For Marvel, in 2005, he completed a 7-issue run of Shanna the She-Devil. His Shanna series was supposed to feature ‘mature’ artwork, including nude drawings of the heroine, but Marvel baulked at the last moment and decided to have Cho censor his already completed pages for the first five issues and the final two featuring no nudity. Cho has since hinted that Marvel plans to release a hardcover version under the MAX Imprint, which’ll contain his uncensored artwork.

Frank Cho pencilled issues 14 and 15 of New Avengers for Marvel Comics. These issues include trademark Cho-isms; the character of Wolverine is depicted wearing a t-shirt that bears the logo “Beltsville”, and many Liberty Meadows characters make cameo appearances.

Cho frequently makes use of absurd or anachronistic elements in his work, such as dinosaurs, pin-up girls, and Pogo-style anthropomorphic animals. He also enjoys breaking the fourth wall, frequently inserting himself into his work in the guise of a talking chimpanzee, and on several occasions he has drawn strips that feature his characters interacting with other popular syndicated features (for example, a character stuck in a pipe being ejected into a nearby panel apparently taken from Blondie).

To dismiss Cho as a good-girl artist is to fail to acknowledge his sheer ability. The most talented artists are always reknowned and gain success by doing what they do best and Cho is globally reknowned for drawing exceptionally beautiful women. For as long as men like ladies, men like Frank Cho will excel. If his words are as much to bring forward a beautiful female form then all the better. No one reads a Frank Cho book for plot or insight. His is a world populated by Garfield and Hagar. What he presents and represents is not a depiction of a world as it is (or as it should be) but as we like it on a page. Frank Cho’s depiction of the female form has become the reason to read Frank Cho works and the reason is that it is art that is worthy of acknowledgment. If you have to alter a plot to incorporate a Cho femme then you will. Much in the same way that you would alter a plot for Frank Miller to incorporate muscle. Cho is not a limited artist that is at his peak, he is an incredible artist that has been limited by popular demand. His good-girl art so strong that a Cho work without a strongly built, busty beauty inside it is an enormous disappointment. Frankly, I’m sure its an expectation that Cho is willing to bare.

He illustrated the first six issues Marvel Comics’ 2007 relaunch of Mighty Avengers with writer Brian Bendis. He is the plotter and cover artist of Dynamite Entertainment’s Jungle Girl. Cho drew issues 7-9 of Hulk, which were published in 2009.