#andy helfer

[evilhorse]

People like realistic art in comic books.

(Justice League America #50)

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some (very) interesting comics here

The Shadow 1987-1989 DC Comics : Free Download, Borrow, and Streaming : Internet Archive

The Shadow, set in our modern era, was continued in 1987 as a monthly DC comics series by writer Andy Helfer (editor of the miniseries); it

[balu8]

The Shadow #1: Shadows and Light

by Andy Helfer; Bill Sienkiewicz; Richmond Lewis and Bob Lappan

DC

[cryptocollectibles]

The Shadow #1-3 (1987) by DC Comics

Written by Andy Heifer, drawn by Bill Sienkiewicz.

[dirtyriver]

"Tygers" in Tales of the Green Lantern Corps Annual #2, 1986, written by Alan Moore, art by Kevin O'Neill. This story had been famously rejected by the Comics Code Authority because of its art.

Here's what Kevin O'Neill himself said about this when he was interviewed by CBR for Comic-Con San Diego 2014:

I actually love that, because it was originally a two-part story with tigers that Alan Moore had written for me. It was gonna be in a regular "Green Lantern" book and Andy Helfer, the editor, rang me up and said, "There's a problem with the Code." My first thought was, "Well, what have I got to change?" and he said, "Nothing. They just don't like the style. There's nothing you can change." I thought that was ridiculous. So I rang Alan and he was green with envy. I thought it was pretty funny. I thought the Code was a funny idea even when I was a kid, I thought that was strange. And I'd heard all these stories about it's just little old ladies in a room reviewing pages and stamping the back. I thought it was mental, isn't it. It's a really regressive way of producing comics.

They held onto the story for some months and then put it out in the annual without the Code sticker, because I think at the time it was beginning to be dismantled. The next time I went to New York, the very, very great Archie Goodwin, I met him, and I said, "Archie, have you got a copy of the Comics Code? I've always wanted to see one." And he went off, he didn't have one, no one had one. He found one in the closet somewhere and there's a phone number on it. And I said, "Do you mind if I, can I ring them up? I'd like to visit them." I rang up the Comics Code in New York and I said who I was, English artist visiting, "I really want to see what you do at the Comics Code." And they said, "There's nothing to see here! There's nothing to see here!" and just put the phone down. [Laughs] I never got to see them. I'd love to know -- I've never seen photos of it. I've no idea how they work. I mean, people told me they send the artwork up there, it was stamped on the back, and it came back. But no one had been over there, as far as I'm aware to see who these people were, or if anyone's doing anything. Is it completely random? You know, were they actually just hiring someone to stamp the back? It's just totally bizarre.

[ufonaut]

People tell me I'm acrophobic. I don't think so. Actually, I like heights. I just don't like the idea of falling from them.

Fast Forward (1992) #1

(Andy Helfer, Glenn Barr)

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October 1987. DC's strategy in this era was to follow a fancy high-profile miniseries with a new ongoing title, usually with a different creative team. Often, this resulted in rapidly diminishing returns, but the ongoing series spun out of the popular Howard Chaykin THE SHADOW: BLOOD AND JUDGMENT miniseries actually surpassed the mini, at least creatively. Writer Andy Helfer pushed Chaykin's cynical modernized Shadow to blackly comedic extremes: richly if broadly characterized, full of terrible violence and worse puns. He was greatly aided in this effort by artists Bill Sienkiewicz, who did the first six issues, and Kyle Baker, who did most of the rest and made THE SHADOW just as demented (and almost as funny) as his solo graphic novels.

Around the time the series came out, DC released the Sienkiewicz covers of the first six issues, including this one, as a nice six-plate Shadow portfolio.

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