NEAL ADAMS CHRONICLES | 13th Dimension, Comics, Creators, Culture

Nov08

TONY DeZUNIGA and the Deep Influence of Non-American Artists on American Comics

Posted by Dan Greenfield on Nov 8, 2025

TONY DeZUNIGA and the Deep Influence of Non-American Artists on American Comics

THE NEAL ADAMS CHRONICLES: A birthday salute to the late Filipino trailblazer — and his connection to Adams… — UPDATED 11/8/25: The late Tony DeZuniga was born 93 years ago. Perfect time to reprint this piece from his birthday in 2023. Dig it! — Dan — By PETER STONE The late Tony DeZuniga — born Nov. 8, 1932 — was the first Filipino comic book artist who was accepted by American comic book publishers. Since half of the Second World War occurred in the Pacific Theater, there were almost two million U.S. troops stationed there in 1945. At the same time in the United States, comic books and comic book heroes were exploding. Some of the highest print runs were recorded in the years just before, and during, WWII. Superman was created. Batman, Wonder Woman and the JSA. Captain America, the Human Torch and the Sub-Mariner, just to same some. Many of those comic books were either given to children or left behind on or near Army bases. Hence, the dawn of comics in the Philippines, where some of the largest Army, Navy, Air Force and Marine bases were. An entire generation saw costumed heroes fighting against fascist dictators. After the war, the U.S. troops withdrew for the most part, but left behind their military bases. The American influence was still there. So were comic books and newspaper comic strips. However, the general population was also influenced by their neighbors, the Chinese, the Japanese and many other Asian countries. What grew from this fervent soil was a totally unique and interesting style of art. From the Chinese and Japanese came the love of brush work; long, lush strokes that were symbolic of emotion rather than reality. They loved monsters with carefully rendered scales and terrible, gleaming claws. Women with bold, sensual hips and legs and stunning long, dark hair. There was an art style cultivated there that the world needed to see. But by the late 1960s, America was too overwhelmed by the brilliance of Carmine Infantino and the purity of Alex Toth. By Curt Swan and Murphy Anderson. Hal Foster and Alex Raymond. What no one at the time knew was that there was a young whippersnapper named Neal Adams who was working at Johnston and Cushing where he learned about taking photographs and how to ink from...

Nov05

SUPERMAN #233 AT 55: NEAL ADAMS’ Classic Cover Art Up for Auction

Posted by Dan Greenfield on Nov 5, 2025

SUPERMAN #233 AT 55: NEAL ADAMS’ Classic Cover Art Up for Auction

AN ANNIVERSARY SPOTLIGHT: Already going for hundreds of thousands of dollars… Superman #233 was released Nov. 5, 1970 — 55 years ago. It’s one of the great comics of the Bronze Age, boasting one of the most iconic images of the Man of Steel ever, by the late Neal Adams. Adams always said he hated the cover — here’s why — but that’s not stopping the heavy bidding for the original art, now up for sale through Heritage Auctions. Dig the official (though edited down) description: Neal Adams Superman #233 Cover Original Art (DC, 1971). One of the most enduring images in comics history, Neal Adams’ cover of Superman bursting his Kryptonite chains is instantly recognizable even to non-comic fans. DC has kept it in near-constant circulation, plastered on posters, T-shirts, mugs, and yes, even trash cans. It served as a visual billboard for editor Julius Schwartz’s 1971 soft reboot, ushering the Man of Steel into the Bronze Age with a more human tone. If the message somehow needed clarity, Denny O’Neil’s lead story spelled it out: “Superman Breaks Loose,” with Earth’s Kryptonite transmuted into iron removing the traditional invulnerability of Superman. DC even framed the issue like a fresh start, complete with “The Amazing New Adventures of…” and a big “Number 1… ” across the top. Ink over graphite on Sparta Bristol board with an image area of 10″ x 15″. A reproduction acetate overlay with printed logo, masthead, and cover blurb, each painted on the reverse, is taped to the top margin. The page exhibits minor restoration, including cleaning, color touch-ups, and ink touch-ups in the top left image area. The Comics Code Authority stamp is not the usual pasted-up stat, rather it was inked directly to the page in the top right (an ingenious touch by Adams, since otherwise the effect lines would not have been able to pass through it). The board is toned, with heavier toning on the edges, slight rippling/waviness down the page from the cleaning process, smudging, whiteout corrections, edge creasing, and handling wear. Glass-front framed to 15.5″ x 20.25″. Presents in Very Good condition. — So, how much will it go for? As I write this, it’s at $287,500, including buyer’s premium — with 16 days to go. Follow the bidding here. For comparison’s sake, Adams’ equally famous Batman #251 cover...

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