el gaucho

J. H. Williams III's El Gaucho

Morrison's run at DC has focussed on permuting the features of iconic characters through a sequence of confrontations with their doubles of various stripes. His All-Star Superman, for example, faces other strong men, bizarro Superman, a "Super" Louis Lane, Supermen from the future, from alternate universes, and even Lex Luthor as Superman. In his run on Batman, we saw Batman confront secret vigilante Batman replacements, Batman in the future, Batman junior, and, eventually, Batman 2: Robin. One of the most amusing sequences (667-9) features an international group of Batman variants, which Jog helpfully points out are distinguished by J. H. Williams III's imitation of various artistic styles. In particular, the Argentinian mirror of Batman, El Gaucho, is drawn in the style of Howard Chaykin.

Of course, he's not a direct copy of any particular Chaykin character, but his disguise does closely mirror that of the (very briefly mentioned in Midnight Men (1993)) El Sombra.

Howard Chaykin's El Sombra

More important than the costume, however, is the square jaw and Chaykin personality (i.e. kick ass and don't take shit from no one). Jog wonders if Yanick Paquette's art for Batman, Inc. could perform the same imitation. Although the style is not matched, the square jaw and epic attitude are certainly still there. Not the least of which reason being that El Gaucho (who's already saved Batman's life more than once) (i) immediately identifies Bruce Wayne as Batman (amusingly believing Batman to be impersonating Bruce Wayne) and (ii) turns down Batman's offer to join his international team (well, upon initial request, we'll see what happens next issue).

Yanick Paquette's El Gaucho—still badass

Of course, Chaykin's prone to strong Jewish heroes, frequently busting Nazi / fascist butt in one shape or another. But he's no stranger to the swarthy mustache / machismo of El Gaucho, that's for sure. For example, his recent run on Rawhide Kid: The Sensational Seven left ample opportunity for mustachioed macho, in both a variety of villains, and also "heroes" such as Wyatt and Morgan Earp:

Howard Chaykin's Earp brothers

[This frame appears after Morgan has violently induced Wyatt to vomit when told by their cellmate that Wyatt has been eating more than his fare share of the scorpions. In the previous frame, Morgan has counted the scorpion corpses in his brother's vomit, only to discover the accusations are true.]

J. H. Williams III's El Gaucho has a different attitude toward scorpions

Of course, badass as a Chaykin tribute in the pages of Batman is, we shouldn't forget that Chaykin is alive and well, even penciling his own occasional Batman outing (square jaw and attitude and all). Personal wet dream: Morrison scripted, Chaykin penciled, Batman / El Gaucho team up—now when will we get to see that?

the satisfaction of black mariah

In 1987, Howard Chaykin's Time²: The Satisfaction of Black Mariah, the follow-up to 1986's Time²: The Epiphany, was published by First. Although the two constitute some of the most beautiful work in the entire medium, they have yet to be republished and the series remains incomplete.


We've seen Chaykin's trademark triptych style in his earlier work on 1974's Ironwolf. 10 years later, Chaykin has extended the style from close analyses of action to broader dynamic effects. This sequence is one of several depicting the slow surprise and seduction of a doorman against the backdrop of pandemonium on the other side of the gate. Pandemonium caused by the implosion of the android jazz musician Cosmo "Cos" Jacobi's comeback concert.


Here, for example, the triptych gives us snapshots from a long (implied) tracking shot past Cos and through the club. The overall effect of these sequences is decidedly cinematic as the reader's gaze is guided through richly detailed environments and encounters. Of course, Chaykin extends these techniques to the overall layout, allowing not just three but many panels in sequence, arranged horizontally, vertically, diagonally as the needs demand.

Still, three panel sequences are strikingly prominent within the overall style.


Another beatnik is treated to a zoom effect here as he begins an android liaison. In fact, the extension of the triptych technique from violent action to "action" more generally is in keeping with the adult theme of many of Chaykin's works from the `80's.


In the climax, a giant murdering sex robot run amok ("Black Mariah") is "satisfied" by the spontaneous (voluntary?) sacrifice of all robots in the immediate vicinity.


Here we see the action triptych used as a backdrop for two floating panels depicting an on site reporter (whose convenient narration fills in some rather gaping holes in the this particular plot line). When the entire structure implodes, Chaykin concludes the volume with a final triptych depicting the humorous emergence of robot Cos from the remains of the collapsed orgy.


[Note, gutters have been changed from white to black throughout for aesthetic reasons.]

ironwolf

Howard Chaykin circa 1974: "Ironwolf" serialized in Weird Worlds.

Lord Ironwolf is a noble turned terrorist who'd rather destroy his homeworld's rarest treasure than allow it to be used by the empress's hegemony (and does).

In this early work, Chakyin's trademark use of onomatopoeic visuals and cinematic breadth is already on display. Of particular note are the slow motion sequences: close analyses of violent action.

three: the holy trinity: face cards: triangles: separation of powers: pyramids: UFOs: more than two less than four: french hens: persistence of vision