On August 23rd, we sadly lost Dave Taylor to prostate cancer.
Among readers of North American comics, a British artist, he is probably best known for his Batman work, paired with Alan Grant for the run of Shadow of the Bat, and with Chip Kid for Death by Design Graphic Novel. His early career resided in works like Marvel British work like Jean Dog with John Freeman and his work for the rebellion of Judge Dread Megazine. Perhaps one of the brightest, shining gems in his catalogue is the Moebius-inspired tongue*Lash (and its sequel) with Jean-Marc and Randy Lofficier.
His style has evolved beautifully from more angular works that feel influenced by Carlos Ezkera and Mick McMahon to developing his own style that combines his influences, to more refined, simpler curved lines, to more refined, simpler curved lines. Batman: Death by Design and “1812” are highly recommended from the demons of the Eastern Front. Originality in character design, layout and panel transitions.
I am sure the issues of his power had worked before anything else, but one book of his artwork I remember first thanking him for his work was Batman: Riddler-Ridol Factory.
“What does Riddler want to gain from all of this?”
To support the release of their films, DC had put out one-shots in fame format featuring the main villains of those films. For Batman Forever, they featured two faces and released the Riddler of Batman: Matt Wagner, Taylor, Lindaemdley and Bill Oakley. Give us the story of Riddler, who is hosting a pirate game show. The contestants force them to solve the mystery so that they do not receive outrageous punishment. The phrase reveals a secret to ultimately humiliate and embarrassing a rich and famous target. And a little mystery as to why Riddler is doing that.
Taylor’s style here is more angular and exaggerated, and it really reminds me a bit of a reminder of another Wagner collaborator, Bernie Millier. With Riddler, who looks like older Frank Golsin. It really suits the nature of the story’s game show, but it introduces something like a formal structure in terms of page layouts that are common to Wagner’s comics. What really grabbed me when this book came out was the way Taylor approached Batman’s shadow and silhouette. Compared to the bright and undoubtedly flashy colors of Riddler and his game shows, Batman was often more shadowy here. It piqued me when Taylor was announced as the new regular artist for Shadow of the Bat.
The line art is beautifully enhanced with Lindaemdley’s colours, balancing the extremes of Riddler’s bright primary colors with the darkness of Gotham City, Batman and GCPD. And Bill Oakley’s letter concludes the creative well.
“It’s not a puzzle! Riddler! I’m the king of sharp wing conundrums! Puzzles are just sidelines.”
Batman: Riddler – The Riddle Factory of Wagner, Taylor, Medley and Oakley could have been part of a strangely considered release schedule featuring Batman Forever characters. Even if it is completely irrelevant from a narrative standpoint. But many of these prestige formats showed how good many of one shots were. It was a combination of character research, hindering good storytelling and slamming a bit of contemporary pop culture at the time at game shows.
And it introduced many of us to the incredible Dave Taylor. A great artist went too early.
Classic comics big summary: Batman – Riddler
Batman: Riddler – Riddle Factory
Author: Matt Wagner
Artist: Dave Taylor
Colorist: Lindaemdre
Letter: Bill Oakley
Publisher: DC Comics
Release date: June 1, 1995
Collectable in The Legend of the Dark Knight: Matt Wagner
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