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Year of the Artist, Day 43: Kevin Nowlan, Part 3 – Batman Black and White #4

01-01-2014 08;39;32AM (2)

Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Kevin Nowlan, and the story is “Monsters in the Closet” from Batman Black and White #4, which was published by DC and is cover dated September 1996. This scan is from the trade paperback, which came out in 1998. Enjoy!

Once Nowlan started inking himself exclusively, his artwork took another step forward. His lines became crisper and more decisive, and his figures became a bit more angular. It’s been his style ever since, with one unusual exception, which we’ll look at tomorrow. There aren’t a lot of examples of this Nowlan, as his pencilling gigs have become fewer and further between, but this story is a pretty good one.

01-01-2014 08;35;34AM

Nowlan begins the tale with a nice, eerie set-up. We get the long, tall window, out of which the bald dude pours a bucket of goop. Nowlan follows the goop down the roof and through the gargoyle, giving us a nice idea of the gothic Gotham – in Panel 1, the building has Victorian-style chimneys and the stonework is pitted; the roof on Panel 3 is tile or brick; the gargoyle in Panel 4 looms menacingly. In Panel 6, we also see a 1950s-style car in the lower left and the men are wearing hats. There’s a very old-fashioned feel to this story. I do like how Batman is just chillaxing right off a busy street when the dude chucks the goop out of the window. It’s not like he has anything better to do!

Nowlan’s inks are quite nice, as he’s gotten very good at using cross-hatching in crucial places but also ditching holding lines in other places to add to the atmosphere. Panel 4 is nice – it’s all shadows and very few lines, so the gargoyle seems to come out of a mysterious past. The final panel is fairly indicative of how Nowlan now draws characters – very thin eyes and lips, with the mouth usually slightly downturned. Not a lot of joy in Nowlan’s worlds.

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The dude with the goop is creating “biological affronts to all that is holy, all that is sane” (well done, Jan Strnad!), and Nowlan gives us this amazing splash page to drive the point home. Nowlan’s attention to detail is marvelous, and the container is both sleek and a bit clanky, while we continue with the olde-tymey motif – the container is vaguely steampunk-ish, and the light on the left side is vaguely Art Deco. The judicious erasure of holding lines and use of spot blacks inside the container give the environment a weird, misty, alien look, which is what Nowlan is going for. The inside of the container is contrasted very nicely with the harder exterior, as the “science” inside the vat is haunting and mysterious, while the machinery outside is solid and brutal.

01-01-2014 08;39;32AM

Nowlan does a wonderful job leading our eye across this sequence. The water from the broken vat spews to the right, and Batman leans that way, taking us to Panel 2, where the water continues to lead us to the right. The scientist dude is in the lower left, right were Batman’s eyes in Panel 1 lead us, and his gun is pointing upward toward Bats and the hole in the vat. Then, in Panels 3-5, we’re constantly being moved from the left to the right, and Nowlan makes sure to capture the key moments in the fall. His details are once again marvelous – the building itself is impressive and foreboding in Panel 3; Nowlan’s fine lines in Panels 4 and 5 help clearly show the characters falling; the clotheslines are another indication that this is taking place in a strange, non-past past – I mean, do you see clotheslines anymore? Nowlan’s figure work, which was always lithe, is even more sinewy, which makes the action in his stories more believable. As we’ve seen in other examples above, his inking is impressive here, too – the blacks dominate in some crucial places, but Nowlan uses them to create stark contrasts with the water and even with Batman. To show the water more clearly, he adds white spaces in Panels 4 and 5, giving the entire scene a weird, eerie feeling. As above, the small details like the pitting in the building give us an impression that this is somehow an archaic version of Gotham. The best thing about Batman’s city is that it can be every city – Metropolis is always a clean, sleek city, but Gotham can be modern as well as gothic. Nowlan uses this idea well.

Tomorrow, we’ll finish up with Nowlan, as we see one of his more unusual artistic efforts. Oh, it’s a weird one! There’s some weird art in the archives to get you ready for it!


Man, I just see so much of Kevin Nowlan in Yanick Paquette’s Batman work now. Can’t unsee

some stupid japanese name

February 12, 2014 at 2:54 pm

That’s a lot of ovals.
That can’t be fun to draw.

Jeremy: That’s a good point. Paquette does look a lot like Nowlan!

some stupid japanese name: Maybe he digs them!

What!?! No Kevin Nowlan: Part 5?!? $!#&*!!!!

There goes the symmetry! :-(

Man, this story was creepy! Helped along well by the atmospheric art.

Nowlan’s inking is very distinct, and Jeremy’s got it right that Paquette has a lot of Nowlan in him.

Has Nowlan ever inked Kevin Maguire, or is it just my stupid stupid brain that mixes the two of them up momentarily here and there?

tom: It’s just worked out that I’ve done five days for every artist so far – I didn’t plan it, and I probably won’t do it for every artist. With Nowlan, once he achieved this look, he really hasn’t changed all that much – he inks his own work exclusively, and he doesn’t do too much different except for tomorrow’s entry. I did look at a bunch of his other stuff over the past 20 years, but I couldn’t see much different to write about, and I thought this was the coolest story. So yes, it wrecks the symmetry, but I wasn’t planning on doing five days for everyone anyway.

Travis: I don’t think Nowlan ever inked Maguire – I haven’t paid too close attention, but I have gotten a lot of Maguire stuff over the years, and I never noticed Nowlan’s name.

This miniseries hasn’t aged al that gracefully. It seemed nearly frickin’ mind blowing when it came out as people weren’t accustomed to the dark/indie-esque take on Bats, but now it’s just kind of okay.


I think that you missed a little step between his Moon Knight’s run and that Batman Story

New Mutants 51

Where he was still halfway ‘Simplicity’/’Details’

ollieno: Yeah, I completely forgot about that issue when I was writing these up. About two weeks after I finished, I was reminded of it for some reason, but I figured I’d just move on!

Kevin Nowlan’s an artist whose pencilling is good but whose inking is exquisite. He even made Dan Jurgens look good on Superman vs. Aliens.

There’s also another style he had that wasn’t covered here, featured both in his Secret Origin story and the A1 anthology from Atomeka.
Alos of note is his Batman and the outsiders Annual that is kind of a template for all Jim Lee/Silvestri & co artists that would come later.
There’s also an issue of the original Punisher run, I think #6, where you can already see that aspect. It also features a very nice Mignola cover, but Nowlan would later take on a Cover Artist run on Wolverine where his art would definitively embrace this slickness he’s known for.

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