Carmine Infantino

I used to go around as a youngster into companies, go in and try to meet people — nothing ever happened. One day I went to this place on 23rd Street, this old broken-down warehouse, and I met Harry Chesler. Now, I was told he was a mean guy and he used people and he took artists. But he was very sweet to me. He said, 'Look, kid. You come up here, I'll give you a dollar a day, just study art, learn, and grow.' That was damn nice of him, I thought. He did that for me for a whole summer.

Infantino died on April 4, 2013, at the age of 87 at his home in Manhattan.

In 2004, he sued DC for rights to characters he alleged to have created while he was a freelancer for the company. These include several Flash characters including Wally West, Iris West, Captain Cold, Captain Boomerang, Mirror Master, and Gorilla Grodd, as well as the Elongated Man and Batgirl. The lawsuit was dismissed in September of that same year.

Infantino was the uncle of Massachusetts musician Jim Infantino, of the band Jim's Big Ego. He contributed the cover art to the group's 2003 album They're Everywhere, which features a song about the Flash called "The Ballad of Barry Allen."

He was inducted into comics' Will Eisner Award Hall of Fame in 2000.

He was one of the contributors to the DC Challenge limited series in 1986. Other projects in the 1980s included penciling The Daring New Adventures of Supergirl, a Red Tornado miniseries, and a comic book tie-in to the television series V. In 1990, he followed Marshall Rogers as artist of the Batman newspaper comic strip and drew the strip until its cancellation the following year. During the 1990s Infantino also taught at the School of Visual Arts before retiring. Despite his retirement, Infantino made appearances at comic conventions in the early 21st century.

Infantino later drew for a number of titles for Warren Publishing and Marvel, including the latter's Star Wars, Spider-Woman, and Nova. His brief collaboration with Jim Shooter saw the introduction of Paladin in Daredevil #150 (Jan. 1978). During Infantino's tenure on the Star Wars series, it was one of the industry's top selling titles. In 1981, he returned to DC Comics and co-created a revival of the "Dial H for Hero" feature with writer Marv Wolfman in a special insert in Legion of Super-Heroes #272 (February 1981). He and writer Cary Bates crafted a Batman backup story for Detective Comics #500 (March 1981). Infantino returned to The Flash title with issue #296 (April 1981) and drew the series until its cancellation with issue #350 (October 1985). He drew The Flash #300 (Aug. 1981), which was in the Dollar Comics format, and was one of the artists on the double-sized Justice League of America #200 (March 1982), his chapter featuring both the Flash and the Elongated Man, characters he had co-created.

After consulting with screenwriter Mario Puzo on the plots of both Superman: The Movie and Superman II, Infantino collaborated with Marvel on the historic company-crossover publication Superman vs. the Amazing Spider-Man. In January 1976, Warner Communications replaced Infantino with magazine publisher Jenette Kahn, a person new to the comics field. Infantino returned to drawing freelance.

Infantino and writer Len Wein co-created the "Human Target" feature in Action Comics #419 (December 1972). The character was adapted into a short-lived ABC television series starring Rick Springfield which debuted in July 1992.

Infantino was promoted to publisher in 1971, then president of DC Comics in 1974.

In 1970, Infantino signed on Marvel Comics' star artist and storytelling collaborator Jack Kirby to a DC Comics contract. Beginning with Superman's Pal Jimmy Olsen, Kirby created his Fourth World saga that wove through that existing title and three new series he created. After the "Fourth World" titles were canceled, Kirby created several other series for DC including OMAC, Kamandi, The Demon, and, together with former partner Joe Simon for one last time, a new incarnation of the Sandman before returning to freelancing for Marvel in 1975.

In 1967, Infantino was promoted to editor at DC Comics. He was influential in bringing a more modern look to the previously stodgy DC comics, and was the person who hired influential artist/writer Neal Adams.

In late 1966/early 1967, Infantino was tasked by Irwin Donenfeld with designing covers for the entire DC line. Stan Lee learned this and approached Infantino with a $22,000 offer to move to Marvel. Publisher Jack Liebowitz confirmed that DC could not match the offer, but could promote Infantino to the position of art director. Initially reluctant, Infantino accepted what Liebowitz posed as a challenge, and stayed with DC. When DC was sold to Kinney National Company, Infantino was promoted to editorial director. He started by hiring new talent, and promoting artists to editorial positions. He hired Dick Giordano away from Charlton Comics, and made artists Joe Orlando, Joe Kubert and Mike Sekowsky editors. New talents such as artist Neal Adams and writer Denny O'Neil were brought into the company. Several of DC's older characters were revamped by O'Neil including Wonder Woman; Batman; Green Lantern and Green Arrow; and Superman.

Other features and characters Infantino drew at DC include "The Space Museum", and Elongated Man. With Gardner Fox, Infantino co-created the Blockbuster in Detective Comics #345 (Nov. 1965) and Barbara Gordon as a new version of Batgirl in Detective Comics #359 (Jan. 1967). Writer Arnold Drake and Infantino created the supernatural superhero Deadman in Strange Adventures #205 (Oct. 1967). This story included the first known depiction of narcotics in a story approved by the Comics Code Authority.

Infantino drew "Flash of Two Worlds," a landmark story published in The Flash #123 (Sept. 1961) that introduced Earth-Two, and more generally the concept of the multiverse, to DC Comics. Infantino continued to work for Schwartz in his other features and titles, most notably "Adam Strange" in Mystery in Space, succeeding the character's initial artist, Mike Sekowsky. In 1964, Schwartz was made responsible for reviving the faded Batman titles. Writer John Broome and artist Infantino jettisoned the sillier aspects that had crept into the series (such as Ace the Bathound, and Bat-Mite) and gave the "New Look" Batman and Robin a more detective-oriented direction and sleeker draftsmanship that proved a hit combination.

Superhero comics had all but disappeared in the early 50s, but DC was ready to begin a relaunch of this genre in 1956. DC editor/writer Julius Schwartz approached Infantino about his idea to both revive and revise the Flash. Schwartz' writing and Infantino's modernistic artwork helped make the Flash a big hit, and to also help usher what became known as the "Silver Age" of comics. Infantino went on to work on such characters as the Elongated Man, Adam Strange, and Batman. His work on the latter is credited with reviving that character's sagging sales.

During the 1950s, Infantino freelanced for Joe Simon and Jack Kirby's company, Prize Comics, drawing the series Charlie Chan. Back at DC, during a lull in the popularity of superheroes, Infantino drew Westerns, mysteries, science fiction comics.

Infantino would eventually work for several publishers during the decade, drawing Human Torch and Angel stories for Timely; Airboy and Heap stories for Hillman Periodicals; working for packager Jack Binder, who supplied Fawcett Comics; briefly at Holyoke Publishing; then landing at DC Comics. Infantino's first published work for DC was "The Black Canary", a six-page Johnny Thunder story in Flash Comics #86 (Aug. 1947) that introduced the superheroine the Black Canary. Infantino's long association with the Flash mythos began with "The Secret City" a story in All-Flash #31 (Oct.-Nov. 1947). He additionally became a regular artist of the Golden Age Green Lantern and the Justice Society of America.

Carmine Infantino's life-long assocation with comics began at an early age when, as a fan, he spent much time trying to find the people who drew the comics. At the age of 15 he met and befriended "Lone Ranger" artist Charles Flanders, who acted as a mentor and teacher to the budding artist. Infantino entered the comics industry in 1942, getting a job with Timely (now Marvel) comics as an illustrator on the "Jack Frost" title. He worked for several other publishers after graduating from art school, before finally landing at DC Comics. It was at DC that Infantino made his name.

Infantino attended Public Schools 75 and 85 in Brooklyn before going on to the School of Industrial Art (later renamed the High School of Art and Design) in Manhattan. During his freshman year of high school, Infantino began working for Harry "A" Chesler, whose studio was one of a handful of comic-book "packagers" who created complete comics for publishers looking to enter the emerging field in the 1930s–1940s Golden Age of Comic Books. As Infantino recalled:

Carmine Michael Infantino (/ˌ ɪ n f ən ˈ t iː n oʊ / ; May 24, 1925 – April 4, 2013) was an American comics artist and editor, primarily for DC Comics, during the late 1950s and early 1960s period known as the Silver Age of Comic Books. Among his character creations are the Silver Age version of DC super-speedster the Flash with writer Robert Kanigher, the stretching Elongated Man with John Broome, Deadman with writer Arnold Drake, and Christopher Chance, the second iteration of the Human Target with Len Wein.