That was during a flashback synopsis of Zatanna's time in the JLA.
Artistic license, I guess.
To me it's Superman in that drawing who looks a bit dorky and out of proportion.
Over the weekend, I was reading TAILGUNNER JO 1-6, that Artis did in collaboration with writer Peter Gillis. Interesting story
of dehumanizing corporate experiments, told with 80's-style testosterone, guns and action. Involving a cyborg experiment where a
father and daughter share a psychic link, and at times the same body, like a pilot and tailgunner (hence the name).
When the violence gets too dark, he tells his daughter to mentally leave to an Alice-in-wonderland-like place of
medieval chivalry and talking cuddly animals.
The story is a bit choppy and incoherent, with multiple characters narrating at different points, hardest to follow
in the first issue. With a better editor, it could have been more coherent and a far better story.
A story with far better storytelling along vaguely similar lines with robots, futuristic galactic war, and bits of
subtle humor is DYNAMO JOE by Doug Rice. Out in roughly the same late-1980's period.
It also shares elements with writer Peter Gillis' work on SHATTER, regarding the dehumanizing aspect of technologies,
and the protagonist characters being reduced to being just so much disposable product, whose personal agonies mean
nothing to executives looking for any ruthless way to raise the bottom line.
Tom Artis in the book MIDNIGHT HIGH described pouring a lot of work into TAILGUNNER JO, which was his first regular series.
And was furious about about his pencils being "mutilated" in the first two issues at the direction of the book's
editor, that improves with inking by others on the later issues.
But even though not the best sample of Artis' work (again, my choice is SECRET ORIGINS 27), it still
is a nice representative example of his work.
