![]() ![]() ![]() In fact, in the annotations for The New Frontier, Cooke’s epic for DC Comics that tries to bridge the gap between its Golden Age and Silver Age characters, he writes: “Any effort to insinuate the DCU into the real world of the 1950s wouldn’t have been complete without looking at the civil rights issues of the day. Going through Cooke’s works as I did, you can see a clear fascination for the look and style of post-war America – the architecture, the cars, the furniture – but, unlike most creators who choose to set their works in that time period, Cooke wasn’t shy to deal with the things America likes to ignore when it takes a look back at its “Golden Age” – racism, McCarthyism, war and its consequences. His character design is timeless – look no further than his character sheet for Selina Kyle / Catwoman – and his storytelling is sharp and crisp. But what that also meant was that he was able to bring in and apply the lessons learnt and experience gained from those industries into his comics. Compared to his peers, he ventured into comics quite late, after spending years as a graphic designer for magazines in Canada and then as a storyboard artist in Los Angeles for various shows of the DCAU. ![]() Cooke is, in my opinion, a giant of the medium. One of my silly little “reading goals” for 2022 was revisiting all things Darwyn Cooke – from his early work on Catwoman to the Parker novels late into his career. ![]()
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