Alter Ego #121 by TwoMorrows Publishing

Roy Thomas’ All-Star-Struck Comics Fanzine

SEE? WE TOLD YOU THERE’D BE ANOTHER ISSUE STARRING THE

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JUSTICE SOCIETY OF AMERICA

No. 121

Justice Society of America TM & © DC Comics.

November 2013

L! A I EC P S

HR!! T E D OTRHUN Y THW NN E! M! N O J EOF ONE ATO S! ! Y WOR S TH ET CI BC.REAT ANOR OF ACH SO SREAT SSTICE CO HEN R/ C N U O T J WRI LEER/CO AR19D51 J K 48 IN 19 RON F E BKER

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Edited by ROY THOMAS The greatest ‘zine of the 1960s is back, ALL-NEW, and focusing on GOLDEN AND SILVER AGE comics and creators with ARTICLES, INTERVIEWS, UNSEEN ART, P.C. Hamerlinck’s FCA (Fawcett Collectors of America, featuring the archives of C.C. BECK and recollections by Fawcett artist MARCUS SWAYZE), Michael T. Gilbert’s MR. MONSTER, and more!

2013 EISNER AWARD Nominee Best Comics-Related Journalism

Other issues available, & an ULTIMATE BUNDLE with all issues at HALF-PRICE!

ALTER EGO #111

ALTER EGO #112

DIEDGITIIOTANSL BL AVAILA

ALTER EGO #108

ALTER EGO #109

ALTER EGO #110

1970s Bullpenner WARREN REECE talks about Marvel Comics and working with EVERETT, BURGOS, ROMITA, STAN LEE, MARIE SEVERIN, ADAMS, FRIEDRICH, ROY THOMAS, and others, with rare art! DEWEY CASSELL spotlights Golden Age artist MIKE PEPPE, with art by TOTH, TUSKA, SEKOWSKY, TALLARICO Part 3, plus FCA, MR. MONSTER, BILL SCHELLY, cover by EVERETT & BURGOS, and more!

Spectre/Hour-Man creator BERNARD BAILY, ‘40s super-groups that might have been, art by ORDWAY, INFANTINO, KUBERT, HASEN, ROBINSON, and BURNLEY, conclusion of the TONY TALLARICO interview by JIM AMASH, MIKE PEPPE interview by DEWEY CASSELL, BILL SCHELLY on “50 Years of Fandom” at San Diego 2011, FCA, Mr. Monster’s Comic Crypt, PÉREZ cover, and more!

SHAZAM!/FAWCETT issue! The 1940s “CAPTAIN MARVEL” RADIO SHOW, interview with radio’s “Billy Batson” BURT BOYAR, P.C. HAMERLINCK and C.C. BECK on the origin of Captain Marvel, ROY THOMAS and JERRY BINGHAM on their Secret Origins “Shazam!”, FCA with MARC SWAYZE, LEONARD STARR interview, Mr. Monster’s Comic Crypt, BILL SCHELLY, and more!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95

ALTER EGO #113

ALTER EGO #114

ALTER EGO #115

GOLDEN AGE NEDOR super-heroes are spotlighted, with MIKE NOLAN’s Nedor Index, and art by MORT MESKIN, JERRY ROBINSON, GEORGE TUSKA, RUBEN MOIRERA, ALEX SHOMBURG, and others! Plus FCA, MR. MONSTER, more 2011 Fandom Celebration, and part II of JIM AMASH’s interview with Golden Age artist LEONARD STARR! Cover by SHANE FOLEY!

SUPERMAN issue! PAUL CASSIDY (early Superman artist), Italian Nembo Kid, and ARLEN SCHUMER’s look at the MORT WEISINGER era, plus an interview with son HANK WEISINGER! Art by SHUSTER, BORING, ANDERSON, PLASTINO, and others! LEONARD STARR interview Part III—FCA—Mr. Monster—more 2011 Fandom Celebration, and a MURPHY ANDERSON/ARLEN SCHUMER cover!

MARV WOLFMAN talks to RICHARD ARNDT about his first decade in comics on Tomb of Dracula, Teen Titans, Captain Marvel, John Carter, Daredevil, Nova, Batman, etc., behind a GENE COLAN cover! Art by COLAN, ANDERSON, CARDY, BORING, MOONEY, and more! Plus: the conclusion of our LEONARD STARR interview by JIM AMASH, FCA, MR. MONSTER, BILL SCHELLY, and more!

MARVEL ISSUE on Captain America and Fantastic Four! MARTIN GOODMAN’s Broadway debut, speculations about FF #1, history of the MMMS, interview with Golden Age writer/artist DON RICO, art by KIRBY, AVISON, SHORES, ROMITA, SEVERIN, TUSKA, ALLEN BELLMAN, and others! Plus FCA, MR. MONSTER and BILL SCHELLY! Cover by BELLMAN and MITCH BREITWEISER!

3-D COMICS OF THE 1950S! In-depth feature by RAY (3-D) ZONE, actual red and green 1950s 3-D art (includes free glasses!) by SIMON & KIRBY, KUBERT, MESKIN, POWELL, MAURER, NOSTRAND, SWAN, BORING, SCHWARTZ, MOONEY, SHORES, TUSKA and many others! Plus FCA, Mr. Monster’s Comic Crypt, BILL SCHELLY, and more! Cover by JOE SIMON and JACK KIRBY!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95

ALTER EGO #116

ALTER EGO #117

ALTER EGO #118

ALTER EGO #119

ALTER EGO #120

JOE KUBERT TRIBUTE! Four Kubert interviews, art by RUSS HEATH, NEAL ADAMS, MURPHY ANDERSON, MICHAEL KALUTA, SAM GLANZMAN, and others, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY’s Comic Fandom Archive, FCA’s Captain Video conclusion by GEORGE EVANS that inspired Avengers foe Ultron, cover by KUBERT, with a portrait by DANIEL JAMES COX!

GOLDEN AGE ARTISTS L.B. COLE AND JAY DISBROW! DISBROW’s memoir of COLE and his work on CAT-MAN, art by BOB FUJITANI, CHARLES QUINLAN, IRWIN HASEN, FCA (Fawcett Collector’s of America) on the two-media career of Captain Video, MICHAEL T. GILBERT in Mr. Monster’s Comic Crypt, BILL SCHELLY on comics fandom history, Cat-Man cover by L.B. COLE!

AVENGERS 50th ANNIVERSARY! WILL MURRAY on the group’s behind-thescenes origin, a look at its first decade with ROY THOMAS, STAN LEE, JACK KIRBY, THE BROTHERS BUSCEMA, TUSKA, ADAMS, COLAN, BUCKLER, ENGLEHART, MERRY MARVEL MARCHING SOCIETY, MR. MONSTER, BILL SCHELLY, FCA, Golden Age Blue Beetle artist E.C. STONER, unused Avengers cover by DON HECK!

MARC SWAYZE TRIBUTE ISSUE, spotlighting FCA (Fawcett Collectors of America)! Salutes from Fawcett alumnus C.C. BECK and OTTO BINDER, interview with wife JUNE SWAYZE, a full Phantom Eagle story from Wow Comics, plus interview with 1950s Dell/Western artist MEL KEEFER, MICHAEL T. GILBERT in Mr. Monster’s Comic Crypt, and a SWAYZE Marvel Family cover art from the 1940s!

X-MEN SALUTE! 1963-69 secrets, rare ‘60s BRAZILIAN X-MEN stories, lost ‘60s XMen “character sheet” by STAN LEE, ROY THOMAS on the 1970s revival, art and artifacts by KIRBY, ROTH, ADAMS, HECK, FRIEDRICH, and BUSCEMA—plus the MARVELMANIA fan club story, interview with Golden Age writer ED SILVERMAN, FCA, Mr. Monster, BILL SCHELLY, and JACK KIRBY’s unused X-Men #10 cover!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95

Vol. 3, No. 121 / November 2013 Roy Thomas

Editor

Bill Schelly Jim Amash

Associate Editors Christopher Day

Design & Layout John Morrow

Consulting Editor

P.C. Hamerlinck

FCA Editor

Michael T. Gilbert

Comic Crypt Editor Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich

Editorial Honor Roll

Rob Smentek William J. Dowlding

Proofreaders

Shane Foley (after Irwin Hasen)

Cover Artists Tom Ziuko

Cover Colorist

Heidi Amash Mark Lewis Richard J. Arndt Jim Ludwig Bob Bailey Ed Malsberg Rod Beck Doug Martin Judy Swayze Bruce Mason Blackman Mike Lynch Dominic Bongo Cartoons (website) Mike Catron Tom Miller Shaun Clancy Brian K. Morris Brian Cremins Ken Nadle Ray Cuthbert Jake Oster Craig Delich Jay Piscopo Jim Engel Gene Reed Justin Fairfax Bob Rivard Stephen Fishler Tony Rose Shane Foley Heather Rowe Four-Color Shadows Steven Rowe (website) Bernice SachsJanet Gilbert Smollet Jennifer Go Maggie Sansone Grand Comics Randy Sargent Database Eric Schumacher Robert Greenberger Pat Sekowsky Larry Guidry Emily Sokoloff Heritage Comics Dan Stevenson Archives Bhob Stewart Bob Hughes Marc Svensson Douglas (“Gaff”) Dann Thomas Jones Steven Thompson Jim Kealy Dr. Michael J. Richard Kyle Vassallo Paul Leiffer Rebecca Wentworth

With Special Thanks to:

This issue is dedicated to the memory of

John B. Wentworth, Leonard Sansone, & Bernard Sachs

Contents Writer/Editorial: “…And All The Stars Looked Down”. . . . . . 2 John B. Wentworth—All-American Thunderbolt . . . . . . . . . . . 3 Daughter Rebecca Wentworth tells Richard Arndt about the creator of “Johnny Thunder,” “Sargon the Sorcerer,” & “The Whip.”

Special A/E Interlude: “The Will Of William Wilson” . . . . . . 18 Splitting The Atom—Three Ways! . . . . . . . . . . . . . . . . . . . . . . 21 Mrs. Emily Sokoloff & Maggie Sansone talk to Shaun Clancy about Leonard Sansone— inker/co-creator of “The Atom”—and about co-creators Ben Flinton and Bill O’Connor.

Bernice Sachs-Smollet to Richard Arndt about her late husband, JSA/JLA artist Bernard Sachs.

“The Life Of A Freelancer… Is Always Feast Or Famine” . . 40

Bill Schelly presents Landon Chesney’s fandom classic—in color for the first time since 1963!

Comic Fandom Archive: 2 Flashes Meet The Purple Slagheap . 59 Michael T. Gilbert looks at the nutty house ads of Golden Age Ace Periodicals.

Mr. Monster’s Comic Crypt! Now That’s A Fan! . . . . . . . . . . 65

re: [correspondence, comments, & corrections] . . . . . . . . . 71 FCA [Fawcett Collectors Of America] #180 . . . . . . . . . . . . . 73 P.C. Hamerlinck with Otto Binder’s madcap memoir—& Captain Marvel’s wartime record.

On Our Cover: Irwin Hasen’s cover for All-Star Comics #43 (Oct.-Nov. 1948) was, in addition to its own considerable merits, the inspiration for the second “Justice League of America” cover, for The Brave and the Bold #29 (April-May 1960)—no big surprise, since chances are that both were commissioned by editor Julius Schwartz. For Alter Ego #76’s printing of Bob Rozakis’ fantasy history of a takeover of National/DC by sister company All-American Comics, Shane Foley adapted the Golden Age cover to what it might’ve looked like had honorary JSAers Superman and Batman, who had guest-starred in AllStar #36, stuck around in place of less stellar members Johnny Thunder and The Atom… and Ye Editor has always wanted to see that artful homage in color, so our thanks to Tom Ziuko. Coincidentally, the cocreators of the two latter-named heroes are honored in this issue of A/E… hence the vintage cameo heads by Stan Aschmeier (Johnny Thunder) and Ben Flinton, Leonard Sansone, & maybe Bill O’Connor (The Atom). [JSA heroes TM & © DC Comics.] Above: The first work by the longtime team of penciler Arthur Peddy and inker Bernard Sachs on the “Justice Society of America” feature was the lead chapter of the story “The Plight of a Nation” in All-Star Comics #40 (April-May 1948)—except for the splash page, which was a Photostat of that issue’s cover by Carmine Infantino & Frank Giacoia. Seen above is the very first panel Peddy & Sachs ever drew of the JSA—in that first issue in which Black Canary replaced Johnny Thunder, even though she didn’t officially become a member till #41. Reproduced from Ye Editor’s bound volumes. [© DC Comics.]

Alter EgoTM is published 8 times a year by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: roydann@ntinet.com. Send subscription funds to TwoMorrows, NOT to the editorial offices. Eight-issue subscriptions: $60 US, $85 Canada, $107 elsewhere. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in China. ISSN: 1932-6890 FIRST PRINTING.

writer/editorial

“...And All The Stars Looked Down”

he line is by G.K. Chesterton (1874-1936), from his poem “A Christmas Carol.”

Somehow, though it’s not quite yet the Yuletide season, the phrase called out to me, because none of the three comics creators who are the main focus of this latest “Justice Society of America” theme issue is down here amongst us at this writing. Two of them passed away late last century after reasonably long life spans, while the life of the other had been cut short, years earlier, in a tragic automobile accident. Our interviews this issue are with the daughter of one of those men (John B. Wentworth, writer/co-creator of “Johnny Thunder”) and the widows of the other two (Leonard Sansone, first inker and perhaps co-creator of “The Atom,” and Bernard Sachs, who inked entire book-length stories in the later Golden Age All-Star Comics)—though, in the case of Sansone, a daughter was also very much involved with the interview.

Naturally, it would have been wonderful had we been able to interview the comics pros themselves. Alas, however, they were gone from the scene before Alter Ego began its present incarnation.

We consider ourselves blessed, though, to record the memories of Rebecca Wentworth, Emily (Sansone) Sokoloff, and Bernice Sachs-Smollet. Understandably, these three ladies may have fewer recollections concerning their loved ones’ comic book work than about a forced move to Maine for reasons of family health… or the trials and tribulations of “making it” in New York City in the early 1940s… or a pop-art exhibit at the Museum of Modern Art. But their vivid word-pictures serve as valuable context for all the comic and related art that accompanies them… or is it vice versa?

(And Bernice, it turns out, has clear and colorful memories of Bernie Sachs’ comics associates, especially his longtime partner, Arthur Peddy. While Becky reveals the source of the relationship

between Johnny Thunder and his foster-daughter Peachy Pet… and Emily provides the first information I’ve ever learned about “Atom” byliners Ben Flinton and Bill O’Connor. And if you’ve never before known about Len Sansone’s celebrated Wolf cartoons from the Second World War—well, you should. I myself had no idea, till recently, that there was a connection between that hardcover 1946 Wolf collection I found years ago in a used bookstore and Al Pratt, the youngest—and shortest—charter member of the JSA.)

Jim Amash, longtime interviewer and still one of A/E’s valued associate editors, has always maintained that some of the most important insights about the comics field come not necessarily from the “big names,” but from its lesser-known artisans. He could have added, “and sometimes from their wives and children.”

To round out our coverage of the first decade of the world’s first super-hero team—and the 50th anniversary of the JSA’s return in JLA #21—Bill Schelly and I are also proud to present Landon Chesney’s early send-up of Earth-Two stories, seen in color for the first time since its original presentation in 1963. You’ll also view two more “colorized” pages of that never-published, quasi-lost “JSA” story from the mid-’40s. All this, plus some truly outrageous house ads for less-than-stellar Ace comics of the Golden Age, courtesy of Michael T. Gilbert—and FCA’s loving look at “the real” Captain Marvel’s wartime adventures.

What was it that one early-1960s science-fiction fanzine said disparagingly about super-hero comics fanzines?

Oh, yeah… that they’d soon run out of interesting material and would die an early death. What was the name of that SF fanzine again? Bestest,

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JOHN B. WENTWORTH All-American Thunderbolt Daughter REBECCA WENTWORTH Tells Us About The Man Who Created “Johnny Thunder” & “Sargon The Sorcerer” Interview Conducted & Transcribed by Richard J. Arndt

NTERVIEWER’S INTRODUCTION: John B. Wentworth was born in 1908 and died in 1997. During his long life, he was an actor, a light opera singer, an information officer dealing with foreign diplomats, and, most important to Alter Ego readers, a comic book writer. All of his work in the latter field was done for All-American Comics (from 1939-45 the sister company to DC Comics) and for DC itself after AA founder M.C. Gaines sold his interest to the larger company in ’45. Wentworth co-created “Johnny Thunder” (a feature originally called “Johnny

Thunderbolt”) with artist Stan Aschmeier (aka “Stan Josephs”), cocreated “Sargon the Sorcerer” with artist Howard Purcell and “The Whip” with George Storm, and also wrote such AA/DC strips as “Red, White and Blue” and “The Ghost Patrol.” In fact, with rare exceptions, Wentworth worked only on series characters for his entire comics career. This interview with John B.’s daughter, Rebecca Wentworth, was conducted by phone in December of 2011.

John B. Wentworth

No Flash In The Pan Writer John B. Wentworth at work—surrounded by the first-ever splash pages of three DC heroes he co-created: “Johnny Thunderbolt” and “The Whip” from Flash Comics #1 (Jan. 1940) and “Sargon the Sorcerer” from All-American Comics #26 (May 1941). The respective artists are Stan Aschmeier, George Storm, and Howard Purcell. Note that Wentworth originally received a byline only on “The Whip.” With thanks respectively to the hardcover JSA All Stars Archives, Vol. 1, Jim Kealy, and Gene Reed—and to Rebecca Wentworth for the photo. The “Whip” page is probably ultimately from the 1970s tabloid-size reprinting of Flash Comics #1. [Page © DC Comics.]

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

A Family Portrait In Four Parts (Clockwise From Above:) The Wentworth family circa the early 1950s. (L. to r.: John B., Rebecca, Hazel (Mrs. John B.), Karen. Rebecca writes: “There are [virtually] no family pictures of us together. Dad was the photographer, and he was into candid shots.” Incidentally, both Rebecca and Karen have kept their original surnames. “Mom,” Rebecca says, “also stayed Hazel Wentworth.” A 1938 letter from John B. to Hazel. The “watermelon” bit refers to their as-yet-unborn first child, Karen. This clearly much-read copy of Flash Comics #77 (Nov. 1946) is the only comic book containing one of her father’s stories that Rebecca can recall having while growing up. It came out in the year she was born. For scenes from its rather atypical “Johnny Thunder” entry, see p. 11. The Hawkman cover is by Chester Kozlak. [© DC Comics.] Wentworth in the woods at Tenants Harbor, Maine… sometime between 1942 and 1947-48. Thanks to Rebecca Wentworth for the photos, Flash Comics scan, and letter.

“He Referred To His Work In Comics As ‘For The Pulps’”

RICHARD ARNDT: We’re chatting with Rebecca Wentworth, about her father, John. Can you tell us what you know of your dad’s early life?

REBECCA WENTWORTH: Dad went to the Chicago University High School. That school was run by a guy named John Dewey. Dewey was the progressive education guru for Americans at that time. He was an advocate of pragmatism, which supported classes like home economics and practical, skill-based learning, as well as the Latin or liberal arts classes. Although he was never a formal

John B. Wentworth—All-American Thunderbolt

teacher, Dad was very much an educator in his own way. My mother was a special-needs teacher back then. She was a remedial reading teacher, and she taught speech therapy and stuff.

Dad studied opera and theatre and writing privately while he was in college. He married Mom—well, I don’t actually know the year. I know he graduated with a Liberal Arts degree from Williams College in Massachusetts in 1929, the same year his dad died, and, of course, the year of the great stock market crash. The year the Great Depression started. For the first few years of their marriage they were in New York, and then they ended up in Colorado for five years. Dad did theatre work for the WPA [Works Progress Administration] in Silver City, near Denver, until the government stopped supporting theatre.

RA: That may have been when Orson Welles ticked off the right-wing members of Congress with The Cradle Will Rock, in 1937 or so.

WENTWORTH: That’s close, so that could have been it. They moved back to New York in 1938, and I’m pretty sure Dad started writing for comics—or the pulps—that’s what he called them. My sister was born in 1938, and he started working for the pulps in 1939. I was born in 1946, so I don’t know all the titles of the pulps he wrote for.

RA: There were a lot of [actual] pulps back then. Mostly, “pulps” refers to a particular short story [magazine] market, not comics. Do you know if he wrote prose stories for that type of genre pulps?

WENTWORTH: No, I just know the comics. He referred to his work in comics as “for the pulps.”

RA: A lot of writers back then wrote for one market, say, comics, using one name and an entirely different name for detective pulps. Would your father have used a pen name?

WENTWORTH: No, as far as I know, he used his real name, John Wentworth. In 1939, he became rather desperately ill, both he and my sister; and the family ended up moving to Maine in the early 1940s, I think 1942. My mother’s family is from there. They lived in Maine for five years. That’s where he wrote most of his comics from.

RA: Have you read a lot of your dad’s comics?

WENTWORTH: Well, when I was a kid, we had one copy of one of his comics. It was a “Johnny Thunder” comic and I read it a lot. I seem to recall him telling me when I was young that he wrote the first Lone Ranger comic book. I think I saw that one as well. All that memorabilia was lost over the years. [INTERVIEWER’S NOTE: I was unable to find any credits for John Wentworth on Dell’s Lone Ranger, though it is entirely possible that he did script early issues or stories. Although “The Lone Ranger” appeared in comics from 1937 on, his first full issue in his own title was in 1945, two years before Wentworth left comics.]

“[Johnny Thunder] Was His Character”

RA: I wasn’t aware of his work on “The Lone Ranger.” I know he wrote the first episode of “Johnny Thunder.”

WENTWORTH: He created Johnny Thunder. That was his character. He was originally called “Johnny Thunderbolt.” Peachy Pet, who was a little girl who appeared in “Johnny Thunder,” might have been based on my sister. The relationship between Peachy Pet and Johnny Thunder was like that of my Dad and my sister. Peachy Pet was probably a nickname for the character, not her actual name. Dad used to give us all nicknames.

RA: You mentioned that your dad was an opera singer, and Roy Thomas, Alter Ego’s editor, notes that there are some similarities between Richard Wagner’s Ring opera cycle and “Johnny Thunder” in that the son was sent away to be raised by others, like Siegfried in the Ring Cycle and, for that matter, Superman.

WENTWORTH: That wouldn’t surprise me. It makes sense. Dad had a subtle sense of humor. He was strictly a light opera singer, though, not the dramatic stuff or operettas.

RA: You mentioned earlier that he studied opera and theatre. Did he have any career in opera?

RA: Really? Most of the comics industry was in New York City at the time, and I’ve usually heard that a writer or artist had to live in the city pretty much full-time to get steady work. Did he have to commute down, or did he send the scripts in by mail?

WENTWORTH: I don’t really know, but I would assume he mailed them in. In those days it took six hours to drive from our house in Maine just to get to Boston, and it was another ten hours after that to get to New York. It was because you had to go and wait for ferries. They didn’t have the bridges they have today. There were two ferries you had to take. The roads were very curvy, and there was no Route 95, only Route 1. No freeways, only two-lane roads most of the way. It was a long trip.

Home On The Grange A recent photo of Rebecca Wentworth—“at the farmer’s market, peddling memberships for the Grange.” Pic taken by Heather Rowe.

WENTWORTH: Yes. In Colorado, during his time with the WPA, he worked with theatre projects and sang in light opera productions. There’s a long history of my family working or associated with the theatrical world. My grandparents met singing Gilbert & Sullivan, so there’s quite a lot of singing and performing in my family. One of the reasons he came to New York in 1938 was to try his hand at a singing career, but his illness cut that short. Mom taught school in Manhattan, but they lived in Hoboken. She used to take the ferry to work. I remember her telling me that. This is all pre-me, though. What I can tell you is all family myth and things I was told more than things I remember. My sister Karen would probably know more than me.

RA: He also co-created “Sargon the Sorcerer” with artist Howard Purcell. Did you know any of the people he worked with in comics?

WENTWORTH: Hmm, no, not really. I was only a year old when he left the

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

Thunder And Lightening (Left:) By the time of this story in World’s Finest Comics #3 (Fall 1941), the name of Wentworth’s longest-running four-color feature had been changed to “Johnny Thunder,” which had always been the name of the character. JBW’s own byline came and went in the 1940s. Thanks to Doug Martin. (Below:) In Flash Comics #62 (Feb. 1945), Johnny’s foster-daughter Peachy Pet accosts the “egghead” writer of the “Johnny Thunder” feature… a stand-in for Wentworth himself. Such behind-the-scenes material was common in the series’ later years. Art on both pages by Stan Aschmeier, by now bylined as “Stan Josephs.” [© DC Comics.]

pulps. They didn’t have names on most of the comics back then, and when I was old enough to read them he hadn’t been writing comics for years.

There was a guy named Hod Ogden. This was years later, and they used to get together. Hod would write lyrics for the plays, and Dad would write the music. It was sort of reversed from what you would think, with Dad being a writer and all. They met in New York.

RA: There’s a year’s gap in his byline appearing in any comics—from late 1943 to late 1944, a fourteen-month gap. I assume that, like a lot of comic creators of the time, he was in the military, in the service?

WENTWORTH: No, Dad was never in the service. He was too ill to join. Not just that, but he was too old to serve, too. He was 32 or 33 when the war started. He wouldn’t have gone anyway.

He’d moved to Maine, but it had to be before 1943, I think. Well, maybe the move to Maine was in 1943. He lived in Maine for five years, and we left in 1947 or 1948. It’s possible, I guess, but I think he left New York for Maine earlier than 1943. My guess is that gap came from when he was so sick. He had pneumonia. Mom dragged him up to Maine because he and my sister were getting pneumonia all the time. I think he had two or three major bouts with pneumonia. Still, he had to have been writing comics while in Maine.

Mom supported Dad for many years. When my sister was born in 1938, Dad was the parent who took care of her. Mom was

teaching, like I mentioned, and Dad stayed home and took care of Karen for two years. He started writing for comics from home. Mom and Dad had a very special kind of relationship. He was very sick for a number of years.

Dad had an impish sense of humor. He loved the notion that with “Johnny Thunder” there was this guy, this super-hero, who could say a magic word and have all this power and not have any idea of how to use it. Dad was very ahead of his time that way. I hope I can find this picture of Dad for you. It’s a perfect picture of the way Dad would think. He’s sitting in front of an old Royal typewriter and he’s got a pipe in his mouth, but it’s a bubble pipe. He’s looking very serious—the big-time writer typing away—but he’s got a bubble pipe in his mouth. [NOTE: See next page.]

RA: That would be a great picture! As I understand “Johnny Thunder” and the way it was written, the super-hero half of him, the Thunderbolt, was actually quite smart. It was Johnny who was a bit of a dimwit. The Thunderbolt character, I think his actual name was Yz, used to get rather annoyed with him.

John B. Wentworth—All-American Thunderbolt

A Writer’s Name Materializes—As If By Magic! (Above:) Howard Purcell-drawn “Sargon the Sorcerer” splash pages from All-American Comics #27 & #30 (June & Sept. 1941). The scripts of both are reportedly by Wentworth, but he only began to get a byline several issues into the series. Thanks respectively to Doug Martin and Gene Reed. [© DC Comics.]

WENTWORTH: Yeah, the Thunderbolt was smart and Johnny was a dope. The character Peachy Pet, as I recall, would get Johnny out of trouble, as well.

Howard Purcell. Photo provided by Mike Catron for Roy T.’s TwoMorrows book The All-Star Companion, Vol. 3, which covered Purcell’s long-running “Johnny Peril” feature.

“[Magic] Was All Hokum To Him, But He Enjoyed ‘Sargon’”

RA: Did you ever hear the name George Storm? He was the original artist for “The Whip,” a

I’m Forever Blowing Bubbles… (Above:) John B. with his “bubble pipe.” (Left:) This action-packed page from Flash Comics #25 (Jan. 1942) showcases the three main stars of “Johnny Thunder”— Johnny himself, Peachy Pet (though garbed differently than usual), and Johnny’s anthropomorphized Thunderbolt, who would do JT’s bidding whenever the hero spoke the magical word(s) “Cei-U”—which sounded in English like the slang expression “Say you.” This had humorous results in the early tales, since, before Johnny learned he had a magic word, he would spout its homonyms only by accident. Thanks to Michael T. Gilbert for the scan. [© DC Comics.]

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

Let’s Read A Good Movie! (Left & center:) This vintage pay record, preserved by Rebecca W., shows that in 1941 her father wrote short-story-style adaptations of several Hollywood movies for the Fawcett Publications mag Movie Story. We haven’t been lucky enough to run across the covers of issues containing any of those abridgements, but we did turn up this 1943 MS cover spotlighting the flick Flight for Freedom, with Rosalind Russell and Fred MacMurray. (Above:) In addition, FCA editor P.C. Hamerlinck suspects that the “J.J. Wentworth” who wrote this text story for Fawcett’s Whiz Comics #47 (Oct. 1943) may well have been John B., with his middle initial lettered incorrectly… though there’s no way we can know for sure. Whiz, of course, cover-featured another comic book hero who got his powers from a thunderbolt—one who debuted the same month as “Johnny Thunderbolt” did in Flash Comics #1 (both Jan. 1940)—and who was originally slated to be called “Captain Thunder,” and whose name change may have been partly due to Fawcett’s learning about the upcoming DC feature. [© the respective copyright holders.]

Sheldon Mayer. Photo from DC’s house fan-magazine The Amazing World of DC Comics #5, 1975. (See Julius Schwartz on p. 44.)

Bedside Manners (Left:) All-American group editor Sheldon Mayer (seen in a mid-1940s photo) seems to have been held in considerable affection by most of the talented artists who worked under him, including the likes of Carmine Infantino, Alex Toth, Irwin Hasen, Joe Kubert—and Stan Aschmeier. The latter created this original watercolor “get-well card” especially for Mayer in 1944; it was sold online a few years back. Most of the folks shown rallying ’round Shelly are one-time members of the JSA: Johnny Thunder (with Thunderbolt and Peachy Pet), Starman, Dr. Mid-Nite (with Hooty the Owl), and Mr. Terrific—plus a pair of explorers, probably from one of the adaptations of Carl H. Claudy’s juvenile fantasy novels done for early issues of All-American Comics. By an amazing coincidence, Aschmeier had drawn all these characters at one time or another; sadly, we’ve never run across a photo of the artist. With thanks to Jim Engel and Paul C. Hamerlinck for scans. [Heroes TM & © DC Comics.] (Right:) For the “Johnny Thunder” mini-epic from Flash Comics #74 (Aug. 1946), Aschmeier and scripter Wentworth devised a (non-comics) editor named “Julius Sheldall,” his moniker a composite of those of Mayer and story editors Julius Schwartz and Ted Udall. [© DC Comics.]

John B. Wentworth—All-American Thunderbolt

character your dad wrote beginning [with #1] in 1940 and continuing until early 1942. “The Whip” appeared in Flash Comics, the same comic in which “Johnny Thunder” was featured. The Whip was a Zorro-type character. Was your dad a fan of Zorro?

WENTWORTH: Dad’s take on that type of character would have been sarcastic. He would play with that kind of character, that kind of idea, in all sorts of funny ways. If you read his work consistently, you’d see little send-ups all through his stories. Send-ups about the traditions, the formula… Dad was a rebel long before Jimmy Dean thought about being one.

Throughout all of his stories, you’re going to see some play on words, little send-ups of the people reading the comic, send-ups of the people he’s writing for—there will be little bits of satire all through it. If I had copies of the comics, I could probably point them out to you. He was a subtle kind of person. Not in your face at all.

Still, back to Zorro: he would have known about the Western tradition, maybe not from the original “Zorro” stories but from Zane Grey, most likely. He probably did send-ups of Zane Grey. Now, he did like writing “Sargon the Sorcerer.” He liked the idea of the magic stone and all that.

RA: Sargon was one of the characters he wrote that has lasted the longest.

WENTWORTH: That makes sense. Dad was a rather hard-headed guy. He was an atheist. He didn’t believe in magic at all. It was all hokum to him, but he enjoyed “Sargon.”

The Navy Gets The Gravy—And Johnny Thunder! (Above:) John B. Wentworth may have been both too old and too ill to see service in the military during the Second World War, but his creation Johnny Thunder served in the U.S. Navy for the duration, both in Flash Comics and as a member of the Justice Society of America in All-Star Comics. Seen here is the Wentworth/Aschmeier splash panel from Flash #44 (Aug. 1943), with thanks to Jim Kealy. [© DC Comics.]

RA: I suspect that the fellows who wrote Mandrake the Magician or “Zatara,” a character who spoke all his spells backwards, didn’t really believe in magic, either. It was just a good story hook. It was fun to write.

WENTWORTH: Exactly. Dad was very creative, and he liked to find odd little ways to dig at somebody or something he wanted to spoof.

RA: When he wrote “Johnny Thunder,” he spoofed all that magic stuff by making Johnny the seventh son of a seventh son, born at seven in the morning, on the seventh day of the week in the seventh month and on and on. Everything to do with sevens.

WENTWORTH: All that magical potential, and Johnny was still a dope! [Dad] was making fun of that “seventh son of a seventh son”—dragging it out to the ridiculous. He was very well-read.

RA: Even the magic word Johnny uses to bring in his Thunderbolt was sort of a send-up. It was written as “Cei-U” but pronounced “Say You,” which was a bit of a slang term, I guess, back in those days.

WENTWORTH: You know, there’s one story or series he worked on that I’ve never been able to find any reference to anywhere. He wrote a series called “Red, White and Blue,” which I thought was the one I remembered, but then I found a story of “Red, White and Blue” and it was some kind of military strip. That surprised me a bit, because Dad was always such a war protester.

The one I remembered and couldn’t find was about four Boy Scouts who had died, had gotten killed somehow, but they kept

Majority “Whip”? (Left:) By the time this Wentworth-bylined episode of “The Whip” was published in Flash Comics #25, George Storm had been replaced as regular artist by Homer Fleming. But the hero was still a modern-day Zorro, who affected a fake (and very bad) Spanish accent. Wentworth probably wrote more than half of the “Whip” stories. Thanks to Gene Reed. [© DC Comics.]

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

helping people. I liked that Boy Scout story, but I could never find any reference to it.

RA: Looking at the “Red, White and Blue” stories, they do seem to be more military- or spy-related than anything about Boy Scouts. “Red, White and Blue” appeared in All-American Comics. There was an early work called “The American Way.” Does that sound like it? WENTWORTH: I don’t know—might have been.

RA: My notes say that “The American Way” was an adaptation of a George Kaufman & Moss Hart play that ran on Broadway in early 1939. That makes sense, considering his interest in the theatre. Wait, could it be “The Ghost Patrol”? They appeared in Flash Comics, too! He didn’t create those—a fella named Ted Udall did. [INTERVIEWER’S NOTE: According to later Flash Comics editor Julius Schwartz, Udall’s real last name was “Yigdal.”]

WENTWORTH: That’s it! “Ghost Patrol”! Anyway, these Boy Scouts were dead and they kept trying to help people, but they’d always screw it up, every time. This little old lady would be trying to cross the street and they’d try to help her across, so they’d try to stop an oncoming car and the car would turn over or something

From Ghost To Ghost… Ye Editor has no idea what comic book might’ve featured a series about “four Boy Scouts who had died… but they kept helping people”… but John B. apparently did script a number of episodes of “The Ghost Patrol.” He even has a rare byline on this splash page from Flash Comics #65 (June 1945). Light-hearted heroes Fred, Slim, and Pedro were three aviators who “died” but returned to Earth as do-gooder ghosts, still wearing their uniforms. The artist/co-creator was Frank Harry. [© DC Comics.] (Incidentally, this splash and other pages from 1945+ issues of Flash Comics which accompany this article were scanned from beautiful color photocopies made for Roy T. a few years back by his buddy Al Dellinges of many stories from that mag’s late-’40s run. Y’see, for the past two decades, RT has very much regretted letting himself be persuaded by Sotheby’s in the 1990s to auction off his complete bound collection of 1945-49 Flash and other DC comics—long bitter story; don’t ask!—and Al, who’d likewise collected those Flash issues for their Kubert content, took pity on him. See why Al has a lifetime complimentary sub to A/E?)

like that. They were nice boys and they knew how to be Boy Scouts, but they didn’t know how to be ghosts. They were always fumbling around. Dad liked Walter Mitty-type stories.

Next Month: “Truth, Justice, And…” (Above:) “The American Way,” a story serialized over the course of AllAmerican Comics #5-10, was adapted from a Broadway play written by the famous team of George S. Kaufman and Moss Hart and starring prominent stage and screen actor Fredric March. The comic scripts were by John B. Wentworth (perhaps his earliest on record), the art by Walter Galli; both received bylines. Seen above is the first page of the initial installment, in AA #5 (Aug. 1939). Scan supplied by Michael T. Gilbert. [© DC Comics.]

Mind you, I read these things when I was 12 or 14 years old, years after Dad had written them. I liked comic books, but, don’t take this wrong, Dad always made fun of me for liking comic books. That’s the only way I found out that he wrote some of them. It wasn’t like he flaunted his work on these comics.

RA: There may have been some good reasons for that. In the 1950s, a lot of comic professionals, whether they were still working in the business or not, didn’t flaunt the fact that they wrote comics. There was a lot of social criticism of comics and of the people who worked on them during those years.

John B. Wentworth—All-American Thunderbolt

“Everybody Wants To Get Into The Act!” (Above images:) In this “Johnny Thunder” story from Flash Comics #77 (Nov. 1946), Johnny decides to hire his Thunderbolt out as a costumed super-hero called “Hypoguy.” But the hapless hero’s get-rich-quick scheme goes awry when first The Flash, then Hawkman and Hawkgirl, and finally even The Ghost Patrol show up and foil the crimes for free! Naturally, the interlopers all had their own features elsewhere in Flash Comics. Script by Wentworth, art by Aschmeier—with regular “Flash” artist E.E. Hibbard probably drawing the Fastest Man Alive, at least in some panels. And there’s that Flash Comics editor again in the finale! [© DC Comics.]

Three Cheers For The… Harry Lampert in the early 1940s, when he was a sergeant in the U.S. Army. Photo provided by the late artist to accompany his interview in A/E V3#4.

(Left:) This “Red, White and Blue” yarn from All-American Comics #27 (June 1941) may or may not have been scripted by John B. Wentworth… but it was definitely illustrated by Harry Lampert, the artist who had drawn the first two stories of “The Flash.” Its splash panel introduces the lads and the three branches of the U.S. armed services in which they served. Thanks to Jim Ludwig. [© DC Comics.]

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

At Home With The Thunders—And The Thunderbolts Wentworth’s “Johnny Thunder” tales were equally likely to begin with the Thunderbolt family at home on a cloud somewhere—or with the (identified) writer typing a script for the series, only to be interrupted by the eyeshade-wearing (but unidentified) editor. Richard Arndt reports a different and more exotic (later?) first name for the Thunderbolt, but his wife (Mildred!) definitely calls him “Archibald” in several stories. Incidentally, the Thunderbolts’ kid, Shocko, became an increasingly important part of the series, often teaming up with Peachy Pet to get into mischief. These two Wentworth/Aschmeier collaborations appeared in Flash Comics #69 (Feb.-March 1946) and #73 (July ’46), as the comic returned to monthly publication after a period as a bimonthly, due to wartime paper restrictions. [© DC Comics.]

WENTWORTH: There was also the McCarthy era to deal with. If you were creative, you could get into trouble. So many of our literary friends were hauled into court, often for very little reason. My dad hated Richard Nixon with a venom you would not believe. He felt that Nixon was setting a standard for leadership that was going to ruin the country. He believed that. He used to write letters to the editor about impeaching Nixon all the time. He endlessly wrote letters like that. He was quite a firebrand.

“It Was The Move [To Washington, DC] That Caused Him To Drop Comics”

RA: Do you know why he quit writing comics in 1947? Did he just grow out of it or…?

WENTWORTH: The McCarthy era was an awful time for many of the people Dad knew. So many were blacklisted in some way or another. That may have been part of the reason Dad left comics. I don’t know. He was completely vocal on those matters, and it might be that writing comics wouldn’t have been fun anymore. He would have had to write stories that were pro-war or pro-this or

anti-that, which Dad wouldn’t have liked. He was anti-war. He was pro-union.

No, like I mentioned, I was born in 1946, and Dad left Maine in 1947 or 1948. As far as I know, after he moved to Washington, DC, he didn’t write any more comic books. It was the move that caused him to drop comics. I had a great-aunt who was a theatre critic and was living in DC at the time. Her niece’s husband worked for the government in some capacity. That connection was a bridge for them to get out of Maine so they didn’t have to skin fish and dig clams for a living.

It was tough to be in Maine. I probably shouldn’t say this, because I now live back in Maine, but in those days it was hard to be artistic in Maine. It was a rural place. I don’t want to call them rednecks, my relatives, but they were probably pretty close. If you were an artist or a writer, it was scary to them. Did it mean you were a Commie?

In DC [my parents] could both use their college education. Dad initially went into housing for veterans who were getting benefits under the G.I. Bill. Dad would approve housing plans, architec-

John B. Wentworth—All-American Thunderbolt

The Women In His Life (Left to right:) Hazel (Mr. John B.) Wentworth in an undated photo… JBW’s older daughter, Karen, some years back in Maine (her father lived with her in England for the last few years of his life)… and a 1992 snapshot of Rebecca. Photos courtesy of Rebecca W.

With Justice And Thunderbolts For All (Right:) This montage of panels from Johnny Thunder’s early appearances in All-Star Comics illustrates both the evolution of the hero’s personal Thunderbolt—and the handling of the character by probably the only other person who wrote his adventures between 1940 and 1947. (Clockwise from near left:) Originally, the Thunderbolt was precisely that: a lightning bolt that did Johnny’s bidding with neither speech nor human appearance, as in these two panels by Wentworth and Aschmeier from the “JT” solo story in All-Star #2 (Fall 1940)… All-Star #3 (Winter ’40), of course, chronicled the very first meeting of the super-hero-studded Justice Society of America… and though Johnny wasn’t officially a charter member, he did crash the group’s dinner party, prodded along by his now partly-humanized but still silent Thunderbolt (who, for perhaps the only time, was colored blue)… in an introductory “JSA” chapter written by Gardner F. Fox and drawn by “Flash” artist E.E. Hibbard… By All-Star #6 (Aug-Sept. 1941), Johnny was initiated into the JSA to replace The Flash, and his Thunderbolt had basically gained something close to his ultimate form, albeit momentarily at a gigantic size… in a “JSA” finale written by Fox but drawn by “JT” co-creator Stan Aschmeier. All art repro’d from Ye Editor’s bound volumes. [© DC Comics.] NOTE: All-Star Comics #3-5 all contained two-page text stories starring Johnny Thunder, each accompanied by an illustration or two (not by Aschmeier)… but, since there’s no byline, it’s impossible to know whether Wentworth wrote the tales. Odds are, however, that he did.

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

tural designs for the vets. You could buy a piece of land, then get a house designed and get it built. Dad was more into theatre during that time, too. His theatre career was important to him. He ran an amateur theatre group for the Unitarian employers. He won all kinds of awards for his one-act plays.

After comics, most of his writing was as a playwright. He was a rather down-toEarth playwright, not avant-garde at all in his writing or observations.

When I was eight, he bought a building and started a theatre group called the Washington Theatre Club. Several of his plays were performed there. He stayed with that group until 1972 or 1973, I guess it was.

Anyway, after five years doing the veterans thing, he got a job working as a liaison for the Japanese Embassy. With the daily job and the after-hours theatre work, there just wasn’t the time or the need for the money that comics had brought in. For Dad, comics were a way he could get some income, exercise his creativity, and stay at home and raise the children. Dad kept the liaison job for years, until he was 72, when he retired. Then he moved to England in 1986 and lived with my sister until he died in 1997.

Dad was a very unusual character. He was so far ahead of his time. He had a huge influence on the actors and theatre people he worked with all those years in DC. His way of thinking about things—political stuff and culture— was often ten years or so ahead of when that sort of thing would become popular or commonplace. He did something called the Teen Age Theatre, and for years I could see in TV and movies those teenagers he worked with who went on to become performers. Besides that, guys like Billy Dee Williams and Lou Antonio were part of off-Broadway productions that were produced at the Washington Theatre Club. All those people wandered through our living room.

RA: I remember Lou Antonio. He was one of the black-&-white guys on a famous episode of Star Trek.

Or He Could’ve Just Brought The Mobilgas Flying Horse To Life Instead! (Above:) There was no writer-byline on this “Sargon the Sorcerer” yarn from AllAmerican Comics #70 (Jan.-Feb. 1946), but eagle-eyed researchers credit the script to John B. Wentworth, the mage’s creator. The artist was the teenage Joe Kubert, who’s seen in the above photo, clowning around in 1947 with (shorter) fellow artist Irwin Hasen; the snapshot appeared in a 1970s issue of The Amazing World of DC Comics. The splash page of this “Sargon” saga was reprinted in A/E #116, our Kubert tribute issue. [© DC Comics.]

WENTWORTH: He was a great actor. We had a huge living room. The house we lived in used to be a general store, so the living room was about 40 feet by 50 feet. Mike Seeger, the singer—Pete Seeger’s brother or half-brother—used to come and do square dances there.

Dad used to teach us all tricks from the slapstick comedies. You know, the silent movie stuff—Buster Keaton and Charlie Chaplin? I must have seen those films 20 times each. Dad loved that stuff. If you were around him, you learned slapstick! He liked to show you how to pretend to trip or fall or burp or whatever. All that body stuff. Dad was an unusual person.

I don’t know if my sister will like me telling this story, but Dad died of a burst artery from a hernia he’d had for years and years. When he was being rolled in on a gurney, my sister’s son, who was

14 or 15 at the time, was sitting on the gurney and Dad was telling him all his favorite jokes. [laughs] That was Dad’s exit from the world. RA: Not a bad exit at all.

RICHARD ARNDT still lives—just like he did when we published his first A/E article five years ago—in the high desert country. He is a librarian by day and a collector of black-&-white comics by night. In fact, McFarland has just published his new book Horror Comics in Black and White, which has an introduction by Steven R. Bissette.

John B. Wentworth—All-American Thunderbolt

Addendum:

The Life And Times of JOHN B. WENTWORTH Of the four sheets by JBW that appear on this and the following page, Rebecca W. writes: “I found a résumé [my father] wrote when he was in his 80s and living in London with my sister. It about sums up what he thought about the important things he had done. Knowing him, he was applying for a job somewhere.” Because this is so thorough a document in some ways, and was written by Wentworth himself, Alter Ego has elected to print it in full. [©2013 Estate of John B. Wentworth.]

“Oh, To Be In England…” This photo of Wentworth was taken when he was leaving for London circa 1986. Rebecca notes that it was the last time she saw her father, who died in 1993.

Stranger Than Fiction Between 1930 and 1932, years before there was a National/DC, let alone the first issues of Detective Comics or Action Comics, the future creator of “Johnny Thunder” and “The Whip” worked as an editor at Fiction House. T.T. Scott’s pulp-magazine company would enter the comic book field in 1938—the same year John B. says he began writing for National, probably under editor Vin Sullivan. [© the respective copyright holders.]

Daughter Rebecca Wentworth Tells Us About The Man Who Created “Johnny Thunder”

“Dad In An Outdoor Mood” That’s how Rebecca labeled this undated photo of her father, probably taken in Maine in the 1940s.

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Do You Believe In Magic? “Sargon the Sorcerer” splash from All-American Comics #37 (April 1942). Script attributed to John B. Wentworth; art by Howard Purcell. Thanks to Gene Reed. [© DC Comics.]

John B. Wentworth—All-American Thunderbolt

JOHN B. WENTWORTH Checklist

[The following Checklist has been adapted from Jerry G. Bails’ online edition of the Who’s Who of American Comic Book 1928-1999, with additional material provided by Rebecca Wentworth & John B. Wentworth (by means of the latter’s late-life résumé—see pp. 15-16). All comic book credits below are for writing.] Name: John B. Wentworth (1908-1997) writer

Education: Attended Williams College, Williamstown, MA (1925-29)

Other Publishing Work: editorial work (proofreading, blurb-writing, fillers, short stories) for Fiction House pulp magazines 1930-32; short-story adaptations of movie scripts for Fawcett magazine Movie Story in 1941; short stories sold to “minor slick magazines” during period 1939-49

COMIC BOOK CREDITS (Mainstream U.S. Publications):

DC/National: The American Way (6-issue series in All-American Comics) 1939-40; Buddy Tibbit (text story in Movie Comics #6) 1939; Ghost Patrol 1944-46, 1948; Johnny Thunder (nee Johnny Thunderbolt) 1940-47 (possibly one in 1948); Red, White and Blue 1945-48; Sargon the Sorcerer 1941-42, 1946; text stories 194044; The Whip 1940-44

Fawcett Publications: text story 1943 (uncertain; see p. 8)

Echoes Of Distant Thunder (Photo:) John B. Wentworth either going over one of his scripts—or operating a sewing machine—or both. Photo, probably taken in the 1940s, courtesy of Rebecca Wentworth. (Above left:) After drawing “Johnny Thunder/Thunderbolt” from the feature’s debut, Stan (“Josephs”) Aschmeier departed the feature, for reasons unknown, just three issues before Wentworth himself did. The “JT” stories in Flash Comics #83-85 were illustrated by a different artist… some credit Irwin Hasen, but Ye Ed would lay odds that the pencils, at least, are by longtime “Ghost Patrol” artist Frank Harry. This trio of stories had no bylines, but script analysis led comics researcher Craig Delich to believe Wentworth wrote these last few pre-Black Canary stories. This splash page is from Flash #84 (June 1947). [© DC Comics.] (Above right:) Although we’ve long wondered if the Black Canary-less “Johnny Thunder” episode in Flash Comics #89 wasn’t also scribed by Wentworth and printed from inventory, the last of his comics work recorded in the online Grand Comics Database is this “Ghost Patrol” episode from Flash #94 (April 1948), which would’ve been scripted no later than ’47. It was drawn by up-and-coming artist Bob Oksner; the writer ID was made by Craig Delich. [© DC Comics.]

Special A/E Interlude—“The Will of William Wilson”

In 1949, the above-named mid-’40s “JSA” story and art were written off for tax purposes by DC Comics and never published. Fortunately, much of the original art survives, and has been printed in Alter Ego and the four TwoMorrows volumes of The All-Star Companion. [Continued on next page]

“The Will Of William Wilson”

[Continued from previous page]

There’s no room or reason to go into the details here, as well, but Gardner F. Fox wrote the story “The Will of William Wilson” apparently circa 1943, at a time when Green Lantern and The Flash were not regularly-appearing JSA members but four heroes not seen here were. After a bit of necessary re-scripting during the 1944-45 period when the interrelated Donenfeld/Liebowitz-owned National/DC and M.C. Gaines’ All-American Comics group were officially treated as if they were totally separate entities, the tale was illustrated—but featuring only AA characters. Thus, GL probably replaced Starman, and The Flash took the place of either The Spectre, Sandman, or Dr. Fate. (The introductory JSA-ensemble chapter of the story was seen in color in A/E #110-111.)

Depicted on this and the preceding page are all but one tier (row) of panels of the first two pages of the 6-page JSA finale,

drawn by Marin Naydel, in which the half dozen male members reassemble, having accomplished six “impossible feats” to fulfill the terms of the odd will of the mysterious William Wilson and thus secure millions of dollars for charity. Included in this grouping, of course, are Johnny Thunder and The Atom, whose originators are discussed in the pair of interviews that precede and follow this related interlude.

Page “U,” the physical art of which is still owned by Roy Thomas, was first printed in 1986 as a bonus feature in The Last Days of the Justice Society Special #1-and-only. Thanks to Craig Delich for the pristine scan.

The four surviving panels of page “V” have never before been seen in color, which was added especially for this issue of A/E by Larry Guidry. Our thanks to Larry for his efforts re this nearly-lost piece of comics history.

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Splitting The Atom— Three Ways! MRS. EMILY SOKOLOFF On Her Artist Husband LEONARD SANSONE—From Mighty Mite To Wolf To Willie Interview Conducted 7-24-12 by Shaun Clancy

Transcribed by Steven Thompson

EDITOR’S INTRODUCTION: Although it’s no secret that I’m one of the greatest fans still standing of the Golden Age “Justice Society of America,” I must admit that, until a few years ago, the name “Leonard Sansone” was as unknown to me as that of, say, Ernest Schroeder, artist of the 1948-50s “Airboy” and “The Heap.” Apparently, though, diligent researchers like A/E/Who’s Who founder Jerry G. Bails and Craig Delich (author of the 1977 All-Star Comics Revue) have been aware for much longer that Sansone was a bosom buddy of Ben Flinton and Bill O’Connor, whose names graced all the early stories of “The Atom” in National/DC’s AllAmerican Comics. Boy, was I surprised to find out that the cartoonist who had done the celebrated Wolf cartoons for U.S.

A/E

The Strength Of Sansone (Photo:) Leonard Sansone in 1944, on leave in Norwood, Massachusetts, with his wife Emily and his mother—framed by the two most noted comics features with which he was associated: (Top right:) “The Atom,” from All-American Comics #37 (April 1942), bylined “Ben Flinton & Bill O’Connor” as usual—although, according to researchers, virtually all of that pair’s “Atom” stories, at least in that title, had artistic input (mostly inking) from Sansone—and either Flinton or O’Connor told Jerry Bails, for the 1970s Who’s Who print volumes, that O’Connor was the writer, not a penciler. Doug Martin, who sent this scan, says the GCD specifically credits the inking of this page to Sansone. [© DC Comics.] (Above:) The Wolf—aka G.I. Wolf or Pvt. Wolf—Len’s own creation, published while he was an enlisted man during World War II. This cartoon, one of a number reprinted in the July 31, 1944, issue of Life magazine, was supplied by the artist/writer’s daughter, Maggie Sansone. [© Estate of Leonard Sansone.]

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

School Daze

Army camp newspapers during World War II—with which I was familiar—had also worked on “The Atom” from the very beginning, even though he never took a credit on it. Turns out he had a considerable solo career in comics for a couple of years, as well, until Uncle Sam called on him to help settle a little thing called the Second World War.

A year or two ago, Maggie Sansone, the artist’s daughter, posted a bit of material about her father online, which led the ever-researching Shaun Clancy to get in touch with her—and through her, with her mother (and Leonard Sansone’s widow), Mrs. Emily Sokoloff. What follows is basically Shaun’s interview with Mrs. Sokoloff, but with several informative interpolations from the ever-helpful Maggie. Between the four of us—and Craig Delich—we’re determined that Leonard Sansone gets some belated but very due credit…! —Roy.

“Everybody Wanted To Go To New York”

SHAUN CLANCY: I’m doing research for a comic book history magazine called Alter Ego. It specializes in people who worked in comic books in the 1930s, ‘40s, and ‘50s. EMILY SOKOLOFF: Oh, that’s Lenny.

SC: There are a few other classmates of yours who are credited for comic book work, also… Bill O’Connor and Bernard Flinton. He’s down as “Bernard” in the Massachusetts School of Art 1939 yearbook, which I have. Was his name Bernard or Ben? SOKOLOFF: I think it was Ben; I don’t remember a Bernard.

SC: Yeah, everybody else says Ben, too. “Ben” was apparently his nickname. Do you remember Bill O’Connor? SOKOLOFF: Yes.

SC: Bill O’Connor and Leonard and Ben all went to work in New York in comic books in the 1940 to 1942 time period. You met Leonard in school?

SOKOLOFF: In school, yes. It was a four-year college. Now it’s very, very posh, a very fine college.

SC: I see you took up costume design. I have the 1939 yearbook, which was given to me by Beatrice Holmes [who was in the same class as you]; she was in the art department. Did you know her—or a Richard Case? He was a couple of years behind you. I was just curious, because he was also in comics. SOKOLOFF: No [I don’t remember either of them].

SC: What year did you marry Leonard?

Three Massachusetts School of Art buddies who would soon use their surname initials to make up the comic book byline “FOS”— Bernard (Ben) Flinton, William (Oaky) O’Connor, and Leonard (Lennie) Sansone—plus a drawing by Sansone from the same 1939 yearbook in which these photos and captions appeared. Thanks to Shaun Clancy. [© the respective copyright holders.]

SOKOLOFF: January 1st, 1942, in Boston. We had three nights, three days. Then Lenny went back to where he was stationed, and I went to Dorchester. We were staying with my parents... until Lenny was transferred to CNS, in New York City. [NOTE FROM DAUGHTER MAGGIE SANSONE: CNS [“Camp Newspaper Service”] was a division of Yank magazine, where [my father] worked as art director and cartoonist for the duration of the war. His famous and wonderfully funny Wolf cartoons appeared in over 3000 camp newspapers. During this period at CNS, his colleagues were artists, cartoonists, and writers such as Sgt. George Baker [creator of The Sad Sack, originally a G.I. character], Bill Mauldin [creator of the cartoon G.I.s “Willie and Joe”], Marion Hargrove [author of the wartime bestselling humor novel See Here, Private Hargrove], Milton Caniff [creator of the comic strips Terry and the Pirates and Male Call], and Walter Farley [author of numerous popular children’s books about horses].] SC: That means you’d stayed in touch with him after you graduated.

SOKOLOFF: Yes, we stayed in New York City for about a couple of years. I lived in a nearby apartment with a girlfriend until the guys were drafted.

SC: Did Bill O’Connor and Ben come around a lot?

SOKOLOFF: No. When the war started, they all went into the Army. When they came out, they all dispersed in different areas. Some probably went back to Boston.

“When My Eyes Visualize A Family, I See Emily…” Emily Stone in 1939… the future Mrs. Emily Sansone, later Mrs. Emily Sokoloff. With thanks to Maggie Sansone & Shaun Clancy.

Splitting The Atom—Three Ways!

Up ’n’ “Atom”—Clockwise! The closing panel/caption of the “Adventures into the Unknown” feature in All-American Comics #18 (Sept. 1940)— no relation to the 1948+ horror comic from ACG. This story was the final chapter of a serial scripted by popular juvenile author Carl H. Claudy and drawn by Stan Aschmeier; its end-caption served as a tease for the next issue’s “The Mighty Atom,” as the series was originally called. Most likely Flinton and/or O’Connor drew The Atom here; but the colorist clearly had no clue what the hero’s color scheme would be. Thanks to Bob Hughes. The first five “Atom” stories, from All-American Comics #19-23, have been reprinted in the DC hardcover The JSA All Stars Archives, Vol. 1… so here’s the splash page from AA #26 (March 1941) by Flinton, O’Connor, and (reportedly) Sansone. No one has ever proven with any degree of certainty which of these young artists wrote the yarns (O’Connor is usually credited)—or even which of them penciled and which inked, except that Sansone apparently did at least some of the inking. Still, we’re following the lead of DC Comics in crediting Sansone as a probable “co-creator” of “The Atom.” Thanks to Bob Rivard. The Flinton/O’Connor/Sansone splash from All-American #32 (Nov. 1941)— a tale that owed a debt to Wilkie Collins’ classic mystery novel The Moonstone. But then, many a comic book and pulp yarn did, in that era! Thanks to Dan Stevenson. We kinda wonder if the name “Al Pratt” was an homage to the Pratt Institute, which educated many young artists… and if Al’s alma mater “Calvin College” referred to the actual college of that name, or rather was a takeoff on the moniker of one-time U.S. President Calvin Coolidge! [© DC Comics.]

SC: Let’s go back to college. After you graduated from college, what made you decide to go to New York?

SOKOLOFF: Everybody wanted to go to New York. We all considered it sophisticated and ahead of things. We were going to get ahead if we went to New York City. Everybody would be more impressed, that’s what we felt. I got a job in New York City. I wrote advertising. I went to Macy’s for an interview… and I became a copywriter for the department stores.

SC: Do you recall what Leonard was first working at in New York? It wasn’t in comics, was it?

SOKOLOFF: He always worked by himself and took things in to show people. I don’t think he ever had a boss. He was a freelancer. He worked at home in an apartment with a bunch of guys before they went into the Army. There were so many people, so many young men [working in comics]. Everybody was sending in [work], because everybody was buying them!

SC: It was definitely a very productive time period for comic books. Lenny was actually working for four or five different companies at once. Do you remember anybody else from the comic book industry?

SOKOLOFF: No.

“[Lenny] Didn’t Want To Have A Boss. He Wanted To Be The Boss”

SC: Did Leonard always want to get into the daily strips, as he did after the war?

SOKOLOFF: He just wanted to draw. He was very, very good and wanted to be his own man. He didn’t want to have a boss. He wanted to be the boss.

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

“Cliff”-Hanger Leonard Sansone is also believed to have inked the last two “Cliff Cornwall” episodes drawn by Sheldon Moldoff, since those are the only ones not signed with the “Shelly” byline. This one is from Flash Comics #9 (Sept. 1940). Thanks to Bruce Mason. [© DC Comics.]

SC: Do you think he wanted to be a cartoonist or a painter?

SOKOLOFF: A cartoonist. When he was in the Army at Ft. Belvoir [Virginia], he was drawing cartoons. They liked him so much that the general kept him there to work on Duck Board, the Army publication, instead of sending him out when his company was sent out overseas. This is when the Wolf cartoon was created. They wanted Lenny to keep on doing the cartoons. They thought they were very good for the guys [i.e., soldiers].

SC: Did he work on Yank?

SOKOLOFF: No, but he worked in the Yank offices. Yank was already established. Lenny worked at Ft. Belvoir, on the publication Duck Board. Then his cartoon, The Wolf, was so popular that Lenny was transferred to New York City and joined CNS camp newspaper services in the offices of it and of Yank.

SC: What branch of the service was Leonard in?

SOKOLOFF: Lenny was in the U.S. Army, first as a private, and he called his Wolf cartoon character Pvt. Wolf at that time. He was a Corporal and then Staff Sergeant until the end of the war. In Ft. Belvoir he worked on Duck Board; his high school friend ran that publication and later wrote a book that Lenny illustrated. Lenny had some kind of injury when he went into the Army the first time, so he had nothing to do, and he said, “Well, I’ll draw my pictures.”

[Continued on p. 27]

Together Again For The First Time (Below left:) Although his feature in All-American Comics was then only a few months old, The Atom became a charter member of the Justice Society of America in All-Star Comics #3 (Winter 1940), where, like the others, he narrated a recent adventure. There is some disagreement as to whether Bill O’Connor or Gardner Fox authored this particular script, though analysts Craig Delich and Martin O’Hearn favor the former—and the GCD credits only Flinton as artist… but who’s to say their buddy Lenny Sansone wasn’t helping out here, as well? (Below:) At the climax of the full-lengther in All-Star Comics #4 (Spring 1941), courtesy of scripter Fox and “JSA” finale artist E.E. Hibbard, The Atom and Johnny Thunder—the co-creations of two of this A/E issue’s featured talents—found themselves side by side, thanks to Johnny’s Thunderbolt, moments before the entire Justice Society charged in. Because these panels, like the others in this grouping, were repro’d from Ye Editor’s bound volume of All-Star #4, there is some loss of art on the left. To read the whole story, pick up the DC hardcover All Star Comics Archives, Vol. 1, which came out in 1991. [© DC Comics.]

Splitting The Atom—Three Ways!

Sansone Flies Solo Though he may or may not have also scripted these stories, seen on this page are a quartet of Sansone’s early penciling-and-inking art efforts—all done for Better/Nedor. (Clockwise from top left & © the respective copyright holders:) “Sergeant Bill King” from Exciting Comics #1 (April 1940). World War I action transplanted to the new war. Thanks to Jim Ludwig. “Nickie Norton” was a pipe-smoking private detective in Thrilling Comics #8 (Sept. 1940). Thanks to Tony Rose. “Don Davis, Espionage Ace” did his counterspy bit in Startling Comics #4 (Dec. 1940). Thanks to Michael T. Gilbert. “Mystico the Wonder Man,” one of the multitude of crime-fighting magicians in comics, would battle scientifically-conjured demons in Startling Comics #6 (April 1941). Thanks to the Four-Color Shadows website.

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

The Quick Brown FOS Flinton, O’Connor, and Sansone combined their initials in the byline “FOS,” which they used on several features [all © the respective copyright holders]: (Above left:) “Flexo” made his final appearance in Timely’s Mystic Comics #4 (Aug. 1940), drawn by “FOS.” The “rubber man” robot had first been drawn, in issue #1, by Jack Binder. This and the following art spot are from the hardcover Marvel Masterworks: Golden Age editions. (Above right:) “The Flying Flame,” from Daring Mystery Comics #6 (Sept. 1940), was probably christened as another attempt by Timely publisher Martin Goodman to discourage would-be imitators of his valuable “Human Torch” feature by utilizing every possible series name in sight; but it was actually an air-war feature. This one isn’t signed “FOS,” but “by Ben and Okie”—but reportedly Sansone worked on it with Flinton and O’Connor. [© Marvel Characters, Inc.] (Below left & right:) “The Phantom Sub” appeared in several issues of Novelty’s Blue Bolt, including Vol. 2, #7 (Dec. 1941) and Vol. 2, #10 (March 1942). The hero of the strip was a sometimes airborne submarine—which by the latter story sported a sharkish grin, doubtless in imitation of the famed Flying Tigers being piloted by Americans against Japan in China prior to Pearl Harbor. Note that the first of the pair is signed “FOS,” while the second has no byline. Thanks to Rod Beck.

Splitting The Atom—Three Ways!

[Continued from p. 24]

Duck Board magazine had a [section] where everybody could draw things and send them in, and he made this guy with the head of a wolf. Everybody was talking “wolf” at that time: “Yeah, he’s a wolf.”

The colonel that ran the Ft. Belvoir area where Lenny was stationed liked The Wolf so much that he didn’t want to send him away; but he [finally] sent him to New York City, which couldn’t have been better! I met him there. I was at home at that time, waiting for him to come out of the Army at the end of the war— and here he is already in New York City. So I took the first train I could. We were married at that time… and he stayed there and I got a job at Macy’s which paid very nicely. We had a little apartment and we stayed there about four years until the war was over.

Another Good Duck Man (Above:) The front page of the Aug. 9, 1941, issue of The Duck Board, published by Group 1, Engineer Replacement Training Center, Fort Belvoir, Virginia—some months before Sansone’s arrival. (Right & below:) This group of photos and art from the Oct. 11, 1942, issue of the Philadelphia Inquirer newspaper showcases two of Sansone’s pre-Wolf cartoons. Sansone, by then a corporal, is seen in the photo at bottom right, while his school chum Ed O’Leary, The Duck Board’s editor, can be glimpsed on the right in the pic above it. Sansone entered the Army one month after Pearl Harbor, and his NCS Wolf cartoons were eventually seen in roughly 1600 service newspapers, published in military camps around the nation. Thanks to Maggie S. for the scans.

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

“They Thought [Lenny] Was A Genius, Which He Was”

SC: Did Leonard have any brothers or sisters?

SOKOLOFF: Yes, he had a sister named Angie. She was very much a mother. taking care of three children.

SC: And Leonard’s parents were encouraging?

SOKOLOFF: Yeah, they thought he was a genius, which he was.

SC: They didn’t think that him creating the Wolf character was an issue?

SOKOLOFF: I don’t think they understood it. His father was born in Italy. His mother was born in Italy but came over early, and anything he did was wonderful to them. Lenny also played the piano and entertained at parties and for the family all his life.

SC: Where was Leonard born?

SOKOLOFF: Norwood, Massachusetts. I was born in Dorchester, MA. Lenny’s home was about 15 miles outside of Boston. He was a youngster from the country, I would say… but very busy… lots of work going on in there. I went to art school in Boston. And Lenny came down from where he went… I can’t remember the name. He was about 15 miles away. His father and mother bought him a car so he would be able to get back and forth comfortably.

Sidebar by

MAGGIE SANSONE (Daughter Of Leonard & Emily Sansone)

The following facts from Leonard Sansone discharge and Army official documents: U.S. Army: date of entry into active service Jan. 2, 1942; Honorable Discharge Jan. 12, 1946; 3 month Pvt (private). Basic training Engineer; 9 month on Duck Board (Camp Magazine), did art director supervisory work of magazine. Did layout, typography, drawings, cartoons, and The Wolf cartoons; then transferred to CNS offices in NYC: 42 months as S/Sgt (Staff Sergeant). Artist, art director of camp newspaper service (subsidiary of Yank magazine). Originated Wolf. (Drew his Wolf cartoons.) Civilian occupation: commercial artist, illustrating: works for LaPorte and Austine, 330 West 42nd St., NYC, as art director for 1 year. Did freelance work for fashion magazines. Worked as an “adventure comic strip artist” [i.e., for comic books].

Mrs. Emily Sokoloff (left) and daughter Maggie Sansone. Photo courtesy of Maggie.

Norwood was a little town… now probably it’s a big city. There were two Norwoods. There was an Upper Norwood, where people owned their own beautiful homes and stuff, and they had another Norwood where all the people were working in the factories. His father was in one. He had a good job because he was a very bright man. They had a nice home and they did very well.

SC: I’m in Seattle now, but I’m from Lawrence, Massachusetts, so I grew up in the area. I spent 26 years in Lawrence, Methuen, and Haverhill. After the war, did Bill O’Connor and Ben stay in touch with Leonard? SOKOLOFF: They might have, by telephone… but I don’t remember. They lived outside of town.

SC: Right. They’re both gone now. I’ve tried locating their families [with no luck].

SOKOLOFF: There’s one [friend of theirs] around. His name is Shadow—we called him Shadow, but his name is Eddie. Ed Malsberg. He would be good to talk to. He’s now outside New York City and is an artist.

“If You Can Make It There…” Leonard, seen at bottom left in this montage, grins as his “creation” Pvt. Wolf bids adieu to an unidentified superior. Sansone and friend were off to New York—again! Thanks to Maggie S. for this page from The Duck Board.

SC: Did he go to your art school?

SOKOLOFF: Yeah. He was one year younger, but he was very, very friendly with Lenny. I talked to Eddie, too. He’s about 94 now, or something like that. He did real art, beautiful drawing and

Splitting The Atom—Three Ways!

“Pack Up Your Troubles In Your Own Kit Bag…” (Right:) The Wolf also popped up on the cover Sansone drew for one edition of the wartime Army Hit Kit of Popular Songs, a collection of sheet music aimed at G.I.’s who might be in the mood for a song-fest. Such publications were produced from time to time by Special Services Division, U.S. Army. Thanks to the Sansone website and Paul Leiffer. [Wolf TM & © Estate of Leonard Sansone.]

paintings. When we went to Miami, he stayed on in New York City. A nice, nice guy who did very well, and he loves to talk and reminisce. I think he’d be perfect for you. He knew [Leonard, Bill, and Ben], ’cause he was there with them in New York City. He graduated art school and they all went to New York City.

“I Waited And Waited And Waited…”

SC: I’m definitely going to want to talk to him, then. [A/E EDITOR’S NOTE: And he did. See sidebar on next page.] Did you help Leonard at all on the art chores of anything he was working on?

SOKOLOFF: Well, yeah. I was the money-earner for a while, and Lenny was doing freelance work, which, as you know, is a little slow on getting money coming in. Eventually we moved to Miami. We had our first baby and we didn’t want to stay in New York City. My sister lived in Miami and said this is the place to live, so [Continued on p. 31]

Cry Wolf! (Left & below:) Leonard Sansone at his drawing desk, sometime during World War II—and a triptych of his Wolf cartoons which were reprinted in the July 1, 1944, issue of Life magazine. Thanks to Maggie S. & Shaun Clancy. [© Estate of Leonard Sansone.]

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

Sidebar:

Excerpts From An Interview With ED MALSBERG Conducted 7-24-12 by Shaun Clancy

A/E EDITOR’S NOTE: Once Mrs. Emily Sansone mentioned to Shaun Clancy that he should get in touch with Ed Malsberg, who had known her husband and his friends Ben Flinton and Bill O’Connor at college, Shaun was determined to track him down. Though never a comic book artist, Malsberg, who was 93 at the time of this telephone interview, had quite a career of his own. Quoting from the bio on his website:

“I graduated from the Massachusetts College of Art in 1940; a Fine Arts major. I studied printmaking at the School of the Boston Museum of Fine Arts. During World War II, I served overseas in a topography unit and on the staff of Stars and Stripes [U.S. Armed Forces newspaper] as an artist. After the war I began a lengthy career as a freelance illustrator in New York in advertising and publishing. My clients included major advertising agencies and book publishers, and the subject matter ranged from humorous, decorative illustration to science, natural history, biology, physiology, children’s books, and textbooks. I won an award from the American Institute of Graphic Arts in 1968 for book illustration. I am presently engaged in my lifelong passion for landscape painting in my favorite mediums, watercolor and pastel.”

SHAUN CLANCY: Emily Sansone felt you might be able to help me with my research on a few of your classmates. Ben Flinton, Bill O’Connor, and Lenny Sansone were all working in comic books in 1940-42.

ED MALSBERG: I remember [Bill O’Connor], but not as well as Benny Flinton. I remember [O’Connor] was a nice little guy—and when I say he was little, I mean he was very little. He was a nice guy and a year ahead of me.

MALSBERG: Oh, yes. Lenny, Benny, and a guy name Johnny Dorozynski…. there were four guys sharing an apartment in Boston… Back Bay… while they were in school. In New York it was Lenny and Benny, and I think that was all that were sharing that apartment on 58th Street.

SC: Did you ever help Lenny or Ben with any of the artwork they were doing before the war?

MALSBERG: No. I graduated in 1940 and I was drafted actually before the war [i.e., before the U.S. entered the war in December 1941]. I was rejected and recalled in 1942 and went into the Army. First I was in an engineering division doing topography, mapping the invasion, and eventually got onto Stars and Stripes as an artist.

SC: While you were at the art school, did any famous artists stop by to teach?

MALSBERG: No, but I did meet Al Capp when I was looking for a job; but he wouldn’t hire me because I wasn’t very good. I just did not have that comic book style. He was a very nice man. He lived in a suburb of Boston. I did not work in art before the war. After the war I gathered a bunch of friends together at my house in Boston, and we went to New York together and we found two tenements in Hell’s Kitchen, one above the other…. Across the hall from me was Charlton Heston, a struggling actor. He got his first acting job on my phone, because he didn’t have a phone. [mutual laughter]

SC: While you were living there, were you keeping in touch with Lenny and Ben?

MALSBERG: Lenny, yes, but not Benny. Ben moved to Westport, Connecticut. We met occasionally but not often. He married a Belgian woman overseas when he was in the war, and she died young. I believe he remarried.

SC: Did you go to New York with them?

MALSBERG: No. I followed them after. I visited Benny Flinton before the war, when he had moved to New York. I knew he worked in comic books, but I didn’t know what he was doing. He was working, and that was the important thing and a big deal. He died a long time ago. I’m the sole survivor of that class and probably of several classes.

SC: I know Lenny was from Norwood [MA], but was Benny?

MALSBERG: No, he was from Leominster.

SC: Did Ben, Lenny, or Bill share an apartment?

The “Shadow” Knows! (Left:) Ed Malsberg (“Shadow” to his friends) from the 1938 Massachusetts School of Art yearbook. Thanks to Shaun Clancy & Mrs. Emily Sokoloff. (Above:) We’re told that the folks in this circa 1940-41 photo taken on a New York City rooftop are, from left to right: a young woman (unidentified), Ben Flinton, Ed Malsberg, and Leonard Sansone. Maybe Bill O’Connor snapped the pic? Thanks to Maggie S. for the photo— and to Ed for the IDs.

Splitting The Atom—Three Ways!

SC: Were you surprised with the success that Lenny was having with the Wolf strip?

MALSBERG: No, I wasn’t surprised with anything Len did. He was a very charming guy, gifted, very likeable, and he moved to Florida [after the war] for a very good reason: he couldn’t find a place to live in New York. We found these tenements here in New York by walking the streets. We started at one end and walked to the other. We were finally tipped off to go to the building department and look for where permits were being issued for renovating buildings. There was a notice on the board saying that, if you were a veteran, that you would be given priority for a renovated building. These tenements were being renovated, and the renovation they were going through were additions of bathrooms. There were no bathrooms and no heat at the time, and when we moved in they had the bathrooms but no heat. I managed to find a gas-fired radiator, which I installed, and the people upstairs used a kerosene heater, and that’s how we lived. We had a great time. I can remember when three of our old Art school teachers came by to see us in New York. They cared about us, isn’t that wonderful?

SC: While working on Stars and Stripes during the war, were you aware of the Wolf strip being done by Lenny at that time?

MALSBERG: No, because it wasn’t [sent] overseas at the time. I didn’t know about it until after the war, when we were keeping in touch. Before the war I used to go over to Lenny’s house a lot, as it was a very warm and friendly place. Lenny’s mom would be in the summer kitchen in the basement and start whipping out tons of Italian food. I remember his sister Angie and his mother and father very well. SC: Did you ever have any photos of you with Lenny taken?

MALSBERG: Yes. Maggie sent me a copy of a small photo of Lenny with a few of the neighborhood guys, so that I could help her identify them, which I did just this morning. SC: How did you hear about Lenny passing away [in 1963]?

MALSBERG: Emily called me, and I really broke up. I remember I was going to a PTA meeting that night, and I really felt terrible, to the point where someone asked me what was wrong, but I didn’t tell them. I loved the guy. He was a wonderful man.

day he had to see clients. So anyhow, he was coming home from work. He had his own studio downtown and people would come in and talk to him and show him things. He stayed there and he did his work, and he loved having people around while he was working. He called me and said, “OK, I’m coming home now.” It was two o’clock in the morning, and I waited and waited and waited. I was wondering where he was, and I finally got the news from the police. They rang the bell and said he had been killed in an auto accident.

He was driving his car. It was a cute little Volkswagon bug he had to use for carrying work around. He was driving home down a dreary street when it started to rain and he was still hurrying home and he called me and said, “I’m getting home now.” It was about two or three o’clock in the morning. I was getting a little mad… [nervous laughter] and the wind was blowing and the storm

This Art For Hire Sansone at his desk at his and a partner’s Florida art firm—and a (foldable) brochure featuring some of the company’s artwork. [© the respective copyright holders.]

[Continued from p. 29]

we all moved down there. But Lenny was always drawing, doing cartoons and freelance. He wanted to do it his own way. He was doing very, very well and was running his own business, the Florida Advertising Art Agency in Coral Gables, at the time he died.

SC: How did that happen? Can you tell me?

SOKOLOFF: Oh, it was so awful—and I’m gonna cry with you having to listen. He was very, very busy and he had his own studio and he had an aunt to help him. It was very late at night and he would stay until one o’clock, two o’clock in the morning finishing up his work. During the

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

was coming up, and he was only about five minutes away from where we lived. And he just never showed up. The police called me and I waited outside till about five or six o’clock, and by then I was getting pretty nervous about what happened to him. I thought he might have stopped off at a friend’s, but they told me what happened.

Lenny’s partners tried to keep the business going for a while. I continued to work at Burdines and raise my kids… two teenagers by then. Maggie was 14 years old and Peter was 16.

SOKOLOFF: I know Maggie does. Peter, at the time, did help his dad, and used to go with Lenny and help him with paste-up and layout at the Florida Advertising Agency. Maggie is very interested in doing a book on her father.

SC: I told her that, whatever you and I talked about, I would share with her. Did the Massachusetts School of Art ever have any reunions?

SC: Was Lenny a member of the National Cartoonists Society? [INTERVIEWER’S NOTE: I’ve since confirmed that he was.]

SOKOLOFF: They did, many of them. They are big shots now. It’s a beautiful school now. There’s a lot of money coming in from past people, and it’s a very big institution. Both Lenny and I had originally been offered scholarships to Massachusetts School of Art. Lenny’s family wouldn’t let him accept it, but I did.

SC: In ’63, the year he died—you were all in Miami?

SOKOLOFF: No. They are in Boston and we’re here in Miami. About 1983, I went with my second husband, Norman Sokoloff, to a special reunion, where we received an honorary art degree both for myself and for Lenny.

SOKOLOFF: He might have been. I know he had a lot of colleagues. They would write back and forth, especially if someone did something especially good, or they’d get on the telephone and talk. He was very friendly with everybody.

SOKOLOFF: We moved to Miami around 1947, because my sister moved down with her husband. She said it was Paradise, so we went. SC: And he liked it?

SOKOLOFF: Oh, he liked it, but then he fell off a step-ladder by accident and broke his leg. He was tied up for about a year, year and a half, and he was bed-ridden. The leg didn’t heal well, so it had to be re-broken. The whole process took about three years of being laid up. He also had a bad heart. He was doing freelance and drawing from his bed during that time and kept the Willie strip going. Then he fell again and had some more problems with his leg. After he was finished and was healthy again, he went sailing. He did very well.

SC: Did either of your children have drawing abilities?

SC: Did you attend any of the reunions?

“We Knew The War Was Coming”

SC: In the yearbook I have, it says that the 1939 graduation was held at the Emmanuel Church. SOKOLOFF: Yes, the one that we went to in school, in college. It had a very good name all around town.

SC: I have the ceremony book. In my copy of the yearbook I have some loose papers that came with the book. There were exhibits, I guess, done during your school years….

SOKOLOFF: Yeah. Lenny also had a one-man show at the college when he graduated, which was wonderful and an honor for Lenny. All the other art students had a lot of their work shown on the blackboard but not a real show. Having your work shown around, now that was really an honor, and he did it. After that he was getting into comics.

SC: Right. So [with you] doing costume design and him doing artwork, did you have some of the same classes together? Or would you meet each other after?

SOKOLOFF: During the day, at the art classes at the school… he would manage to always bump into me. He’d write something on the blackboard and leave a funny note at my locker. He was very persistent. He kept trying to get to me and I was trying to dodge him…. SC: [laughter] That’s pretty funny.

SOKOLOFF: We really didn’t do anything about it until after we graduated after four years. Then he and this fellow Shadow went to New York City and got a room someplace, and they decided they were going to be big artists in New York City, and so I did it, too. I had a girlfriend and we got ourselves a little one-room place to stay. We almost starved. We didn’t make any money, so she went back home and so did I, and we did well back in Boston.

SC: And that means Leonard would come back every weekend…

SOKOLOFF: Well, practically. And then the war started. We knew the war was coming and that they would be called. We had to get ready, and so he came and said, “This is it. We gotta get married.” And I said, “Oh no, no, we’re not going to get married,” but we did. We got married and we got three days and off he went to the Army. Leonard with his kids Pete and Maggie. Thanks to Maggie S.

Splitting The Atom—Three Ways!

I’ll tell you the story. Now this is interesting. After he got there, he got ill. He got some kind of an operation, and the general said to him, “We can’t send you to report because you’re not in good health. We’ll wait a while and then you’ll be sent overseas,” which was happening to everyone, and so we got married then. Then he went back to Ft. Belvoir, where he was stationed. I was still in Boston, working and living at my parents’ in Dorchester.

The doctor thought he was ill. He stayed there and he was walking around and killing time. He found a little office where guys were drawing and working on the camp newspaper, called Duck Board. They said, “Come on, give us something to put in this publication,” and Lenny drew a figure with a wolf’s head and they thought it was a riot. And they sent it off all around to all the places [Army camp papers] where the guys were reading things and they all fell for it. It became so popular. It was a hit all over the country. Everybody wanted to see The Wolf. Next, they sent him to New York City to work there at the Yank offices with CNS. He hit the big-time. His cartoons went all over the world. Crazy, right? SC: Right.

“[Milton Caniff] Was A Lovely Man”

SOKOLOFF: It was so wonderful that we just couldn’t believe it, because we had just gotten married by then. I was still living in Boston and he was now living in New York. I got there as fast as I could. There was a guy already doing another cartoon. This guy— Milton Caniff—drew a character called Miss Lace—a very stunning woman—in his cartoons. So Milton Caniff’s character Miss Lace and Lenny’s Wolf character were a perfect match! [INTERVIEWER’S NOTE: Miss Lace was the star of Caniff’s Armed Services strip Male Call.] SC: Did you ever help him with any of the ideas for that strip?

SOKOLOFF: Well, I did pose for him for the Wolf cartoons at times, and once in a while I might have thought of something, but mostly they were his. He really just kept going and going and the cartoons and ideas kept coming.

SC: Is any of Leonard’s personality in the Wolf character?

SOKOLOFF: No, that’s the funny part of it. He was very particular, was very much with me. Even when he was in art school, he was after me all the time. SC: Did you ever call him “The Wolf”?

SOKOLOFF: Yeah, I used to kid him, but he wasn’t a wolf; he just had me, not anybody else. A wolf was one who trots around. He had everyone laughing about it.

SC: Did he do any serious portraits of you or the family?

SOKOLOFF: He didn’t do portraits of us, but did do cartoons of us all the time. My kids, when they were very young, would get so excited when they’d see their picture on a piece of paper. SC: Did he try to teach the kids how to draw?

SOKOLOFF: Yeah, he did. He was very much a father. At home, his office and his drawing table were right next to the kitchen in the middle of all the family action. He was always drawing and inking for all to watch. And he helped the kids with their art and science projects [for school]. They needed that.

SC: And so these hours—he had deadlines he had to meet? Is that why he worked all night?

Maybe He Should’ve Renamed This Strip “Wolf Call”? Milt Caniff, already famous as the writer/artist of the comic strip Terry and the Pirates, is seen here during the WWII era… along with a 1943 Male Call strip of his, starring Miss Lace and guest-starring Leonard Sansone’s Wolf—times four! This strip was done completely by Caniff in “retaliation” for an earlier Wolf cartoon that had featured Miss Lace. The photo is repro’d from Hermes Press’ 2011 hardcover collection Milton Caniff’s Male Call. [© Estate of Milton Caniff; Wolf TM & © Estate of Leonard Sansone.]

SOKOLOFF: Yeah. He opened up his own business, the Florida Advertising Art Agency in Coral Gables. He was very busy working late into the night often. He had big work, big things he was paid to do that were all over Miami. He was doing very, very well. [NOTE FROM MAGGIE: His business partner’s name was Bill Whittmann.]

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

The Wolf And The Whistlebait (Clockwise from right:) This Wolf/Miss Lace cartoon was reportedly drawn entirely by Sansone, despite the joint Caniff/Sansone signature. It was reprinted in the 7-31-44 issue of Life, a three-page “Speaking of Pictures” section that centered on Sansone’s NCS work, and apparently pre-dates Caniff’s use of The Wolf in Male Call (see preceding page). The tag line was: “Haven’t I seen you— someplace—before?” This color drawing, the work of both Caniff and Sansone, was reproduced as a handout that could be mailed to fans of both creations. Caniff and Sansone likewise teamed up to commend Harry Lampert (also the artistic co-creator of “The Flash”) for his cartoons in the camp newspaper, the Drew Field Echoes. Actually, we suspect those on “the staff of a winning paper” in the 1944 CNS contest each received a Photostat of the art, with the individual’s name hand-lettered in. (Originally seen with the Lampert interview in A/E V3#4.) This final joint Caniff/Sansone cartoon appeared in the military newspaper The Beacon for Nov. 24, 1945—more than three months after World War II ended—and announced the last encounter of the two wartime creations. Caniff would soon depart Terry and the Pirates to create Steve Canyon, a comic strip he could own—while Sansone would have his own strip, Willie, for a few years but would find his greatest commercial success in advertising in Florida. Thanks to Shaun Clancy for digging up these cartoons. [The Wolf TM & © Estate of Leonard Sansone; Miss Lace TM & © Estate of Milton Caniff.]

Splitting The Atom—Three Ways!

I was a copywriter. I worked at Burdines in the advertising department with a wonderful group of people for 25 years until I retired. SC: Did Lenny do most or all of his own writing?

SOKOLOFF: He was his own man; he never worked for anybody. He was always the one who did it.

SC: Bill O’Connor is credited as a writer for comic books, but was he also an artist, in your opinion?

SOKOLOFF: Bill O’Connor? I really can’t remember him [that well].

SC: Did you meet anybody in the New York area during those two or three years whose name might be familiar to Alter Ego’s readers?

SOKOLOFF: Milton Caniff! We were all excited when he invited us up to his home out in the country in New York. He was a lovely man. He and his wife had no children, but they had lots of friends and a beautiful home on the water. Lenny played jazz piano and also played on Milton Caniff’s piano when we visited him. It was just our family—oh, and Walter Farley; he was Lenny’s boss at CNS. They had become good friends. Walter Farley met Lenny at CNS, while Lenny and I met at school.

SC: How did Leonard get to know Caniff?

SOKOLOFF: Oh, because [Caniff] liked him very much. They started a telephone thing going and then said, “Hey let’s put them together, let’s have some fun!” He did these beautiful Miss Lace figures and Lenny did his Wolf. There was one cartoon that was featured in the Life magazine article on Lenny that was so cute. “Haven’t I seen you someplace before?” The girls, the women that Milton Caniff drew are beautiful! And the ones that Lenny drew are, too!

He was. He was starting to get recognition. We went out someplace and somebody would recognize him. We were at a bar and they put a spotlight on him. SC: And let me guess, everybody whistled? I would think that would be one of the catcalls that would follow him in public. Whom did Leonard admire as a cartoonist or as an artist?

SOKOLOFF: Well, he admired Milton Caniff very much.

“I Just Watched All My Friends”

SC: Is there any other story that you could recall about Leonard and his cartoon work?

SOKOLOFF: Did Maggie give you all the books and things? He’s got about two or three books…

SC: She’s working on that now. I found Maggie [because] she listed something on the Internet about your husband [and her father]. She was just starting a biography, ’cause not a lot was known about him and she’s been trying to set the record straight, so I think between the two of us we’re going to have a really good biography on him.

SOKOLOFF: I think so, because your questions are very good. Up here I don’t have anything to lean on.

SC: What happened to Leonard’s original artwork after he passed away?

SOKOLOFF: That’s what I’ve wondered about. Maggie, I guess, had a lot of it.

SC: Did they ever reprint the book or the strip [Willie], and give you any residual income from it? SOKOLOFF: No. Lenny created Willie after the war. I think Macy’s once wanted to use the Wolf character. I had a job at Macy’s in advertising, and I think I pushed that on them. Once the war was over it was over, and nobody wanted to hear about it for a while.

SC: I’d be curious to know if he got any recognition from the President [Roosevelt] in reference to his strip.

SOKOLOFF: That would be something, but the President was busy with the war.

SC: Did he receive any awards for his strip?

SOKOLOFF: Not then, but later on when they realized that it was very good for morale…

SC: Yes. Was Leonard recognized [that way] right away?

SOKOLOFF: He was!

Wanted: The Wolf (Left:) In 1947 Sansone typed this response to a letter from 14year-old Ron Goulart, years before the latter would become celebrated as an author of science-fiction, mysteries, and even comics. Apparently Ron had seen The Wolf and was hoping to see it continued as a civilian newspaper comic strip. Thanks to Shaun Clancy. (Above:) Ron Goulart addressing a gathering in 2009.

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

Apparently “W” Was Sansone’s “Lucky Letter” After a brief stint in 1947 with the single-panel Wally (of which, alas, we’ve found no examples), Sansone had a five-year run with the gentle humor of Willie, from 1949 to 1954. Also seen, at right, is a 1954 self-caricature (we assume) of Sansone, part of a group drawing produced by members of the National Cartoonists Society. Thanks to Shaun Clancy for finding the NCS drawing; the Willie dailies were retrieved by him from Heritage Comics Archives. [Willie strips © Estate of Leonard Sansone.]

SC: Right. And the character itself—it’s been a long, long time since anyone’s brought this up?

SOKOLOFF: That’s right. [But lots of veterans] would recognize it, I’m sure, because it went all over. And the drawings are really the work of a good artist.

SC: So even in the United Kingdom they would have known who The Wolf was?

SOKOLOFF: I think so. One time the government sent him to Europe. He went on the U.S Army Morale Tour, and everybody recognized him over there. He had a wonderful time. They took him to Puerto Rico, to Italy. SC: Were there any pictures taken of that tour?

SOKOLOFF: If they did, we don’t have them down here.

SC: Were there interviews or articles written about Lenny, or done on TV or radio?

SOKOLOFF: There was that one, for Life magazine in 1944. I remember it had a double-page spread. It was a wonderful piece of literature. I had it here and I gave it to Maggie. She was all excited about it. SC: Did he try to teach at any schools?

SOKOLOFF: I don’t think so. I don’t think anybody ever asked him, ‘cause The Wolf was not a… [laughs]

It’s A Private Joke (Left:) In 1943, Sansone illustrated the humorous book Semi-Private by his childhood friend (and editor at Fort Belvoir, VA) Edward J. O’Leary. Thanks to Maggie Sansone. (Right:) In 1945, as civilian life beckoned, he provided the illustrations for Private Purkey’s Private Peace, a novel by M.I. Phillips. [Art © Estate of Leonard Sansone.] The photo of Sansone comes from his website, established by Maggie.

SC: Right.

SOKOLOFF: It’s got a bad reputation.

SC: Did Lenny help any other cartoonists with their work?

SOKOLOFF: I think he might have. I don’t know.

Splitting The Atom—Three Ways!

SC: By the way, was Leonard a leftie or a rightie when he drew? SOKOLOFF: A right hand.

SC: Did he use a lot of reference material? Or did he draw right from his head?

SOKOLOFF: A lot from his head, but probably he had to look up costumes, something like that, for the cartoons. It went on and on, so he had to keep finding clothes…

SC: Did he go into any other art areas like oils or charcoal or anything?

SOKOLOFF: Yeah. He did do some work like that. Later, during the last few years, he did a lot of interesting paintings of his travels in Haiti and Italy and lots of cartoons for advertising.

SC: Did he ever mention how and why he created The Wolf?

SOKOLOFF: Yeah, he used to tell people who would ask that question, “I just watched all my friends.” He’d say, “Don’t forget I’m married. I’ve got to be careful.”

SC: Thank you for talking to me today.

SOKOLOFF: I loved it!

Shaun Clancy started collecting comics in 1975 at the age of eight, when his father brought home a Charlton horror comic for him to read. Soon his mother gave him older comics with their cover logos cut off, from a used bookstore. Today Shaun is married with two young boys, owns a heating and air-conditioning company in the Seattle area, and spends large amounts of time researching comic book history to get the records straight.

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Honor Thy Father… Earlier this issue, we printed the several photos we have of Mrs. Emily Sokoloff, who for two decades was Mrs. Leonard Sansone— so here’s a closing montage composed of: Sansone & daughter Maggie in South Miami in the early 1950s… A Christmas card created by Len Sansone (date unknown)… And a business card recently concocted by Maggie and utilizing vintage Wolf art, which features the address of the website she’s created in honor of her father and his work. She intends to add to the site... so check it out at www.leonardsansone.com! [Art © Estate of Leonard Sansone.]

An Interview With Mrs. Emily Sokoloff About Her Artist Husband—Leonard Sansone

LEONARD SANSONE Checklist

[The following Checklist has been adapted from information found in Jerry G. Bails’ online edition of the Who’s Who of American Comic Books 1928-1999, with additional information provided by Emily Sokoloff, Maggie Sansone, and Shaun Clancy. Names of features which appeared both in comics of that name and in other magazines are generally not italicized. Key: (w) = writer; (a) = full artist; (p) = pencils only; (i) = inks only; (S) = Sunday newspaper comic strip; (d) = daily newspaper comic strip, generally Monday through Saturday.]

Name: Leonard Sansone (1917-1963) artist, writer

Pen Name: FOS [joint byline of Ben Flinton, Bill O’Connor, & Leonard Sansone]

Education: Massachusetts School of Art, Boston, MA

Additional Biography: Life magazine, July 31, 1944

President: Florida Advertising Art Agency, Coral Gables, FL (precise dates unknown)

Member: Art Directors Association of Greater Miami (c. 1948 to 1963)

Syndication: Wally (a) 1947 panel; Willie (d)(w)(a) 1949-54 for United Features; The Wolf [aka G.I. Wolf & Pvt. Wolf & perhaps Wolf Man] for Cartoon News Service c. 1943 to 1945

Comics Studio/Shop: Bert Whitman Associates (p)(i) c. 1940-41; Funnies, Inc. (p)(i) c. 1940

Book: The Wolf (collection of wartime CNS cartoons) 1945

Books Illustrated: Private Purky’s Private Peace (written by M.I. Phillips) 1945; Semi-Private (written by Sgt. Edward J. O’Leary) 1943 COMIC BOOK CREDITS (Mainstream U.S. Publishers):

Better/Standard/Nedor: Don Davis (a) 1940-41; Mystico (a) 1940; Nickie Norton (a) 1940; Sergeant Bill King (a) 1940; Tom Niles (a) 1940-41 Holyoke Publications: The Green Hornet (i) 1941

National/DC Comics: The Atom (i) 1940-42; Cliff Cornwall (i) 1941 Novelty Comics: Phantom Sub (i) 1940-42

Timely/Marvel: Flexo (i) 1940; Flying Flame (i) 1940

Meanwhile, Back In The Comic Books… (Left:) An action page from “The Atom” in All-American Comics #24 (March 1941), the first story of the Mighty Mite after the initial five that are on view in DC’s JSA All Stars Archive, Vol. 1. Art attributed to Ben Flinton & Leonard Sansone, script by Bill O’Connor—though of course the latter went to art school with his two collaborators. Thanks to Bob Rivard. [© DC Comics.] (Right:) “Mystico the Wonder Man” splash page from Better/Nedor’s Startling Comics #4 (Dec. 1940), with full art by Sansone. We wouldn’t be surprised if he scripted it, as well! Thanks to Michael T. Gilbert. [© the respective copyright holders.]

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“The Life Of A Freelancer… Is Always Feast Or Famine” An Interview with BERNICE SACHS-SMOLLET About Her Late Husband—Comics Artist BERNARD SACHS Conducted by Richard J. Arndt

NTERVIEWER’S INTRODUCTION: Bernie Sachs (1918?-1998— birth name, Bernie Sachslate) was best known as a Golden and Silver Age inker. He began his comics career by doing a quantity of art for Quality Comics and Hillman Periodicals in 1943-1944. Much of his early work was as the inker of the pencils of Arthur Peddy. Following World War II military service, Sachs resumed work at Hillman.

Transcribed by Brian K. Morris

From 1947 on, however, the majority of his comics output was done for National/DC Comics. There, he worked on “The Flash,” “Dr. Mid-Nite,” “Wildcat,” “Ghost Patrol,” “Black Canary,” and, notably, a lengthy period on “The Justice Society of America” in AllStar Comics. Later, he moved to Westerns such as Jimmy Wakely and All-Star Western, adventure titles like Danger Trail, and the science-fiction field with Mystery in Space

A Key Artist (Counterclockwise from above:) Interviewee Bernice SachsSmollet in 2008—Bernice and artist/husband Bernard Sachs at her parents’ 50th wedding anniversary a few decades back—the splash of All-Star Comics #57 (Feb.-March 1951), inked by Sachs over pencils by longtime partner Arthur Peddy for that landmark title’s final Golden Age issue—and the splash page of Justice League of America #41 (Dec. 1965), with Peddy inking Mike Sekowsky only two issues before their 46issue tandem run on that series would finally end. The 1951 Key didn’t actually wear key-shaped headgear; the 1965 story turned that symbolic drawing into a super-villain’s costume. The former script is by John Broome; the latter by Gardner F. Fox. Curiously, the rest of the art on the first chapter of the “JSA” story in All-Star #57 is credited entirely to Frank Giacoia, though Peddy & Sachs did draw the middle chapter and that issue’s cover. All All-Star images accompanying this interview are repro’d from Ye Editor’s bound volumes, not from the DC Archives reprints— but the JLA #41 image is indeed taken from the hardcover Justice League of America Archives, Vol. 6. With thanks to Bernice Sachs-Smollet for the photos. [Art © DC Comics.]

“The Life Of A Freelancer... Is Always Feast Or Famine”

X-Spionage Bernard Sachs was doing both penciling and inking when he drew these two “Espionage, with Black X” thrillers for the Quality group’s Smash Comics #42 & 44 (April & June 1943). Perhaps his earliest work in comics, since a story drawn earlier (and bylined “Bernie”) for Lev Gleason’s Silver Streak Comics #11 is actually the work of Bernard Klein. Scripter unknown. Thanks to Jim Kealy and Bruce Mason, respectively. [© the respective copyright holders.] According to the Grand Comics Database’s up-to-date “Indexer Notes” re the story in Smash #42: “Originally credited ‘Don Rico?,’ but the art is identical to Sachs’ signed story in #49. Note the typical ears with flat top and angled lines compared with Rico’s more rounded like a C. Also the more masculine face of Black X by Sachs…. [H]e has signed at least two stories with identical art to this one. Sachs is mostly known as inker, and with clear and sharp inclines as here.”

and Strange Adventures. He also began what would be a major aspect of his career by contributing to romance comics, initially for Fawcett and St. John; he soon became a mainstay on DC’s romance titles, as well. In addition, he worked on early war stories for Our Army at War and dabbled in the supernatural field with inking on The Phantom Stranger.

He branched out at times from DC, providing art in the early 1950s to Ziff-Davis and Fiction House as well as Fawcett and St. John, doing more SF, adventure, and romance strips. By the late 1950s, however, the majority of his work was appearing in DC’s war, romance, and SF titles. He also had a lengthy stint on The Adventures of Rex the Wonder Dog. There was also work on give-away comics for the Big Boy restaurant chain.

Sachs began work on his most celebrated comics contribution with the first appearance of the “Justice League of America” in The Brave and the Bold #28 (Feb.-Mar. 1960), and for much of the 1960s his main inking jobs were “Justice League” tales and DC romance stories. In the late 1960s he made the decision to go full-time into television advertising, where he worked for the remainder of his professional career. Our interview with his widow, Bernice, took place in October 2011.

“Bernie Made It Very Clear To His Family That He Wanted To Be An Artist”

RICHARD ARNDT: Thank you for agreeing to this interview. What can you tell us about Bernie’s early life?

BERNICE SACHS-SMOLLET: Bernie was the eldest of three sons. His father had a small-time wholesale drug business, and the father stayed in that business his whole life, but Bernie hated it! He didn’t want any part of it. I met Bernie when I was eighteen, so I was practically a member of the family right away. Bernie made it very clear to his family that he wanted to be an artist. He wasn’t the type of person who went for book-learning too much. He didn’t like to study. His youngest brother was very, very bright and became a pharmacist. That made Bernie’s father very happy, because it was the youngest brother who eventually took over the drug business.

I don’t think his parents ever really appreciated Bernie. They had three wonderful sons, but, in many ways, they made slaves out of them.

Bernie went from one art school to another. He went to one that

Interview With Bernice Sachs-Smollet About Bernard Sachs

was in the Flatiron Building in Manhattan, and that was where he began meeting a lot of the people who would become his lifetime friends. Bernie’s career really got its start there. He had a quiet charm. He wasn’t one of these flashy big-mouth guys. He was quiet, more conservative. Joe Kubert would come walking into a party, you know, wearing boots up to his knees! Stuff like that. Bernie always looked like a doctor or a dentist. Very trim but quiet. We always used to tease him that he was so conservative-looking. One of the artists that became his life-time friend was Arthur Peddy.

“[Arthur Peddy] And Bernie Were Very, Very Close Friends”

RA: I was going to ask you about him. Bernie did almost all of his early inking over Peddy’s pencils.

SACHS-SMOLLET: You know what Arthur worked on? He did all those cards, those bubble-gum cards, of the baseball players. Arthur did hundreds of them. He and Bernie were very, very close friends. Ultimately, when they were at the height of their productivity, I guess you’d call it, they took an office together on 57th Street, right across from Bergdorf-Goodman. I loved to go there! My trips down to their office cost Bernie a fortune! [laughs]

There was also a restaurant at 37 West 57th Street. Jack Abel was a good friend of Bernie and Arthur and they’d meet up for lunch at that restaurant—it was called Chef in the Window. They all got obese eating at that place! Arthur and Bernie must have each gained 35-50 pounds in two or three years. Adele Abel and I said, “Enough of that! You’ve got to stop all this fancy eating. Too much spaghetti!” We put a stop to it.

At the time, Jack was working for some studio where one artist did the characters and another did the backgrounds and someone else would ink buildings and so on….

RA: It sounds like the [Jerry] Iger Shop.

SACHS-SMOLLET: No, not his shop, but one like it. Later, in the 1950s, they had an assistant, some Swedish guy—what was his name. Oh, Carl Anderson. Carl later went out west and worked for the movies. He was nominated for a couple of Academy Awards. He became quite well-known.

Like Bernie, Arthur was very conservative. I think that in the early years they were each other’s security blanket. Neither was very flashy. Arthur was very talented, but I always felt he was insecure about himself. He didn’t need to be. Arthur was married to Lillian, who was a powerhouse of a woman. Lillian passed on way too early. She was only 60. Who dies at 60 anymore? I’m 87 and I’m the vice president of a ladies’ organization with 500 members. Some of them are 105 years old and still have all their marbles! I also collect money for various charities. You know what they

Doctor Feelgood (Above:) The Peddy & Sachs team co-illustrated a number of “Dr. Mid-Nite” yarns in the latter ’40s, though this splash page from All-American Comics #94 (March 1948) is one of the few on which they received a byline. Why such offand-on credits? Since Peddy & Sachs occasionally drew two (or even three) of the adventure stories in the same issue, editors Shelly Mayer and Julius Schwartz may have preferred to obscure that fact. The scripter is unknown. Repro’d from Ye Editor’s collection. [© DC Comics.] (Top left:) Bernard Sachs took this undated photo at a party in Norwalk, Connecticut. (Left to right:) An unidentified friend—Arthur Peddy’s second wife Joanne—Bernice Sachs—and Arthur Peddy. With thanks to Bernice S. Incidentally, we’re delighted to announce that Michael Posner, Arthur Peddy’s step-son, is writing a remembrance of that artist for a future issue of Alter Ego!

call me? “Blood from the Stone” Sachs. [laughs] I was never mean but smiled and was pleasant. You’ve got to have things to do when you get older. Otherwise you get old and don’t know what to do with yourself.

After Lillian died, I introduced Arthur to one of my dearest friends, Joanne, and he married her at age 72! Joanne was a smashing dresser and very wealthy. That wasn’t why Arthur married her, though. He wasn’t that kind of guy. He just wanted to have a home life, and Joanne was a wonderful cook. We used to have a lot of parties there.

Bernie was also branching out. He was going to art classes in the Brooklyn Museum. His teachers were three brothers, fairly famous and very talented. The Soyer brothers. Their father was a big-time writer, but they were painters. They were all teachers, and Bernie studied under two or three of them. He also studied under Sidney Dickinson.

“The Life Of A Freelancer... Is Always Feast Or Famine”

Two—Or Maybe Three?—To Get Ready… (Above, left to right:) Peddy & Sachs drew both the “Black Pirate” and “Hop Harrigan” stories in All-American Comics #98 (June 1948)—and even signed the latter. They are also credited with the art on that issue’s “Dr. Mid-Nite” yarn—but Ye Editor suspects that art may actually be by Rudy Palais, who did several “Doc” stories around this time. Scripters unknown. Repro’d from color photocopies provided by Al Dellinges. [© DC Comics.]

Peddy & Sachs By The Dawn’s Early (DC) Light (Above, left to right:) Peddy & Sachs seem to have come to DC as a team, since their first recorded work for the company appears to be the “Dr. Mid-Nite” story in All-American Comics #90 (Oct. 1947). They succeeded cartoonier artist Frank Harry on the series. By #91 (Nov. ’47), they were drawing not only “Dr. Mid-Nite” (and introducing the first of several DC villains called Dr. Light, seen above) but also “Black Pirate,” a feature most recently illustrated by Paul Reinman. Peddy & Sachs were on their way—under editor Julius Schwartz! Scripters unknown. Both art spots from Ye Editor’s personal collection. [© DC Comics.]

Interview With Bernice Sachs-Smollet About Bernard Sachs

This would have been before the war, before Bernie went into the service. He went overseas in 1943 or early 1944, and he came back in early 1946. We got married in March of 1946. Bernie was almost in the Battle of the Bulge, but I think the Army couldn’t pull him away from all those giant vats of wine in France. He loved French wine. He did a lot of cellar-crawling!

RA: I know of the Soyer brothers—Isaac, Raphael, and Moses. Their father was Abraham Soyer, the Jewish scholar and folklorist. They have a famous writer for a nephew, too: Peter S. Beagle, the author of [the novels] The Last Unicorn and A Fine and Private Place. Very talented family. I actually know Peter. A very nice man.

“I Loved That World”

Julie, Julie, Julie… (Above:) DC editor Julius (Julie) Schwartz and his future wife Jean Ordwein on a 1946 outing. From the Julius Schwartz Collection, originally provided by Robert Greenberger. “Frankly,” says Roy T., “it doesn’t seem possible that it’s been nearly ten years since Julie passed away. We didn’t really know each other all that well—but I miss him even more than I thought I would.” (Below:) Bernie Sachs seems to have inked no fewer than three stories in Flash Comics #104 (Feb. 1949), the final issue of that long-running monthly, which by then was officially edited by Julie Schwartz. The “Flash” and “Black Canary” features were penciled by Carmine Infantino, “The Ghost Patrol” by Arthur Peddy. (That “Flash” splash was seen in A/E #117.) Both pages depicted here were scanned from photocopies made for Ye Editor by Al Dellinges. [© DC Comics.]

SACHS-SMOLLET: Isn’t it getting to be a small world?

RA: Yes, it is. Now, when Bernie came back from the war, he was working for Hillman, doing strips like “The Heap.”

SACHS-SMOLLET: Oh, I loved the art director at Hillman! His name was Ed Cronin. He was the editor and the art director both. He and Bernie were very good friends. He was a lovely man. There was a big discrepancy between Bernie’s and Ed’s ages. Ed was much older, but they hit it off beautifully. This would have been very near the beginning of our marriage in 1946. Do you know the name Julie Schwartz? RA: Yes, of course.

SACHS-SMOLLET: He was one of Bernie’s best friends. Julie was the son of a rabbi. He was very Jewish-looking, but he married this Irish girl with a face full of freckles, blue eyes, and red hair—Jean [Ordwein]. We used to go with them on vacations. My whole life

“The Life Of A Freelancer... Is Always Feast Or Famine”

Home From The Hillman After 1946 Peddy and Sachs drew for several mags published by Hillman Periodicals, including Airboy Comics. Pictured above are the splashes of their first positively identified (but probably second) art job for “The Heap,” from Vol. 4, #2 (March 1947)—and of the “Flying Fool” feature in Vol. 5, #1 (Feb. 1948). The former page is reprinted from the PS Artbooks hardcover modestly entitled Roy Thomas Presents The Heap, Vol. 1 (still in print… hint, hint), while the latter was provided by Doug Martin. Hillman editor Ed Cronin, of whom young Bernice Sachs was so fond, was pictured last issue in a sketch done by his one-time associate editor, Herb Rogoff. [© the respective copyright holders.]

was surrounded by Bernie’s friends and their wives. My whole life! And it wasn’t because I didn’t have a family of my own. I had 120 cousins in my family, just on my mother’s side! But Bernie and the people he worked with were just so fascinating.

any money there. It’s always feast or famine. For the last 25 years of his life, Bernie worked in TV commercials. I still have tons of his comics and TV art here. A lot of artists don’t know how to handle money. They end up having to sell all their original art just to have an income, but I’ve got nearly all of Bernie’s artwork here.

Bernie was a character. As the years went by, he kept dragging me more and more on trips outside the United States. He had a spirit of adventure that I thoroughly Bernie liked working with Carmine lacked! I always pretended I was doing Infantino. He inked Carmine on “Black him a favor by going on these trips, but Canary” and “Adam Strange.” Oh, that after a while I got to love traveling. He’d Black Canary! She was something else! get ill in every single country we went to, Carmine’s family lived not too far but he was such a macho guy that he from where we used to live, in Jamaica, would never let on, so I always Queens. Carmine’s folks had a had to guess what was going on. beautiful house. We hung out He’d get the rarest diseases. It was “Bernie & Bernice Returning Home From Canary Islands, there all the time because both Portugal, And All Points East” a miracle that he lived until age Bernie and I loved Italian cooking. 79. That’s how Bernice S. annotated the above undated photo. And she does Carmine never married, as far as I indeed look as if she had taken to world travel very well! Incidentally, The life of a freelancer, know. He had a very nice younger she reverted to using her maiden name after Bernie’s death, and often though—Oh! You’ll never make brother [Jim]. Carmine was the uses the hyphenate “Sachs-Smollet,” as in this interview.

Interview With Bernice Sachs-Smollet About Bernard Sachs

publisher at DC for quite a number of years, although that was after Bernie left comics.

All those fellows, even the editors, were really underpaid. The actual publishers, the guys who owned the company, they only paid $6 or $8 a page. I wrote some Millie the Model scripts myself, for Marvel. Anybody with half a brain could have done them. And I have half a brain. [laughs] They paid only $3 a page, though. Who could make a living? Still, I loved that world. I loved it. It was a wonderful life. It really was. If I could marry Bernie again, I’d do it all over.

Robert Kanigher during the WWII years. Photo provided by the writer.

“Julie [Schwartz] Was Bernie’s Editor For A Very Long Time”

RA: Do you remember how Bernie got his start at DC?

SACHS-SMOLLET: He became friendly with 1956. Photo provided Julie Schwartz. Bob Kanigher was not one of by the artist for the Bernie’s favorite people. Bob was a very TwoMorrows book difficult person. Bob and Julie had an office at Carmine Infantino: Penciler, Publisher, DC together. Bernie didn’t have the feeling for Provocateur. Bob that he did for Julie. Julie worked like a dog for DC. Bob did, too, in his own way. They had their own specialties, though. Bob concentrated on the war Carmine Infantino in

“Oh, That Black Canary! She Was Something Else!” That’s Bernice’s considered opinion of the heroine introduced in the “Johnny Thunder” feature in Flash Comics #86 (Aug. 1947). She soon lost the mask, but took over his spot in both Flash and in the Justice Society! Script by Robert Kanigher; pencils by Carmine Infantino; inks by Bernard Sachs. From the photocopies made by Al Dellinges. [© DC Comics.]

books. Oddly enough, he did Wonder Woman, too. Oh, because I’m Bernie’s widow, I’m on the mailing list for the Wonder Woman and Justice League comic books, and they send them to me every month. They keep mailing them to me. I don’t read them. I give them to folks here in the building. There’s one fellow, about 23, who asks me nearly every time he sees me, “Do you have anything new for me?” He’s a nice young man.

Now, Julie was always wrapped up with that science-fiction writer. He was a very famous writer. …

RA: Alfred Bester? Bester wrote some of the original “Green Lantern.” Or perhaps it was Mort Weisinger?

Millie The Maudlin (Just a little pun/fun intended with the above heading, honest!) Bernice reports that she “wrote some Millie the Model scripts… for Marvel.” In a recent phone conversation, she told Richard Arndt that scripting occurred in the year after her and Bernard’s 1946 wedding, so her stories would probably have appeared in 1947 or ’48, in an era when that series was more romantic melodrama than the humor strip it sometimes became. This splash page from Millie the Model #14 (Oct. 1948) was provided by Dr. Michael J. Vassallo, who tells us it was penciled by Ken Bald and inked by Pete Riss, though he suspects fellow artist Chris Rule may have touched up the heroine’s face. The scripter is unidentified— so for all we know, it could be Mrs. S.! [© Marvel Characters, Inc.]

“The Life Of A Freelancer... Is Always Feast Or Famine”

All That Glitters… Mrs. Sachs-Smollet says Bernard gained entrance to National/DC via his contact with Julius Schwartz—and indeed, most of his earliest work there was for its “All-American” division, still edited by Sheldon Mayer after DC fully absorbed AA in 1945 and edited by Schwartz after Mayer resigned circa 1948. One of the Peddy & Sachs team’s first assignments was on the booklength “Justice Society of America” features in All-Star Comics.

SACHS-SMOLLET: No, no, not Mort. This was a very famous writer. This guy has books and books of stuff out there.

RA: Oh! Ray Bradbury! Julie Schwartz was one of Bradbury’s first literary agents.

SACHS-SMOLLET: That’s it! Julie used to go out to California all the time to attend the comic conventions, and they’d run into each other there. We’d go with him sometime, to Hawaii or other exotic places. We’d take the kids along. Julie and Jean didn’t have any kids together, but Jean had a daughter, Jeanne, from a previous marriage, and she came along sometimes, although she was older than our kids. DC was a cheap outfit in some ways, but when Jean got ill towards the end, DC came through and took care of all her medical expenses. DC was wonderful to Julie.

Julie was Bernie’s editor for a very long time. If you listened to them, you’d think they hated each other, because they’d badger each other all the time. Julie had a very whimsical sense of humor. I miss him—those buck teeth! He had big, big teeth like Bugs Bunny. I used to invite him to dinner and he call ahead of time and ask, “Are you making rack of lamb? If you are, I’ll tell you how to do it.” I’d tell him, “I don’t need you to tell me how to cook!” But he had to tell me how to cook the lamb. [laughs] I miss him. It was really a special kind of existence we had. All those wonderful people. I’m gonna cry, I’m getting so misty-eyed thinking about it.

Bernie spent 25 years in comics and then 25 years in TV commercials. There was an Italian artist from the 1940s or ’50s who became one of the biggest advertising guys you could become. His name was Forgione, Bob Forgione. Forgione did hundreds of

(Left:) The pair’s first “JSA” artwork appeared in All-Star #40 (see contents page illo)—but their first page-1 splash for the series was done for issue #42 (Aug.-Sept. 1948)—their own version of Irwin Hasen’s cover featuring the heroes strapped to The Alchemist’s perpetual motion machine. (Above:) Hasen also drew the “golden robot” cover of All-Star #43 (Oct.Nov. 1948), which was adapted by Shane Foley to front this issue of Alter Ego—but Peddy & Sachs illustrated the middle chapter of the story, including these panels of Hawkman and The Atom battling the metal marauders. Both stories in this grouping were scripted by John Broome; both art spots are repro’d from Ye Editor’s bound volumes. [© DC Comics.]

comics, but when he went into advertising became the vicepresident of one of the biggest advertising concerns in the world. Bernie also had a cousin, Mike Shivley, who became an advertising vice-president—Mike invented the slogan “Only her hairdresser knows for sure.”

RA: Oh, sure, that was a Clairol slogan.

SACHS-SMOLLET: Bob Forgione was very active in TV commercials, and he got Bernie interested in TV advertising. Bernie would help Bob out when there was a deadline. He’d go over and work until four in the morning with Bob, sometimes. Those old comic artists were very loyal to each other when it came to deadlines. Sometimes you never even knew who did what! They would work on something and the artwork would all look alike, even with maybe a dozen guys working on it.

When Bernie first started working in commercials for Gray Advertising, he worked with a lady named Alice Lake. Alice was amazing! She’d never been married, but she was a lot of fun! She drank vodka! That’s how to get on my favorite list, if you like the same liquor I do! [laughs] Between Alice and Bernie, they produced all the TV commercials and advertising for Gray Advertising. Just

Interview With Bernice Sachs-Smollet About Bernard Sachs

Not So Strange But True Sachs inked a pair of stories in Strange Adventures #8 (May 1951), including “Evolution Plus,” penciled by Bob Oksner. Thanks to Jim Kealy. [© DC Comics.]

the two of them! Bernie drew everything, because Alice couldn’t draw a card to save her life. Bernie did all the storyboard cards and the complicated electronic stuff, and Alice did all the cutesy-cutesy stuff. She had a beautiful style. I saw her a few years ago.

Bob Oksner. Photo courtesy of Ken Nadle.

“Very Exclusive People In A Very Exclusive Society”

RA: I’m going to name-drop a few names, and if you knew them or remember them, just tell me anything you’d like to about them. First is Whitney Ellsworth.

SACHS-SMOLLET: Yes, of course, I knew Whitney. He was the publisher before Carmine. I really don’t know that much about him, though. He was just a name. [A/E EDITOR’S NOTE: He was actually DC’s over-all editor, of course.] RA: Stan Lee….

SACHS-SMOLLET: Oh! Stan Lee! Stan Lee was really instrumental about slipping Bernie little bits of work on whatever Stan was doing. Stan helped Bernie a lot with little things here or there. Bernie always kowtowed to Stan’s wishes. We went out with Stan a lot, too. Boy, was he a playboy! Man, oh, man! He’s still around. He’s about my age, out in Hollywood, though.

RA: How about the name Irwin Hasen?

SACHS-SMOLLET: Yes, I knew Irwin, and also Joe Giella. Joe and Bernie worked together. Like I said, very exclusive people in a very exclusive society. When we had parties, there was a lot of drinking. They never cared too much about eating food, but all those fellows and a number of their wives liked to drink. Wherever the party was, that’s where the liquor was. My God! I was really young back then and I really didn’t drink a lot, but I learned from Bernie that

These Boots Are Made For Sailin' (Left & above:) A pair of paintings done by Bernard Sachs during his advertising days, clearly to sell boots... and the U.S. Navy. Thanks to Bernice S. [© the respective copyright holders.]

“The Life Of A Freelancer... Is Always Feast Or Famine”

Off On A Comet (Above:) Only a few months after the demise of the multi-hero “Justice Society of America,” DC introduced a science-fiction super-hero, Captain Comet, in Strange Adventures #9 (June 1951), with Sachs inking Carmine Infantino. (Pages from that origin were seen last issue.) Above are the Sachsembellished cover and “Captain Comet” splash page of SA #11 (Aug. ’51)— penciled, respectively, by Bob Oksner and Infantino. Script by John Broome. Thanks to Bob Bailey for the scans. You can read the entire story in the recently released hardcover Captain Comet Archives, Vol. 1. [© DC Comics.]

there was nothing better than Wild Turkey bourbon and that’s what I drank! [laughs] 104 proof!

Joe’s still alive. He’s drawing Mary Worth, the comic strip. Those guys, they can’t give it up. They can’t give up that kind of life.

RA: How about Gil Kane?

SACHS-SMOLLET: Gil Kane! Bernie inked Gil Kane on Rex the Wonder Dog. It was a beautiful strip and Gil was very challenging. He was a tall, skinny guy—Abraham Lincoln type—very thin. We knew a million people. For a while there, Gil was out in California, doing work for the studios, doing cartoons. Russ Heath was out there for years doing that, too.

Bernie also worked with Irv Novick. He and his wife had a house up in Westchester [County, NY] somewhere, with their kids. Irv was a funny guy. I liked him. His wife was a wonderful, prissy kind of housekeeper. We were friendly with them for a good five to ten years.

Spellbound By Stan Lee Stan Lee. Photo courtesy of SL.

(Above:) We’re not certain this Arthur Peddy-bylined story from Timely Comics’ Spellbound #11 (Jan. 1953) was inked by Sachs—or by Peddy himself, since he signed it and Sachs didn’t. But the writing was credited to editor Stan Lee. Thanks to Dr. Michael J. Vassallo. [© Marvel Characters, Inc.]

Interview With Bernice Sachs-Smollet About Bernard Sachs

Fun And Games (Above left & right:) Two examples of Bernard Sachs inking DC veteran Irwin Hasen: a page from the “JSA” saga “The Strange Lives of Edmund Blake” in All-Star Comics #48 (Aug.-Sept. 1949) and the splash of a science-fiction tale from Strange Adventures #47 (Aug. 1954). Scripts by John Broome and Sid Gerson, respectively. In 1955 Hasen would begin a threedecades stint as artist/co-creator of the newspaper strip Dondi. Thanks to Bob Bailey for the latter scan; the former is taken from RT’s bound volumes. [© DC Comics.]

Imperius Rex! (Left & right:) Gil Kane at a comics convention event some years back (probably San Diego)—plus a Kanepenciled, Sachs-inked splash page and cover from The Adventures of Rex the Wonder Dog #44 (March-April 1959). The script is credited to Robert Kanigher. Thanks to Bob Bailey. [© DC Comics.]

Irwin Hasen at the big New York Comics Convention in October 2010. Thanks to Dr. Michael J. Vassallo.

“The Life Of A Freelancer... Is Always Feast Or Famine”

RA: Mike Sekowsky…?

SACHS-SMOLLET: Bernie worked with him on the Justice League. Mike was overweight, I think. Cranky and overweight. But Bernie loved him and loved to work with him. Bernie really loved and admired his fellow comic artists. It was incredible! Bernie was not overly aggressive, so he could keep friends forever. Bernie and Mike got along famously.

I don’t think DC, or really any comic companies back then, took inkers seriously. Inkers, I think, were regarded as second-rate artists. Bernie, though, did superb work on Mike Sekowsky’s Justice League art. He really enhanced that work. Bernie really helped Carmine [Infantino]’s pages, too, when they worked together.

It’s No Yoke—Or Maybe It Is! (Clockwise from below:) Splash page by Sekowsky & Sachs from Strange Adventures #110 (Nov. 1959)… a page of original art by the same pair from Justice League of America #17 (Feb. 1963)… and a penciled doodle on the back of that page, by either Sekowsky or Sachs. It was probably their work together on sciencefiction efforts at the former that led to their being teamed for years on the JLA title by editor Julie Schwartz, whether they wanted to draw that multi-hero mag or not! They wound up working together—with writer Gardner Fox—on the first 46 “JLA” stories, in The Brave and the Bold #28-30 and JLA #1-43! Thanks to Bob Bailey for all three scans. [Pages © DC Comics; back of page art ©2013 the artist.]

Mike Sekowsky. Detail from a photo provided by Pat Sekowsky.

Interview With Bernice Sachs-Smollet About Bernard Sachs

A few years back, I had a fellow come in to look at some of the artwork that Bernie and I accumulated over the years during our travels. I had decided to sell some of it. So this fellow, an art collector, comes in, and I expected him to be interested in this marble bust from 1560—a gorgeous piece! There were also some Oriental pieces that I thought were really attractive. But he saw this bookcase where I store all the old comics that Bernie worked on and he asked me why I was selling all this formal artwork when I could be selling those comics! But I told him, no, I didn’t want to sell the comics. I want to keep them. He explained to me that the comics are treasures and that I should make sure that they went to somebody good, who knew their value, when I passed. Not to give them to somebody who’d put them in a garage sale for ten cents each! He also mentioned that DC was reprinting the original “Justice League” stories and that I might be entitled to some royalties. I am receiving royalties of some sort from DC. I’m not going to be around all that much longer—I’m getting up there, although I wonder if you can die from arthritis? [laughs]

RA: No, but you may feel like you’d like to…

SACHS-SMOLLET: No, that’s what the bourbon is for! Wild Turkey takes away all the pain! [laughs]

Can I Borrow The Carr? Here's a rarity—one of Bernard Sachs’ last comic book inking assignments— over pencils by Joe Brozowski for the “Snapper Carr” entry in Who’s Who: The Definitive Directory of the DC Universe #21 (Nov. 1986). The villain seen on this page dedicated to the JLA’s mascot is the Star-Tsar. Repro’d from the original art, courtesy of Bernice S. [© DC Comics.]

“The Comics Are Treasures”

RA: Bernie did his first romance work for Archer St. John’s romance titles.

SACHS-SMOLLET: Bernie loved the romance comics! My sister-in-law, Rhoda, and I were beautiful girls, and he would copy our faces and put us into the comic. He had a lot of inspiration with two pretty girls around him. I didn’t actually really read the romance comics, although I had a good time doing the storyboards for Millie the Model. “Millie” was drawn like “Archie,” but they were written more like a romance comic. It was a cartoony romance.

Peter And Gwen Having A Romantic Tiff—Seven Years Early? Bernie Sachs inked major DC romance artist (and past and future Marvel super-hero artist) John Romita on this story from Girls’ Love Stories #61 (March 1959). The same image was used as the issue’s cover. Thanks to Bob Bailey. [© DC Comics.]

“The Life Of A Freelancer... Is Always Feast Or Famine”

Danger Trails To You, Until We Meet Again! Danger Trail was a five-issue DC series dedicated to counterspies and international espionage. (Above left:) This splash from issue #1 (July-Aug. 1950) was penciled by Lee Elias, inked by Sachs; script by Robert Bernstein. Thanks to Doug Martin & Gene Reed.

Lee Elias. Photo courtesy of Ray Cuthbert.

his own DC comic.

(Above right:) This entry in DT #4 (Jan.-Feb. 1951) is by Alex Toth and Sachs, with script by David Vern. Thanks to Gene Reed. [© DC Comics.]

RA: I think that Bernie also worked with Alex Toth on a comic called Jimmy Wakely. Wakely was an actual person, a Hollywood actor, who got

SACHS-SMOLLET: Jimmy Wakely was a singing cowboy in the movies. Alex Toth was a terrific artist. Bernie also loved that artist… who was he? Bernie’s got a print from him on the wall in the den. I can’t go in there right now, because they moved everything there from my bedroom while they’re working on the hurricane damage. [NOTE: From Hurricane Irene, August 2011. — RA.] Anyhow, this artist drew monsters—lots of monsters with beautiful women. In fact, one of my daughter’s boyfriends was here for her birthday and saw that print and said, “Bernice, what kind of a picture is that?” He was scandalized! I told him to loosen up! He thought it was disgusting because she was half-naked. I’m going to go in there and look at it. My eyesight’s not so good anymore, but there’s a signature on the art. I can’t really read it, but there’s a lot of “z’s” in it.

RA: It wouldn’t be Frank Frazetta, would it?

SACHS-SMOLLET: Yes! There it is! I’ve got books and books of his stuff! Bernie loved Frazetta. Oh, there was something I wanted to tell you about. The curator at the Museum of Modern Art was

Kirk Varnedoe. Kirk was fascinated by comics. You know, comics— the people who worked in comics, they were like a society of special people. Kirk became fascinated by them. He started coming around to interview comic artists. He came to our house and Jack Abel’s house… he was at everybody’s house. He decided he was

…And “Justice Society” For All! One of Peddy & Sachs’ finest contributions to the “Justice Society of America” series is the gala circus cover of All-Star Comics #54 (Aug.-Sept. 1950). Repro’d from the Grand Comics Databse. [© DC Comics.]

Interview With Bernice Sachs-Smollet About Bernard Sachs

A League—And A Society—Of Their Own

John Broome, in a 1946 photo. Courtesy of the Julius Schwartz Collection.

Both the 1940-51 Justice Society and the 1960+ Justice League battled their share of interplanetary threats, as inked by Bernard Sachs. (Left:) The splash page of the “JSA” epic in All-Star Comics #49 (Oct.-Nov. 1949); the aliens this time were Fire People from a passing comet. Pencils by Arthur Peddy; script by John Broome. (Right:) The splash of the very first “JLA” story, in The Brave and the Bold #28 (Feb.-March 1960). Pencils by Mike Sekowsky; script by Gardner F. Fox. The former art is scanned from Roy T.’s bound volumes, the latter from Justice League of America Archives, Vol. 1. [© DC Comics.]

going to have this pop-art and modern culture exhibit. It was a huge success. It was simply gorgeous.

Kurt did a book about the pop-art world. I’ve got the book somewhere here. It weighs about fifty pounds. It’s huge. It is an exquisite book, showing the beginning of comics from day one and bringing it to the present day. Pop art and modern culture. As a matter of fact, one of Bernie’s drawings of my face that he did for the romance comics is in the book. It’s on the chicken! It’s a chicken but with my face! [laughs]

The night of the opening of the exhibit, they had a party sponsored by Estee Lauder and her husband. Very high society. Very high class. The party was held on the top floor of the museum and nearly everything related to comics in some way. Even the desserts were shaped like comic characters.

Bernie was, at this time, already into his dementia. I think he thought the party was for our wedding, which, of course, had happened forty years earlier. He could get really confused. I should have suspected earlier that Bernie was slipping, because he started writing everything down. He’d put little slips of paper right next

to his drawing board. We had a ranch house at the time near where I live now.

Gardner F. Fox, in a detail from a 1940 photo provided by artist Creig Flessel. Fox was, of course, the cocreator of the JSA, as well as of the JLA.

He’d be working on something, and then, I don’t know why, he would destroy it. He’d say, “I don’t like that work!” I’d ask him, “Who do you think you are… Bob Kanigher or Julie Schwartz?” I have a theory that the reason both Bernie and Arthur became demented was that they were sitting there working on their artwork, in all these different mediums, for years and years, and they would spray this fixative on the artwork to keep the art from getting blurred or smudged. They were inhaling that stuff for years! In closed rooms! A lot of the artists we knew got the same kind of disease.

Bernie passed away in January of 1998. It was from complications from Alzheimer’s. He had a good life, though. A wonderful life. I like to think I enhanced his life. A lot of marriages are all struggle, but Bernie never had any struggling with me. Mind you, I was a strong-minded lady and I’m still a strong-minded lady and I’m 87! Still, I loved what he did for a living. I loved what he wanted to do in life.

“The Life Of A Freelancer... Is Always Feast Or Famine”

BERNARD SACHS Checklist

[The following Checklist, like the others in this issue, is adapted from information found in the online edition of The Who’s Who of American Comic Books 1928-1999, established by Jerry G. Bails. Names of features which appeared both in comics of that name and in other magazines are generally not italicized. Key: (a) = full art; (p) = pencils only; (i) = inks only; (S) = Sunday newspaper comic strip; (d) = daily newspaper comics strip, generally Monday through Saturday.]

Name: Bernard J. Sachs [b. 1918(?), d. 1998] artist

Animation Work: Grey Advertising (storyboarder & layout artist) 1965-86

Comics Studio/Shop: Peddy & Sachs Studio, late 1940s to early 1950s [NOTE: also shared studio in late 1950s with Ross Andru, Mike Esposito, Arthur Peddy, and Jack Abel]

COMIC BOOK CREDITS (U.S. Mainstream Publications):

Ace Periodicals: Revealing Romances (i) 1949; romance (i) 1949, 1952

Avon Comics: Cicero and Timmy (a) 1953; horror (i) 1953; Merry Mouse (a) 1954; Paddy Pig (a) 1954; science-fantasy (i) 1952

Better/Standard/Nedor Publications: crime (i) 1953; New Romances (i) 1952; Today’s Romance (i) 1952

Consolidated Books: Tops (i) 1949

DC/National: Adam Strange (i) 1958-60; All-American Men of War (i) 1952-56; All-American Western (i) 1949; The Atom (first version) (i) 1949 (also story printed from inventory, 1972); backup feature in World’s Finest Comics (i) 1951; backup feature in The Adventures of Rex the Wonder Dog (i) 1952; backup feature in The Phantom Stranger (i) 1953; backup feature in Blackhawk (i) 1968; Big Town (i) 1951-53; Black Canary (i) 1948-49 (also stories printed from inventory in 1969-70); Black Pirate (i) 1947-48 (also stories printed from inventory in 1960s); Captain Comet (i) 1951-52, 1954; Charlie Chan (i) 1958; covers (i) 1947-67; Danger Trail (i) 1950-51; Darwin Jones (i) 1950, 1956-57; Detective Chimp (i) 1953-54; Don Caballero (i) 1951-52; Dr. Mid-Nite (i) 1947-48; Falling in Love (i)(some p) 1956-70; filler (i) 1949; The Flash (i) 1948-49 (also stories printed from inventory, 1971-72); Foley of the Fighting Fifth (i) 195354; The Ghost Patrol (i) 1947-49; Girls’ Love Stories (i) (some p) 1949-71; Girls’ Romances (i) 1958; Green Lantern (i) 1972 (story from 1940s inventory); I Love A Mystery In Space Hawkman (i) 1948; Heart Throbs (i)(some p) 1966-69; One fan-favorite DC series to which Sachs often contributed inking was “Adam Strange” Hop Harrigan (i) 1948; Hopalong Cassidy (i) 1954, 1958in Mystery in Space, edited (again) by Julie Schwartz. Pencils by Carmine Infantino; 59; Jimmy Wakely (i) 1959-52; Johnny Law (i) 1952; script by Gardner F. Fox. Thanks to Doug Martin. [© DC Comics.] Johnny Thunder (i) 1947; Justice League of America (i) 1960-66; Justice Society of America (i) 1948-51; Kit Trek entries (i) 1987; Who’s Who in the DC Universe (i) 1986-87 Colby, Girl Sheriff (i) 1950, 1952; Lady Danger (i) 1949; Manhunters entries; Wildcat (i) 1948-49 (also 1971 from 1940s inventory); around the World (i) 1950; Minstrel Maverick (i) 1959-52; My Wonder Woman (i) 1948-52, 1967; Wonder Women of History (i) Greatest Adventure (i) 1957; Mystery in Space (i) (some p) 1951-61; 1949, 1970; Young Love (i)(some p) 1963-66, 1969; Young Romance Nighthawk (i) 1954, 1956-59; Our Army at War (i) 1952-55, 1969; (i)(some p) 1963-71 Overland Coach (i) 1959-52; The Phantom Stranger (i) 1952-53; Rex the Wonder Dog (i) 1953-59; Rodeo Rick (i) 1957; Romance, Inc. (i) D.S. Publishing: Pay-Off (i) 1948 1951-52; Roving Ranger (i) 1951-52; Secret Hearts (i) 1952-71 Fawcett Publications: romance (i) 1950-51 (possibly some p); Sensation Mystery (i) 1952-53; Space Cabbie (i)(some p) 1955-58; Space Museum (i) 1959-61; Star Hawkins (i) Feature Comics: crime (i) 1949; romance (i) 1949, 1953-54 1960-64; Star Spangled War Stories (i) 1951-64; Strange Adventures (i) 1951-64; The Trigger Twins (i) 1952-54, 1959-60; Who’s Who in Star

Interview With Bernice Sachs-Smollet About Bernard Sachs

Sachs And Violence (Above left & right:) Believe it or not, Bernard Sachs actually penciled as well as inked these two stories for DC Comics: a “Space Cabbie” tale for Mystery in Space #45 (Aug. 1958) and a romance yarn for Girls’ Love Stories #61 (March 1959)—the latter being the same issue in which he inked a John Romita story. MIS script by Otto Binder; romance scripter unknown. Thanks to Bob Bailey. [© DC Comics.]

The Doctor Is Out! (Left:) A dramatic Peddy & Sachs “Dr. Mid-Nite” splash page from AllAmerican Comics #102 (Oct. 1948)—the final issue before the mag changed its name (and its format) to All-American Western. (Above:) National/DC, however, had inventory a-plenty on hand for most of its adventure series when they were cancelled—as witness these panels from an unpublished “Dr. Mid-Nite” story that was once officially scheduled for All-American Comics #110! Thanks to Dominic Bongo and Heritage Comics Archives. [© DC Comics.]

“The Life Of A Freelancer... Is Always Feast Or Famine”

Fiction House Comics: The Monster (i) 1953

Fox Comics: Murder, Inc. (i) 1948

Harvey Comics: The Green Hornet (i) 1949

Hillman Periodicals: Airboy (i) 1946-48; The Boy King (i) 1944; covers (i) 1947-48; crime (i) 1947-48; The Flying Dutchman (i) 1947; The Flying Fool (i) 1948; The Heap (i) 1946-47; Iron Lady (p)(i) 1947; Johnny Halftrack (p)(i) 1947; Rackman (i) 1947; Western stories (i) 1948

I.W. Publications: Space Mysteries (a) 1958 reprint

Marvel/Timely Comics: various features (p)(i) c. 1946-47

Orbit Publications: romance (i) 1954

Quality Comics: Espionage (p) 1943-44

St. John Publishing: crime (i) 1953; horror (i) 1954; Joe Barton (i) (1954 reprint); Red Feather (i) (1954 reprint); romance (i) 1953-55

Ziff-Davis Comics: Joe Barton (i) c. 1950; Red Feather (i) 1950; romance (i) 1950-52; science-fantasy (i) 195051; sports (i) 1951; Western (i) 1950

The Story So Great They Had To Name It Twice The Grand Comics Database site credits Peddy (pencils) and Sachs (inks) for this space opera from Ziff-Davis’ Amazing Adventures #2 (May 1951). Scripter unknown. Thanks to Jim Ludwig. [© the respective copyright holders.]

The WHO’S WHO of American Comic Books 1928-1999

COMICS’ GOLDEN AGE LIVES AGAIN! CAT-MAN BLACK TERROR AVENGER • PHANTOM LADY DAREDEVIL • CRIMEBUSTER CAPTAIN FLASH SPY SMASHER MR. SCARLET SKYMAN • STUNTMAN THE OWL • BULLETMAN COMMANDO YANK PYROMAN • GREEN LAMA THE EAGLE • IBIS

Online Edition Created by Jerry G. Bails FREE – online searchable database – FREE www.bailsprojects.com – No password required

The above is just a partial list of characters that have appeared in AC Comics’ reprint titles such as MEN OF MYSTERY, GOLDEN AGE GREATS, and AMERICA’S GREATEST COMICS. Virtually all issues published to date are available at $6.95 each. To find over 100 quality Golden Age reprints, go to the AC Comics website at <v.com>. AC COMICS Box 521216 Longwood FL 32752 Please add $1.50 postage & handling per order.

A quarter of a million records, covering the careers of people who have contributed to original comic books in the US. The cover of the final Golden Age issue of All-Star Comics (Feb.-March 1951), by Arthur Peddy (pencils) & Bernard Sachs (inks). Thanks to the GCD. [© DC Comics.]

Advertise With Us! ALTER EGO! • BACK ISSUE! • DRAW! (please inquire for BrickJournal rates) COVERS: 8.375" Wide x 10.875" Tall (plus 1/8" bleed all around) FULL-PAGE: 7.5" Wide x 10" Tall HALF-PAGE: 7.5" Wide x 4.875" Tall QUARTER-PAGE: 3.75" Wide x 4.875"

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The Comic Fandom Archive proudly presents...

Two Flashes Meet The Purple Slagheap Xero-ing In On A Fandom (Color) Classic By Landon Chesney Introduction by Bill Schelly ust as the impetus for the fanzine Alter Ego was the Silver Age return of the Justice Society heroes, so did editor Julius Schwartz and writer Gardner Fox’s 1961 concept of “Earth-Two” inspire an early original comic strip by one of fandom’s most talented writer-artists, the great (and sadly, late) Landon Chesney (1938-2001).

In A/E #22 (March 2003), the Comic Fandom Archive ran a tribute to Chesney to commemorate his life and work, including an interview with his nephew Jason Gillespie and a remembrance by Bill Spicer, his friend and publisher, of his exceptional contributions to such popular fanzines as Fantasy Illustrated, Voice of Comicdom, and Star-Studded Comics.

But, even before those achievements, Landon Chesney had an auspicious “comingout party” in the pages of nothing less than Dick and Pat Lupoff’s science-fiction/comics/ popular culture fanzine Xero, founded in 1960. The Lupoffs’ seminal zine had a way of launching fan “careers”—e.g., its publishing, in issue #8, of Richard Kyle’s “All in Color For a Dime” entry “The Education of Victor Fox” put Kyle on the fandom map. Xero did the same with Chesney when it featured his “Two Flashes Meet the Purple Slagheap” in Xero #10 (Spring 1963)—and in nearly full color! It was, of course, the Tennessean’s take on “Flash of Two Worlds!” from The Flash #123 (Sept. 1961) and subsequent usage of “Earth-Two” heroes. Thus, as a further tribute to Landon Chesney, and the strip’s letterer and colorist Bhob Stewart.....

Two Talents Meet The Purple Mimeo-Master Landon Chesney’s intro page for “Two Flashes Meet the Purple Slagheap” from Xero #10—flanked by vintage photos of writer/artist Landon Chesney (left) and colorist (and Xero art director) Bhob Stewart. [Page © Landon Chesney.]

[Art & story © Landon Chesney; The Flash is a trademark of DC Comics and is used here solely for purposes of parody.] 60 Comic Fandom Archive

Two Flashes Meet The Purple Slagheap 61

[Art & story © Landon Chesney; The Flash is a trademark of DC Comics and is used here solely for purposes of parody.] 62 Comic Fandom Archive

Two Flashes Meet The Purple Slagheap 63

[Art & story © Landon Chesney; The Flash is a trademark of DC Comics and is used here solely for purposes of parody.] 64 Comic Fandom Archive

(Above & left:) “The Fight For Fun,” which appeared in Sure-Fire #3 (Sept. 1940), plus the covers of Sure-Fire #1 (June 1940), Super-Mystery #2 (Aug. 1940), Super-Mystery #4 (Nov. 1940). [©2013 Ace Comics.]

Mr. Monster’s Comic Crypt!

Now THAT’S A Fan! by Michael T. Gilbert emember when you were a kid and would do anything to score some comics? You’d whine and wheedle and beg your parents for a dime—or maybe even a quarter, when those giant Superman Annuals came out.

And when you were old enough to earn a few bucks, you’d bike to two or three drugstores to find all the comics you absolutely needed (distribution sucked in the ’60s!). Being a comics nut wasn’t

easy. But, as you’ll see on the following pages, that’s nothing compared to what Ace Comics fans went through!

Now, most Golden Age aficionados rank Ace comics slightly below turnips on their “gotta-have-it” scale. Timely/Marvel was blessed with Simon & Kirby’s Captain America, Carl Burgos’ Human Torch, and Bill Everett’s Sub-Mariner. DC’s roster included Superman, Batman, Wonder Woman, and the Justice Society heroes. And how could you go wrong with Fawcett’s marvelous Marvel Family?

But Ace? Their big guns included Magno and Davy (Yawn!), interplanetary adventurer Flash Lightning (quickly renamed “Lash” Lightning, presumably after receiving a “cease and desist”

“The Worm Turns!” (Above:) A true fan from Super-Mystery, Vol.1, #4 (Nov. 1940). Art unsigned. On the left are some sure-fire covers of Sure-Fire Comics, the mag in which the ad appeared. (Left, top to bottom:) Covers to Sure-Fire Comics, Vol. 1 #3-B (Oct. 1940), Sure-Fire Vol. 1, #2 (Aug. 1940), and Sure-Fire Vol. 1. #3-A (Sept. 1940). NOTE: Sure-Fire Comics became Lightning Comics with issue #4—but not before Ace accidentally published two different issues of Sure-Fire #3! [© Ace Comics.]

Now That’s A Fan!

letter from lawyers representing Flash Gordon—or maybe DC’s Flash!). Or Captain Courageous, the hero with a starfish on his face. Oh, and let’s not forget Mr. Whiskers, a crime-fighter who cleverly hid his identity with a pair of, er, false whiskers. Sheesh!

Clunky titles like Four Favorites ran rampant (wouldn’t Four Aces have made more sense?). Names like Sure-Fire Comics and SuperMystery Comics didn’t help much, either.

Ace Comics was the brainchild of Aaron A. Wyn and his wife Rose, pulp publishers since 1928. Their comics line began in 1940 and died in 1956, victims of the Comics Code. By then, their superguys had been replaced by love, horror, and crime titles. However, we’ll be focusing on Ace’s earlier super-hero comics.

Which were, on the whole, a pretty unimpressive lot.

Not that you could tell that by Ace’s house ads. In their imaginary world, kids, cops, firemen, and prizefighters just couldn’t get enough Ace comics.

“The Big Reward” featured a boxer who found himself flat on the mat. Luckily, he was able to stage a Rocky-style comeback, thanks to a hot-off-the-presses copy of Lightning Comics waiting in the dressing room! Now that’s a fan!

Meanwhile “Smoke Burnham, One-Man Fire Department,” was rushing double-time to put out a fire. When asked if he had a hot date waiting, our rock-jawed hero replied, “I have a date alright,

“The Big Reward!” (Above:) A knockout of a page from Super-Mystery Comics, Vol. 2, #1 (April 1941). Art by Jack Alderman. (Left, top to bottom:) Covers to Lightning Comics V1 #6 (April 1941), Lightning Comics V1#5 (Feb 1941), Lightning Comics V1#4 (Dec 1940). Art by Jack Alderman. [© Ace Comics.]

Mr. Monster’s Comic Crypt!

with Flash Lightning, The Raven, and a lot of other swell guys... in the latest issue of Lightning Comics!” Now that’s…er, well, a little disturbing, actually.

Other ads feature kids who pass up free circus tickets so they can buy the latest ish, and a teen so intent in perusing Lightning Comics he barely notices he’s fallen off a cliff. Been there, done that!

The black-&-white ads, mostly signed by Jack Alderman, Jim Mooney, and Warren Kremer, usually appeared on the back or inside covers. Alderman drew comics from 1939 to 1960. In the ’40s his Ace

features included “Vulcan,” “Captain Gallant,” “Hap Hazard, Long Arm of the Law,” and “Marvo the Magician.” He’s also credited with illustrating “Captain America,” “Captain Marvel,” “Sheena,” “Blackhawk,” and “Tweety and Sylvester” for other publishers.

Jim Mooney, another Ace mainstay, drew “Captain Courageous,” “The Flag,” “Lash Lightning,” “Magno,” “The Raven,” and “The Unknown Soldier.” He had a long career in comics, and was perhaps best known for drawing DC’s “Supergirl” in the ’60s, and “Spider-Man” at Marvel from 1968 to 1987.

Warren Kremer (not represented here) worked at Ace from 1940 to 1949 on features like “Captain Courageous,” “Hap Hazard,”

“Circus Days!” (Above:) This fan thought Ace comics were more fun than a circus! That must’ve been a no-ring circus! Art by Jim Mooney. (Left, top to bottom:) Lightning Comics V2#3 (Oct. 1941), Lightning Comics V2#2 (Aug. 1941), and Lightning Comics V2#1 (June 1941). [© Ace Comics.]

Now That’s A Fan!

Ace’s Also-Rans! Forgettable heroes: Captain Courageous, from Four Favorites #5 (May 1942), and Mr. Whiskers, from Four Favorites #4 (March 1942). If they’re the top talent, doesn’t it make your mouth water to know who the other two favorites were? [©2013 Comics.]

“Smoke Burnham, One-Man Fire Department!” (Above:) A hot page from Super-Mystery Comics, Vol. 1, #5 (Dec. 1940). Unsigned art. [© Ace Comics.] (Left, bottom to top:) Covers to Lightning Comics V3#1 ( June 1942), Four Favorites #1 (Sept. 1941), and Four Favorites #2 (Nov. 1941). [© Ace Comics.]

Mr. Monster’s Comic Crypt!

“Lash Lightning,” “The Unknown,” and “Mr. Risk.” In 1950 he moved to Harvey Publications, where he made comic history designing and drawing “Casper the Friendly Ghost,” “Hot Stuff,” and other Harvey characters.

Much of the early Ace super-hero art was pretty crude, despite talented artists like Rudy Palais, Jim Mooney, and a young Harvey Kurtzman. The art got slicker by the late ’40s as Ace morphed from super-heroes to romance, crime, and horror. Titles like Web of Mystery, Trapped, and Crime Must Pay the Penalty featured attractive art by Lou Cameron, Gene Colan, Chic Stone, and others. When their comics folded, Ace concentrated on its profitable book line, which began in 1952.

As for the ads themselves, it’s questionable whether they helped sell many Ace comics. But they were inventive and far funnier than most of the comics themselves. Better yet, they gave us a chance to look at some other obsessive comic collectors and say admiringly...”Now THAT’S a fan!” ‘Till next time...

“Fall Guy!” (Above:) He’s fallen hard... for comics! From Super-Mystery, Vol. 1, #6 (Feb 1941). Art by Jack Alderman. (Left, top to bottom:) Covers to Lightning Comics V2 #6 (April 1942), Lightning Comics V2#5 (Feb 1942), and Lightning Comics V2#4 (Dec. 1941). Art by Jack Alderman. [© Ace Comics.]

problems facing us in the world today! Sigh.” Far as we’ve been able to gather, Tom, Mary Jane did indeed sprinkle sand over herself in the earliest “Mary Jane and Sniffles” stories—but, for some reason, the writers and artists abandoned that practice and just had her recite “magic words” instead. Got to admit, all the people I know (of those who ever heard of the feature, I mean) can recite the latter version. But maybe you’re a wee bit older than we are?

e’re even more crowded than usual in this issue’s letters section—but we’re never too squeezed for room to appreciate Shane Foley’s inventive “maskot” drawings. This one, as all true JSAficionados will instantly recognize, is adapted from a drawing by E.E. Hibbard in the final chapter of the “Justice Society” story in All-Star Comics #8 (Dec. 1941-Jan. 1942)—with our home-grown heroes riding on Johnny Thunder’s omnipresent Thunderbolt. And thanks to Randy Sargent for his usual effervescent coloring! [Alter & Captain Ego TM & © Roy Thomas & Bill Schelly – created by Biljo White; Alter Ego & Rob Lindsay TM & © Roy & Dann Thomas – costumes designed by Ron Harris; Thunderbolt TM & © DC Comics.]

Marc Svensson: “Regarding Jim Amash’s interview with Leonard Starr, it was not Fred Kida whom he met years later working with John Prentice; it was Bob Fujitani. Prentice was really sick near the end, and Bob was running the artwork he ghosted for him over to Leonard Starr for photocopying. Bob reads the Alter Egos you send him, and he got a laugh. Fred and Bob were friends in art school, and they are both half-Japanese. Bob chuckled as he commented: ‘I guess Leonard thinks we all look alike!’ Although Bob is also more than a little dumbfounded. He was often over at Leonard’s place, and wonders if Leonard thought he was Fred Kida the whole

Alter Ego #110 was one of our more or less annual “FCA festivals,” devoted to the 1939-54 comics of Fawcett Publications, as presided over by P.C. Hamerlinck, with the first installment of Jim Amash’s interview with artist/writer Leonard Starr and a few other items thrown in for good measure. Let’s see what you had to say about them—with my (that is, Roy’s) first-person comments rendered in italics—starting with a comment from…

Jake Oster: “The character that Leonard Starr did for Hi-Lite Comics #1 and only (Fall 1945) was ‘M’sieur L’Epée.’ ‘Epée’ is French for ‘sword.’ The epée (pronounced ‘EPP-ay’), used in sport fencing, is the modern derivative of the dueling sword. That’s M’sieur L’Epée on the cover…. Crown Comics ran 19 issues (Winter 1944-45 – July 1949) from McCombs Publications, Inc. The company was owned by William A. and Lucille E. McCombs of 223 West 23rd Street, New York 4, NY. That may be a home address, for all I know; the Flatiron Building is located at 175 Fifth Avenue, two blocks east. The McCombses also put out a golfing magazine…. I believe ‘Voodah’ was drawn by Matt Baker, at least early on; he’s white on the covers but dark-skinned in the stories…. Chu Hing’s ‘Green Turtle’ may not have been one of the great super-hero success stories, but he was the first Oriental (Chinese) super-hero, though the colorist did his best to obscure that by giving him pink skin.” Now that we think of it, Jake, that does make The Green Turtle a wee bit memorable. Of course, I suspect we’re both aware that the “Voodah” splash page in A/E #110 was definitely not drawn by Matt Baker.

Tom Miller: “This is going to sound silly, but I have to offer it. On page 34 of #110, re ‘A Case of the Sniffles,’ I don’t remember Mary Jane saying ‘Magic words of poof, poof, piffles…’ but rather ‘Magic sands of….’ She always said this as she sprinkled sand on herself, sand given to her by Sniffles [the mouse] as she shrank herself to his size…. And I should be concerned about this, with all the

Tiger By The Tail We were kinda depressed when this offbeat Leonard Starr-drawn splash page from ACG’s Hooded Horseman #26 (Nov.-Dec. 1962) got crowded out of A/E #110. So we resolved to print it the first chance we got—and this is it! Thanks to Gene Reed. [© the respective copyright holders.]

[correspondence, comments & corrections]

Andrews in the very early days—but mostly because he co-authored Sammy Davis Jr.’s wonderful 1960s autobiography Yes I Can. Besides being a great admirer of the singer himself, I thought the book was a great delineator of the triumph of the human spirit. Thanks, Mr. B.!

And this from P.C. Hamerlinck, editor of FCA: “While digging through some old Fawcetts, I just noticed that the first Captain Marvel radio ad, where readers could win the issue of America’s Greatest Comics, also appeared after the ‘CM’ story in Whiz Comics #36 (Oct. ’42).” Sorry we didn’t have time to squeeze that into A/E #110, P.C.—but better late than never! That’s one nice thing about putting out a history magazine—corrections and additional information are always timely, no matter when they’re made!

to:

Gotta run! Send those electronic cards and letters

Roy Thomas e-mail: roydann@ntinet.com 32 Bluebird Trail St. Matthews, SC 29135

Smile And Say “Shazam!,” Emilio! Fawcett production artist Emilio Squeglio passed away not long before the on-sale date of A/E #110—for which he had drawn the splendid Captain Marvel/Billy Batson cover. The magazine particularly honored him in #113, but until we deal with that issue, here’s a photo of the irrepressible Emilio at a meeting of the Berndt Toast group of the National Cartoonists Society, displaying a Fawcett-centered issue. He was one of our biggest pro boosters—and we sorely miss him. Thanks to P.C. Hamerlinck and Mike Lynch Cartoons website.

time!?! Bob liked the interview and agreed with Leonard’s comments about Charles Biro, etc.” Jim Amash, after checking, tells me that Starr was definitely talking about Kida’s “Airboy” stories… but apparently got his memories a bit mixed up between Kida and Fujitani, two splendid Golden Age artists.

Richard Kyle: “The Sunday page of On Stage on page 3 is especially good, with terrific color and layout, not to mention high-quality art. Re ‘The Covers That Never Were’ [in ‘Comic Crypt’]: Among other things, I don’t remember Everett ever drawing The Sub-Mariner with such a triangular head. Nor do the predilections the artist displays on the bottom right of page 27 and the bottom left of page 28 seem like Everett. (Particularly Toro on page 27. Strange.) [And, re a strange wording in my own interview by Bill Schelly in that issue:] Page 53, first column, second line, last complete word: Totally. Hey, I’ve looked it up. I wrote Truly. Now, I admit that I’m one of the world’s half-coherent interviews, and I apologize for it with all my heart. But one thing I don’t do is talk Valley Girl. Totally? Come on, guys! I’ve got the letter in front of me, dated March 2, 2011.” We believe you, Richard—we believe you! Well, there goes the myth of our infallibility.

Douglas (“Gaff”) Jones: “Nit-picking time [re ‘Comic Crypt’]: Chic Stone (not Ayers) inked Kirby on all the pin-ups (and stories) in Fantastic Four Annual #2 (1964), including the Molecule Man pin-up…. Was going through the ‘Batman Family’ books, and letterer Milt Snapinn spells his name with one ‘p’ and two ‘n’s,’ not the other way around. Don’t feel bad—I made the same mistake on the many ‘Superman’ stories I ran in my Superman Annuals CD…. Boy, could Al Feldstein have accentuated Corliss Archer’s breasts any more on that cover [in the FCA section]? The nipples look about ready to launch through her sweater!” I myself was especially impressed by P.C.’s interview with Burt Boyar—yes, partly because he played Billy Batson on the radio (a show I’d never even heard of before!)—and yes, partly because he was also radio’s Archie

Don’t miss next issue’s offbeat special—on the late lamented Comics Buyer’s Guide and its fannish predecessor!

#172 October 2012

And here you thought a writer was a sensitive genius who sat proudly in solitude and fished bright golden ideas out of thin air.

Having his idea ready, the writer either writes a short synopsis of it, or phones the editor. In either case, the idea is kicked around between them, the rough edges smoothed out, the climax made more exciting, etc. The plot is okayed. It’s ready to go.

Part III Abridged & Edited by P.C. Hamerlinck NTRODUCTORY NOTE: Otto Oscar Binder (1911-1974), the prolific science-fiction and comic book writer renowned for authoring over half of the Marvel Family saga for Fawcett Publications, wrote Memoirs of a Nobody in 1948 at the age of 37, during what was arguably the most imaginative period within the repertoire of “Captain Marvel” stories.

The writer then plods his lonely way home, or perhaps to his studio, and sits before his typewriter with a shudder. Now he must take the evanescent idea and dress it up with dialogue and captions and the fire of human life. Not that comics are gems of literature, but they must have some semblance to real life and real people. An illusion must be built up that this could really happen, even though the hero is somebody who says a magic word and thereby becomes impregnable so that he can stop bullets, bust down doors, and fly.

Aside from intermittent details about himself, Binder’s capricious chronicle resembles very little in the way of anything that is indeed autobiographical. Unearthed several years ago from Binder’s file materials at Texas A&M University, Memoirs is self-described by its author as “ramblings through the untracked wilderness of my mind.” Binder’s potpourri of stray philosophical beliefs, pet peeves, theories, and anecdotes was written in freewheeling fashion and devoid of any charted course—other than allowing his mind to flow with no restricting parameters. The abridged manuscript—serialized here within the pages of FCA—will nonetheless provide glimpses into the idiosyncratic and fanciful mind of Otto O. Binder.

In our second excerpt, presented last issue, Otto had begun to delve into the pages of comic books in a chapter entitled “The Modern Pied Piper”—a section which is continued with this installment. —P.C. Hamerlinck.

Well, perhaps I’d better give you some meaty facts or insights into the production of comics.

First, the writer has to think of an idea. That, brother, is work. I estimate that some 250,000 or more comics stories have already been written, since their inception. Each basic plot or story idea has been used over and over, ad infinitum. Perhaps ad nauseum. How can you think of a new idea?

The answer is: you can’t. There is no such thing as a “new” idea, unsullied, untouched, virginal. What is done is to take an old idea and dress it up in new form. And there, thank Heaven, the writer faces infinity. There can be no end to the variations which can be written around a basic theme. A change in scene, of characters, of crimes, and of motivations, and you have a brand new story. And life itself keeps changing. Civilization and social balances change. So each new generation of readers faces a new world, and is ready to absorb all the old plots but re-adorned with the symbols and values they know.

It’s like jokes. Each joke, through the ages, is told over and over, after it is brought up to date.

A Spy In The Face Not that the inventive imagination of Otto Binder needed much help, but when he needed speedy inspiration for a story idea, he turned to the classics—as he did for “Spy Smasher Discovers the Streamlined Treasure Island!” in Whiz Comics #43 (June 1943), where the goggled wartime hero defended a small island in the Atlantic from Japanese and Nazi forces. Artwork by Alex Blum. [Spy Smasher TM & © DC Comics.]

Memoirs Of A Nobody by Otto Binder Part III

After the writer has delivered his script to the editor, the latter goes over it and touches it up. Dialogue that might seem brilliant (I mean, always brilliant) to the writer is just wordy to the editor, so he cuts it down. Captions that get lyrical and slow down the action get a trimming, too. Or captions are put in when missing because the writer forgot to put them in.

Editors are a heartless breed, by the way. They have a fiendish knack for slashing out my best dialogue and my most deathless captions. Of course, the magazines prosper under their strict supervision and guidance. They’re just lucky, I guess.

I might explain that the writer writes the story out in the form of scenes, usually seven to a page. He tells the artist what to draw, and also enters the dialogue of the characters appearing in each scene. The scene might also need a caption to denote change of time or place. So when the script is done, the artist need only follow directions to produce the pictures. Now let me tell you about artists …

Working Hard—Or Hardly Working? Above is the opening panel to Otto Binder’s “Captain Marvel and the Discontents” from The Marvel Family #25 (July 1948)—the same year Binder wrote Memoirs of a Nobody. He often took us to different and fantastic worlds, but the writer knew that some semblance of reality still needed to be applied within his stories, even with a hero “who says a magic word and thereby becomes impregnable….” Art by C.C. Beck and Pete Costanza. [Shazam hero TM & © DC Comics.]

After some hours (or maybe days) of agony, the writer has taken a piece of his mind and put it down on paper. He has suffered, lost weight, turned sour, and his nerves are twanging like a harp. Pitiful, isn’t it?

Come now, you don’t believe that rot? I can only speak for myself, but a writer, down underneath, enjoys his work. Or, if he doesn’t actually enjoy it, at least he doesn’t hate it or he’d go get himself some other more congenial means of livelihood. Or, even assuming he hates writing, a glow will come to him thinking of the check he is forging with every bitter word he squeezes out of himself.

I think what a writer hates is not writing but the thought of buckling down to work. A freelance writer, with no “boss” back of him to prod and worry him on, has to prod himself to get going. Thus the writer, by the process of sublimation or something, is his own hateful “boss.” Thus, there is a sort of war going on within himself all the time. Shall I sit down and write this damned story on this beautiful day? Or shall I chuck it and go fishing?

But I think that most, if not all, writers have pride in their work. They at times, like myself, must finish a story and feel a bit of a glow. This should apply to all writers of any type of material— movies, books, radio plays, short stories, etc. But it is more or less the accepting custom for writers to claim they hate their work, despise it, and wish they had never taken up such a godforsaken career. They’d feel a bit ashamed to say: “I really enjoyed writing that piece! And I think it turned out damn good too, so there!”

Next: THE MODERN PIED PIPER - Concluded!

“Join The Parade To Victory!” Captain Marvel and The Army War Show – June 1942 by Brian Cremins Edited by P.C. Hamerlinck

n June 1942, Billy Batson tried to join the United States Army. Rejected for being too small, he called on the help of his bigger, stronger alter ego—and, just a few pages later, Captain Marvel began basic training.

That same month, my maternal grandfather, Nunzio Stango, began his military service as a member of the Army War Show, a group of soldiers who toured major cities in the Northeast, the Midwest, and the South to educate the public on life in the Army. In the summer of 1942, however, my grandfather and the editors, writers, and artists at Fawcett Publications had no idea what shape

Marc Swayze For The War Effort Marc Swayze’s cover for Captain Marvel Adventures #12 (June 1942), with the World’s Mightiest Mortal leading soldiers wearing not “modern lids” but World War I helmets across the battlefield… and Marc (far right), on guitar, performing in a jazz quintet at an Army officer’s club while he was stationed at Fort Oglethorpe, Georgia, during World War II. Swayze wrote several “Captain Marvel” stories while he was in the Army; after “lights out” in the barracks, he reported, he would quietly get up and go to work in his “office”: the latrine! Photo courtesy of daughter Judy Swayze Blackman. [Shazam hero TM & © DC Comics.]

the war would take. How would it look? How would soldiers dress and what weapons would they carry? The Army War Show and “Captain Marvel Joins the Army” set out to answer some of these questions.

The cover of Captain Marvel Adventures #12, as its artist Marc Swayze pointed out in his FCA #157 column, includes a few historical anachronisms. Why is Captain Marvel leading a group of soldiers who are dressed as if they stepped right out of the trenches of World War I? In the December 2010 issue of Alter Ego, Swayze briefly explained: that early in World War II, he wasn’t quite sure how the soldiers would be dressed. “I was assigned a wartime cover so early on that the U.S. infantrymen Captain Marvel was leading over a battlefield wore World War I helmets!” Those “modern lids” the soldiers would wear in World War II, Swayze writes, “were issued about the time the book,” dated June 26, 1942, first “hit the newsstands.” Swayze also described his continued affection for the dynamic cover, in which Captain Marvel, a bullet ricocheting from his chest, provides a burst of red, yellow, and white against the steel-blue, olive, and battlefield grey horizon. He remained “proud of having done that cover art, although it seems never to have ceased to be a source of amusement. In recent years, a publisher stated that it was ‘the finest drawing of Captain Marvel C. C. Beck ever rendered.’ Oh well.…”

When CMA #12 appeared on the newsstands in late June, my grandfather, who would go on to earn a bronze star on his ribbon bar for his service in Tunisia in 1943, and other members of the Coast Artillery Battery were at Franklin Field in Philadelphia. It was the second stop of the War Show itinerary, which had begun at

“Join The Parade To Victory!”

A Wide-Screen War (Above:) A double-page panoramic opening scene featured a reconfiguration of a Marc Swayze illustration, inspired by his CMA #12 cover, that was concurrently published (in black-&-white) in Fawcett’s On The Spot magazine… but artwork for the rest of the story “Captain Marvel Joins the Army” was handled by C.C. Beck’s staff of artists. As the tale opened, Billy and pal Whitey Murphy volunteer for military service; the recruiting officer rejects too-young-and-small Billy— until he speaks the magic word! [Shazam hero TM & © DC Comics.]

Municipal Stadium in Baltimore on June 12.

The Army War Show served two purposes: first, ticket sales would benefit the Army Emergency Relief Fund for soldiers and their families; second, the performance, an immersive experience designed to reassure and entertain audiences, offered a glimpse of Army life, including a series of mock battles. The Show’s souvenir program book declares, “Here’s YOUR Army!” and explains, “The War Department wants YOU to see a serious, well regulated and disciplined cross section of that growing giant which is YOUR ARMY!”

The Show, however, was no circus, although, as amateur historian Gary Banas has pointed out, the Army called on Ringling Brothers and Barnum and Bailey for advice and assistance to plan the logistics of the tour. The soldiers featured in the show, the program book explained, are men who have gone through months and years of training in the camps and maneuver areas in the United States. “They have been gathered from the North, the South, the East, and the West to present to you not a circus—not a light-hearted display of touring troupers—but a glimpse here, and picture there, of the battle-bound millions of American youth.”

Just like the lead story in Captain Marvel Adventures #12, the Army War Show gave Americans the opportunity to imagine the

war—what it would look like, how it would feel, how long it might last.

Although, in July 1942, President Franklin D. Roosevelt, as historian Rick Atkinson points out, declared that “it is of the highest importance that U.S. ground troops be brought into action against the enemy,” Operation TORCH, the joint American and British invasion of North Africa, would not begin until November. “More than half a year after Pearl Harbor,” Atkinson writes, “restive Americans wanted to know why the country had yet to counterpunch against the Axis” in Europe as the war continued in the Pacific. As Americans waited for the United States to begin combat operations in North Africa and Europe, stories like “Captain Marvel Joins the Army” were essential in providing anxious readers, young and old, with a measure of comfort. America would soon engage the enemy, whose defeat, as the wizard Shazam tells Billy at the end of the story, is really only a matter of time, for the forces of evil must, he explains, eventually surrender to the forces of good. What’s difficult even for Billy to imagine is what shape the world will take once those forces have been defeated. First, a brief summary of “Captain Marvel Joins the Army”:

Billy Batson and his pal Whitey Murphy decide to volunteer.

FCA [Fawcett Collectors Of America]

Let’s Go On With The Show!

The recruiting officer rejects Billy, who is too young and too small—until he speaks his magic word. As Captain Marvel, he returns to the Army recruiting office and introduces himself as M.R. Vell. The sergeant, dressed in a tan uniform, makes no remark about Vell’s flamboyant costume. No one other than Whitey seems to notice the super-heroic Fred MacMurray look-a-like in a cape and a skin-tight red suit.

More unusual than his costume are Captain Marvel’s skills as a mathematician on display in panel 4 of page 6. The Army doctors in panel 3 have already examined the hero’s unusual but impressive body: “—Eyesight perfect! Hearing… perfect! Heart and lung action—perfect!” But M.R. Vell’s intelligence and imagination make him the ideal candidate for the officer corps. Not only, as one soldier remarks, has this recruit provided an impressive explanation of how to square a circle, but he also “knows all languages, modern and classic! And everything else, too!”

This single, simple panel is one of my favorite images from Captain Marvel’s Golden Age adventures. We already know from the story’s cover that our hero is a physical marvel; the enemy’s bullets fail to pierce his skin or to scorch the yellow lightning bolt on his chest. But if I’d had a magic word when I was in middle school, I’m sure I’d have used it for math class.

Most of the time, as Otto Binder himself argued in Vol. 2 of Steranko’s History of Comics, Billy Batson is a lot smarter than his alter ego. “I’d hate to add up how many times Billy saved him with his wits,” Binder explained in his description of the relationship between Billy and the Captain. Our hero is lovable but a little too slow, too innocent. In this panel, however, he is a brawny Albert Einstein with a Classics degree. The officers recommend M.R. Vell for a staff job, but the hero refuses: “Nix! No desk job for me! Send me to training camp as a common soldier!” In the final panel of the page, Captain Marvel and Whitey begin their training at Camp Downton, where they slowly uncover a plot by “enemy aliens” to, as one of the villains puts it, “slow up the

(Clockwise from far left:) A newspaper photo of author Brian Cremins’ maternal grandfather, Nunzio Stango, during his service in the Army War Show, 1942… an image from Stango’s copy of an Army War Show yearbook … and a ticket for the Army War Show performances at Chicago’s Soldier Field, Sept. 1942. Courtesy of Brian Cremins. [© the respective copyright holders.]

American war effort!” The Axis wants to crush the will and the confidence of these newly recruited soldiers. On page 8, Camp Downton’s drill sergeant reveals his plan: “I am busy convincing the men they cannot become good soldiers! For instance, today I made fools of two privates—Vell and Murphy!”

The sergeant’s scheme, however, runs into problems when Billy Batson presents a rousing speech to the young soldiers. The saboteurs then kidnap the boy radio reporter and hope to brainwash him into serving the Axis. Just as they reveal their plans, Billy speaks his magic word and takes on the spies in an explosive, full-page panel on page 15. A text box in the upper left-hand corner of the page reads: “Against all these master scoundrels of the Axis is arrayed only one man—the mightiest man in the world!” After clobbering them, Captain Marvel waits for the arrival of the soldiers who, on page 18, are wearing the same World War I-era uniforms as the figures on Marc Swayze’s cover. But what’s next for Private M.R. Vell?

In the last two pages of the story, Shazam, dressed as a general and sitting behind a desk at the base’s General Headquarters, returns. After speaking the name of his “old friend and teacher,” Captain Marvel returns to his identity as Billy Batson: “I thought you were—er—dead! Er—I mean—Ah—I—I’m all confused!” Shazam explains that he has “arranged” for Captain Marvel’s “transfer to special service—out of uniform!” Billy scratches his head. Why isn’t Captain Marvel in uniform and fighting with his fellow soldiers? Shazam reassures him, “I have plans for Captain Marvel that extend even beyond the armed forces of the United States! He’ll see more action than any soldier possibly could!” The story ends with a horizontal panel of Captain Marvel leading a legion of soldiers and sailors to victory as they urge us to “Join the

“Join The Parade To Victory!”

the audience a means of understanding the war. In a War Department memo dated April 22, 1942, Major General A. D. Surles explains the rationale for the Show: “The expositions will not only raise large sums of money for Army Emergency Relief, but they will enable our people to see their Army at first hand and thereby be inspired to greater effort in supporting it with full confidence in its leadership and purposes.”

Uncle Sam Wants You! Our hero, who’s like a “brawny Albert Einstein with a Classics degree,” passes all his Army exams with flying colors. [Shazam hero TM & © DC Comics.]

parade to victory!” through the purchase of war bonds and stamps.

Several comics scholars have written about Captain Marvel’s World War II adventures. Bradford W. Wright and Christopher Murray provide insights into why Captain Marvel was one of the most popular and best-selling comic book characters of the era. In his recent book Champions of the Oppressed: Superhero Comics, Popular Culture, and Propaganda in America During World War II, Murray sets out to explain why characters like Captain Marvel and Captain America were so appealing: “By identifying with the superhero, readers could imagine themselves fighting the enemy, joining their fathers or brothers on the battlefield.” But what about the soldiers who were reading these comics?

The Army War Show may also have played a role in raising awareness of the diversity of America’s armed forces. In a memo dated June 23, 1942, Lt. Colonel V. F. Shaw enters a request for “a Negro cavalry unit” that would be “large enough to place forty mounted soldiers in the Army War Show” for the performance in Pittsburgh on June 29 and for the rest of the tour. “The presence of a Negro unit in the Army War Show,” Shaw notes, “is particularly important at this time to render a proper picture to the public of the composition of our Armed Forces.” The Chicago Defender made note of the Cavalry Unit before the Show arrived at Soldier Field on September 2, 1942: “Colored cavalrymen from Fort Riley, Kans., many of whom had never ridden before January 1, will show the effects of careful training by their superb horsemanship.” A few days after this article, the Defender published a photo of another soldier being trained at Fort Riley: champion boxer Joe Louis, who was visiting Chicago to check in on the Rhumboogie, a club he coowned with Charlie Glenn. The Army, of course, was still strictly segregated. My grandfather’s Coast Artillery Battery had no African-American soldiers. The presence of those black soldiers in the Cavalry Unit, however, was an acknowledgement on the part of the commanding officers that the Army, like the country itself, was undergoing significant changes.

I read my grandfather’s photographs from June 1942 in the same way I read Captain Marvel Adventures #12. The photographs and the comic book serve the same purpose for me that they served for readers and audiences at that time. While the latter were being asked to imagine what the war might look like, and what the country itself might become after a hoped-for victory over the Axis powers, I read “Captain Marvel Joins the Army” and my grandfather’s War Show photographs in order to piece together the story of what happened in June 1942. First, I see my grandfather standing in a field in Philadelphia, where the show ran from June

As Michael C.C. Adams points out in The Best War Ever: America and World War II, these young recruits were often little more than children themselves. In a passage borrowed from Elfrieda Berthiaume Shukert’s book War Brides of World War II, Michaels remarks, “Europeans noted that some G.I.’s behaved ‘as if they were children,’ chewing gum, playing ball in the street, drinking Coke, and reading comic books.” Not all soldiers, however, were kids. By 1942, my grandfather was 29 years old. Born in December 1913 to two Italian immigrants who had left Frigento to settle in Connecticut, my grandfather was, by 1942, working in the factories in and around Waterbury, Connecticut— the same city where Eastern Color Printing had given birth to the modern comic book with the publication of Famous Funnies in 1934.

We might believe these relics of the 1940s—a souvenir program from The Army War Show, an issue of Captain Marvel Adventures—have no story to tell us today. However, both “Captain Marvel Joins the Army” and the Show served the same purpose: each one gave

You’re In The Army Now! Captain Marvel and Whitey’s first day of boot camp, before they slowly uncover an ominous Axis plot to “slow up the American war effort!” [Shazam hero TM & © DC Comics.]

FCA [Fawcett Collectors Of America]

Patriotism & Propaganda (Right:) After the Axis plot is thwarted, the wise old wizard, Shazam—fully clad in an Army General’s uniform—counsels Billy on Captain Marvel’s true wartime mission. (Above:) The tale concludes with Captain Marvel leading a brigade of soldiers and sailors urging us to “Join the parade to victory!” by purchasing war bonds and stamps. The image was lifted from C.C. Beck’s cover from Captain Marvel Adventures #8 (March ’42), which contained the original cover blurb: “Forward, America!” [Shazam hero TM & © DC Comics.]

20th to the 27th. In March 2013, I am waiting for a train at 30th Street Station in Philadelphia, and I wonder if my grandfather and his fellow soldiers stood here 70 years earlier when they arrived to perform at UPenn’s Franklin Field. In the photograph, he is smiling.

A few days or a week later, my grandfather stands with Pvt. K.L. Brodeur, another member of his battalion, before the YMCA in Pittsburgh, Pennsylvania. Both men wear a Provisional Task Force badge. It must be late June, as the Pittsburgh shows began on July 3rd. Captain Marvel Adventures #12 had just been published. I wonder if, when he arrived at the train station in Philadelphia, or when he crossed a street in Pittsburgh, he passed a newsstand filled with images of Billy Batson and Captain Marvel. If he did, he must have called them funny books, just as my grandmother called them.

I don’t know if my grandfather read comic books. He died in 1960, thirteen years before I was born, so my only way of knowing him was through my grandmother’s stories. Because of those stories, I developed a fondness for comics set during World War II. Titles like All-Star Squadron got me closer to knowing my grandmother, and to imagining my grandfather. What did the world look like in 1942? Today, I find myself reading a collection of old family photographs just as I would read an old comic book. Each photo, like each page or panel or word balloon, fills in another missing piece of the story.

Showtime! The author’s grandfather preparing for the Army War Show in Philadelphia … and his grandfather and Pvt. K.L. Brodeur in Pittsburgh. Thanks to Brian Cremins.

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ALTER EGO #125

ALTER EGO #126

Farewell salute to the COMICS BUYER’S GUIDE! TBG/CBG history and remembrances from ALAN LIGHT, MURRAY BISHOFF, MAGGIE THOMPSON, BRENT FRANKENHOFF, “final” CBG columns by MARK EVANIER, TONY ISABELLA, PETER DAVID, FRED HEMBECK, JOHN LUSTIG, classic art by DON NEWTON, MIKE VOSBURG, JACK KIRBY, MIKE NASSER, plus FCA, Mr. Monster, and more!

DENNY O’NEIL’s Silver Age career at Marvel, Charlton, and DC—aided and abetted by ADAMS, KALUTA, SEKOWSKY, LEE, GIORDANO, THOMAS, SCHWARTZ, APARO, BOYETTE, DILLIN, SWAN, DITKO, et al. Plus, we begin serializing AMY KISTE NYBERG’s groundbreaking book on the history of the Comics Code, FCA (Fawcett Collectors of America), Mr. Monster, BILL SCHELLY and more!

We spotlight HERB TRIMPE’s work on Hulk, Iron Man, S.H.I.E.L.D., Ghost Rider, Ant-Man, Silver Surfer, War of the Worlds, Ka-Zar, even Phantom Eagle, and featuring THE SEVERIN SIBLINGS, LEE, FRIEDRICH, THOMAS, GRAINGER, BUSCEMA, and others, plus more of AMY KISTE NYBERG’s Comics Code history, “Sea Monkeys and X-Ray Specs” on those nutty comic book ads, FCA, Mr. Monster, and more!

Golden Age “Air Wave” artist LEE HARRIS discussed by his son JONATHAN LEVEY to interviewer RICHARD J. ARNDT, with rarely-seen 1940s art treasures (including mysterious, never-published art of an alternate version of DC’s Tarantula)! Plus more of AMY KISTE NYBERG’s exposé on the Comics Code, artist SAL AMENDOLA tells the story of the Academy of Comic Book Arts, FCA, Mr. Monster, and more!

Second big issue on 3-D COMICS OF THE 1950s! KEN QUATTRO looks at the controversy involving JOE KUBERT, NORMAN MAURER, BILL GAINES, and AL FELDSTEIN! Plus more fabulous Captain 3-D by SIMON & KIRBY and MORT MESKIN— 3-D thrills from BOB POWELL, HOWARD NOSTRAND, JAY DISBROW and others— the career of Treasure Chest artist VEE QUINTAL, FCA, Mr. Monster, and more!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 • Ships Dec. 2013

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 • Ships Feb. 2014

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 • Ships April 2014

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 • Ships May 2014

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 • Ships June 2014