Alter Ego #136 Preview by TwoMorrows Publishing

Roy Thomas’ Monumental Comics Fanzine

•1965–2015• STILL RASCALLY AFTER ALL THESE (FIFTY) YEARS!

ROY THOMAS

TALKS ABOUT THE NUTTY ’90s AT MIGHTY MARVEL (& ELSEWHERE)!

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BONUS!

STAN LEE & KEVIN SMITH Join ROY at a 2014 confab!

9.95

In the USA

No.136

November 2015

Vol. 3, No. 136 / November 2015 Editor

Roy Thomas

Associate Editors Bill Schelly Jim Amash

Design & Layout

Christopher Day

Consulting Editor John Morrow

FCA Editor

P.C. Hamerlinck J.T. Go (Assoc. Editor)

Comic Crypt Editor Michael T. Gilbert

Editorial Honor Roll

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

Proofreaders

Rob Smentek William J. Dowlding

Cover Artists

Marie Severin, Andre Coates, Jackson Guice, Dave Hoover, David Ross, Lou Harrison, & an inker or three

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With Special Thanks to: Heidi Amash Pedro Angosto Ger Apeldoorn Marcus Antritter Bob Bailey Michael Bair Josh Baker John Benson Claudia Bestor William Biggins Jackson Bostwick Eliot R. Brown Rich Buckler Nick Caputo Comic Vine (website) Tim & JoAnn Conrad Jon B. Cooke Brian Cremins Teresa Davidson Diversions of the Groovy Kind (website) Sean Dulaney Jennie-Lynn Falk George Ferriss Danny Fingeroth Shane Foley Stephan Friedt Janet Gilbert Mike Gold Grand Comics Database (website) guttertrash (website) George Hagenauer Bill Hall The Hammer Museum, Los Angeles, CA Ron & Jan Harris

Sean Howe Dr. M. Thomas Inge Danny Kaminsky Darin Klein David Anthony Kraft Stan Lee Mark Lewis Alan Light Jean-Marc & Randy Lofficier Richard A. Lupoff Dennis Mallonee Boyd Magers Doug Martin Mike Mikulovsky Brian K. Morris Clayton Moore Frank Motler Mark Muller Hoy Murphy Dr. Amy K. Nyberg Barry Pearl John G. Pierce Jay Piscopo Rubén Procopio Mike Rockwitz David & Judi Ross Randy Sargent Vija Shah Kevin Smith Jason Strangis Dann Thomas Clayton Thorp Michael Uslan Dr. Michael J. Vassallo Joss Whedon Nina Wiener Mike Zeck

Contents Writer/Editorial: 50—Count ’Em—50! . . . . . . . . 2 The Lee-Thomas-Smith Show . . . . . . . . . . . . . . 3 Stan, Roy, & Kevin on 75 Years of Marvel—the book & the phenomenon!

“I Felt I Belonged At Marvel” . . . . . . . . . . . . . . . . . . . . . . . . . 30 Roy Thomas talks to Jim Amash about his life as a freelance comics writer, 1986-1999.

Seal Of Approval: The History Of The Comic Code . . . . . . . 71 Concluding Amy K. Nyberg’s study of comics censorship.

Mr. Monster’s Comic Crypt! – Kid Stuff! . . . . . . . . . . . . . . . . 79 Michael T. Gilbert on Roy T.’s 75th birthday—and other “boy wonders”!

FCA [Fawcett Collectors Of America] #195 . . . . . . . . . . . . . 85 P.C. Hamerlinck introduces fans and pros who congratulate Captain Marvel on his 75th!

On Our Cover: Around the turn of 1965-66, Roy Thomas and pal Gary Friedrich moved into an apartment in the heart of bohemian Greenwich Village, across Bleecker Street from the studio of a sculptor who taught a beginning class on Saturdays. Roy took one early-morning lesson and, the following Monday, told his fellow Marvel staffer Marie Severin about it. Before he’d even fully decided to quit the class (which he did), Marie had drawn a devastatingly perceptive office cartoon she titled “Roy’s First Day at Sculpting Class.” Ten years ago, at his pleading, she drew a more detailed version of it, since he had misplaced the original over the decades, and that re-do serves as the ironic centerpiece to a montage featuring published art from some Marvel series that Roy wrote during the 1990s: The Invaders by Dave Hoover—Dr. Strange by Jackson Guice & inker José Marzan—The Secret Defenders by Andre Coates & inker Don Hudson—Avengers West Coast & Ultron by David Ross & inker Tim Dzon—and Thor, a figure from a cover painted by Lou Harrison. Oh, and thanks to Shane Foley for the cover idea—you’ll understand why when you see A/E #139. [Cartoon © Marie Severin; Marvel art TM & © Marvel Characters, Inc.] Above: Stan Lee (on left) and Roy Thomas are interviewed by Kevin Smith (not seen here, but director/writer of the films Clerks, Mallrats, et al.) onstage at L.A.’s Hammer Museum on December 6, 2014. The official occasion was the publication of Taschen’s gigantic volume 75 Years of Marvel: From the Golden Age to the Silver Screen. Kevin seized the opportunity to query Roy, as well as Stan, about their early lives and careers, thereby making a transcription of the entire proceedings perfect for inclusion in this issue timed to celebrate Roy’s 50th year in the comic book industry, dating from late June 1965 (or a few months earlier, if you count two freelance stories RT wrote for Charlton). See pp. 3-28. Projected overhead are images from the mid-1950s revival of Captain America. Thanks to Darin Klein of the Hammer Museum for providing the photo. 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: $67 US, $85 Canada, $104 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.

The Lee-Thomas-Smith Show

STAN LEE, ROY THOMAS, & KEVIN SMITH On 75 Years Of Marvel—The Book & The Phenomenon Dec. 6, 2014, Panel at The Hammer Museum, Los Angeles, CA — Transcribed by Brian K. Morris

Part I – By The Book Introduction by Roy Thomas

ometime around the middle or so of 2013, I was asked by Taschen Publishing editors Josh Baker and Nina Wiener to temporarily halt my writing of what is to be a humongous book about the career of Marvel Comics editor, writer, and publisher Stan Lee, which I’d begun a few months earlier—and to switch over to writing an, if anything, even more humongous volume about the first “75 years of Marvel”—from 1939 to 2014. By contract with Marvel, this new tome had to be on sale in time for Christmas of ’14, giving it scheduling priority over the Lee book.

Heavy Promotion For Heavy Reading (Left:) Barry Pearl sent us this composition he calls “Heavy Reading”: the cover of the 17-pound Taschen Publishing book 75 Years of Marvel: From the Golden Age to the Silver Screen (with its Jack Kirby/George Roussos image from the cover of The Avengers #4, March 1964) being hefted Atlas-like by the Hulk, as rendered by Jim Steranko for the cover of The Incredible Hulk [“King-Size Special”] #1, dated Oct. 1968. The latter was actually the first Hulk annual. [TM & © Marvel Characters, Inc.] (Above:) The Taschen book’s bylined author, longtime Marvel writer and editor Roy Thomas (at center of photo), and film director Kevin Smith (on right) are clearly enthralled as Marvel writer/editor/publisher/super-legend Stan Lee (on left) relates an anecdote—or maybe he was actually singing “The Merry Marvel Marching Society Song,” as he kept threatening to do during the panel, and somehow the Hammer Museum folks neglected to record it! Thanks to Darin Klein, public programs associate of the museum, for sending all photos from the panel and from the book-signing afterward that appear with this transcription. And thanks to Stan Lee, Kevin Smith, and Claudia Bestor for their kind permission to print this transcription.

I happily agreed to author the first half of the book, which I suggested deal with events through late 1974, when I stepped down after two-plus years as Marvel’s editor-in-chief in favor of a writer/editor contract… but I requested that someone else pick up the story from that point, since I hadn’t followed current comics closely since then. Taschen reluctantly agreed, and I set to work, with a January 1, 2014, deadline for my portion of the work. A talented journalist on the West Coast was swiftly contracted to do the latter half of the book.

Stan Lee, Roy Thomas, & Kevin Smith On 75 Years Of Marvel

Come January 2, the first workday of the new year, I duly delivered my text via e-mail and prepared to return to the Lee book, among my other pursuits. A couple of weeks later, however, the two Taschen editors got back to me and said that, although he’d delivered a fine outline, my prospective co-author, due to illness, had been unable to scribe his half of the main text. So Josh and Nina asked me to write the 1974-2014 segment of the work, as well. Reluctant to do so, I suggested several other names to them… but, in the end, I was persuaded to agree to finish the book, as long as my colleague Danny Fingeroth (co-editor with me and major producer of the 2011 TwoMorrows study The Stan Lee Universe, and himself a former Marvel writer and editor) was commissioned to help me with research on the 1980s and beyond. That alone would make it possible for me to finish the text by spring, balancing it with work on Alter Ego and other projects; obviously, we would be several months late by the original schedule, while the looming on-sale date (tied to Yuletide sales) never altered by one millisecond. In addition, several other people were being hired, some at least partly at my recommendation, to assist the editors in assembling the monumental amount of artwork and photos—as well as to write related captions—needed for the book. This included my “It’s Very Fancy On Old Yancy Street, You Know…” longtime comics history colleagues, the self-styled “Yancy Street The self-styled (and who’s gonna argue with ’em?) modern-day Yancy Street Gang at Gang” (in alphabetical order: Nick Caputo, Barry Pearl, and Dr. Taschen’s New York bookstore upon the release of 75 Years of Marvel, for which they Michael J. Vassallo). John Rhett Thomas (no relation) acted as wrote the basic captions, in addition to doing other invaluable research. When the Taschen editors asked Roy for suggestions concerning researchers on the Golden and Marvel contact and fact-checker, besides writing mini-biographies Silver Ages of Timely/Atlas/Marvel, the first three names that came to mind were (left to for the back of the book; and several other skilled artisans worked right): Nick Caputo, Barry Pearl, and Dr. Michael J. Vassallo. Photo courtesy of Barry. on other aspects of it. Josh Baker, a knowledgeable comic book enthusiast whose special project this book was—as had been the While it was not my job either to choose the art and photos or to write equally massive 2010 volume 75 Years of DC Comics—was the book’s the captions related to either, I spent considerable time going over both official editor and guiding light, and deservedly wound up with a titleafter they were assembled, effecting the replacement of a picture here, page “Edited and designed by” credit; the book would be far more his than rewriting a line of copy there. I cast a particular eye on the credits related mine, whatever the authorial byline. Nina Wiener coordinated and to the 1960s/70s comics material, since there’s an ongoing dispute over oversaw the day-to-day aspects of the editing, later ably aided and abetted precisely who did what in some of the stories, particularly in the 1960s. by Maurene Goo. Although Taschen is a German publishing company, it To me, the only thing that made sense was to give the credits as printed in has major offices in New York and Los Angeles, and Josh and Nina (in the comics themselves (and/or as generally understoond at the time), varying degrees) divide their time between the two coasts. Since we were rather than try to parse exactly what Jack Kirby, Steve Ditko, et al., so far behind the eight-ball timewise, there was, alas, no time to finalize contributed to the yarns (besides mind-bending art, of course) at any one an index such as the DC-related volume had had; but otherwise everypoint. Still, in the book’s text, I tried to make it clear that no attempt was thing made it into the book that was supposed to make it into the book— being made to ignore or denigrate the co-plotting work of the artists; it’s including a thorough-going fold-out timeline sheet (primarily by Andy just that the 75 Years of Marvel book wasn’t the place to establish a Lewis) that was inserted in—but not physically attached to—the volume. battleground over creative credits. Marvel, of course, had overall approval of every word in the book and of the precise images used—but, all in all, things went reasonably smoothly In retrospect, I have to admit, I’m extremely thankful that Josh and between Marvel, Taschen, and Nina cajoled me into writing the entirety of the book’s main text. I myself, and I was pleased (as, probably should have agreed to do it from the get-go, back in 2013. As this apparently, were the former two issue of A/E goes to press, the volume’s sizable index can now be accessed entities) with the mammoth online at www.taschen.com/marvel. tome that went on sale circa November of last year. While the book was

Josh Baker.

Nina Wiener.

Maurene Goo.

The three editors Roy T. worked with on the big Taschen book. To Josh Baker’s left is the Fred Ray cover of the 2010 Taschen volume 75 Years of DC Comics: The Art of Modern Myth-Making, written by Paul Levitz and likewise edited/shepherded by Baker. Photos courtesy of Josh and Nina Wiener.

being printed, Taschen made arrangements with me (and Dann, of course) to fly to Los Angeles for the major publicity push, over the first weekend in December. That included several print and TV interviews, a major signing of copies (by Stan Lee and myself) at Taschen’s own bookstore there—and a Saturday,

“I Felt I Belonged At Marvel” ROY THOMAS Talks About His Life As A Comics Freelancer From 1986-1999 Conducted by Jim Amash

Transcribed by Brian K. Morris & Sean Dulaney

NTERVIEWEE’S INTRODUCTION: Yes, you read it right: this preface is being written by interview subject Roy Thomas, rather than by ace interviewer Jim Amash. Jim, who mostly retired from doing interviews three years ago (though he remains a consultant and associate editor for Alter Ego), was kind enough to return to active service long enough to do this one, which covers my comics writing from 1986 through 1999. However, a combination of his pro workload (inking for Archie Comics) and various personal considerations kept him from scribbling this intro. Jim has valiantly conducted previous talks with me concerning my career in the latter 1960s (A/E #50), the 1970s (#70), and the 1980s (#100). This confab is a bit different from the aforementioned trio. The first two dealt almost entirely with my writing and editing for Marvel Comics from 1965 through 1980—the third with the 1980-86 period when I was under contract as a writer for DC Comics and with my post-contract late’80s work for the Superman company. Since ’86, I’ve been a freelancer; so this installment (and I guess that’s what it is—a fourth installment chronicling my checkered life in the industry) deals with my comics writing over roughly a decade and a half, and, this time, for a number of different companies: Marvel, of course (the largest section by far), but also Pacific, First, Dark Horse, Heroic, TSR, Topps, Cross Plains, Millennium, DC, and even Tekno (for which I never actually did anything)—and, since we still accidentally skipped a company or two while we rocketed along under the gun, I’ve tossed in art spots regarding a couple more as they seemed to fit, just to keep the record straight.

And, with all that, the interview was still so long that I’ve had little choice but to save a decade’s worth of Marvel Conan titles and the Excelsior line (a sadly aborted Stan Lee West Coast imprint of the mid’90s) for A/E #139—those, plus the last five companies listed in the preceding paragraph. I was loath to break the conversation into two parts, with several months between them, but it was either that or jettison the December 2014 Hammer Museum panel featuring Stan Lee, movie

“Nine For Mortal Men…” — No, Make That Ten! Roy Thomas (left) and Jim Amash reunited at the 2015 Heroes Con in Charlotte, NC, courtesy of a pic taken by spouse Heidi Amash—beneath covers from each of the main companies for which Roy wrote from the mid-’80s through the ’90s—roughly half of which will be discussed in this issue, with the rest saved for A/E #139. (Clockwise from top left:) Marvel’s Avengers West Coast #90 (Jan. 1993) – art by David Ross & Tim Dzon… Pacific’s Elric #1 (April 1983) – art by P. Craig Russell & Michael T. Gilbert… First’s Alter Ego #4 (Nov. 1986) – art by Ron Harris… Heroic’s Captain Thunder and Blue Bolt #1 (Sept. 1987) – art by Dell Barras… TSR’s Warhawks Comics Module #1 (1990) – art by “KAA”… Dark Horse’s Cormac Mac Art #1 (1990) – art by John Bolton... Topps’ Cadillacs and Dinosaurs #1 (Feb. 1993) – art by William Stout… Cross Plains’ Red Sonja: A Death in Scarlet (1999) – art by Steve Lightle… DC’s graphic novel Superman: War of the Worlds (1999) – art by Michael Lark… Millennium’s H.P. Lovecraft’s Cthulhu: The Festival, Book One (1993) – art by Kelley Jones. [TM & © respectively by Marvel Characters, Inc.; Michael & Linda Moorcock; Roy & Dann Thomas & Ron Harris; Roy & Dann Thomas; TSR, Inc.; Robert E. Howard Properties, Inc.; Mark Schultz; Red Sonja Properties, Inc.; DC Comics; Millennium Publications.]

“I Felt I Belonged At Marvel!”

director Kevin Smith, and myself that precedes this long piece… and that I didn’t want to do. So, onward: Jim and I began talking not quite about the mid-’80s, let alone the ’90s, but about a closely related anomaly of the year 1983, when I was just signing the second of my three-year contracts with DC Comics, which would cover me through ’86…

Pacific Comics & First Comics JIM AMASH: You did Elric in Epic Illustrated for Marvel, and then you did Elric at Pacific Comics. I was wondering, didn’t that interfere with your exclusive at DC? ROY THOMAS: I had a clause in my contract at DC that allowed me to do a couple of outside things. Elric was probably one of them, because I started that with Pacific in 1983, during my DC contract period. The Conan the Barbarian newspaper strip had been another exception, but Jim Shooter wouldn’t allow me to do that— and, because Crom is just, the strip died a couple of months later. JA: Who contacted you about doing Elric for Pacific? THOMAS: I had an agent for comics work—Mike Friedrich, who’d been a comic book writer for over a decade by that point, though he wasn’t doing much writing anymore. He’d founded the Star*Reach Agency, named after the “ground-level” comic he did. Mike had contacts with [Elric creator] Michael Moorcock and put together the package, with me as the writer; I think he also lined up the artists. Michael T. Gilbert was involved with Elric from near the beginning of the Pacific stint, because Craig Russell wanted some help with the layouts. Michael had done production work on Alter Ego #11 in the first series, back around 1978, the issue Mike Friedrich published. So we had this incestuous little group, and Mike [Friedrich] was kind of the ringmaster. He knew I already had an interest in Elric, since I’d stuck him years earlier into Conan the Barbarian. We made a nice team, Russell and Gilbert and me… then Michael and me after Craig departed. After the end of the Russell/Gilbert period, Elric bounced around between artists in several-issue series. The Elric series had switched companies, too—from Marvel to Pacific, a new company owned by the Schanes brothers, for a single six-issue series—and then in 1986 to First Comics in Chicago, which had been launched with Mike Gold as co-founder. He and I had known each other for a few years, from when he was associated with the Chicago convention.

The only sour note on Elric came a few years later, when they got to the very last series, Stormbringer… the death of Elric. At that stage, Craig Russell aced me out and wrote the thing himself as well as drawing it. He may have done a fine job… I wouldn’t know. I’ve never read it or looked at it, and never will. JA: On Elric, you had a timeline you followed from the original stories, right? THOMAS: Yes, they were adapted pretty much in order, except for maybe the story for Epic Illustrated. I thought Moorcock’s early Elric tales were the strongest. In one or two later ones, I feel they relied a bit too much on deus ex machina. Elric would get in a problem and suddenly he’d remember some millennia-old spell. But I’m sure I did stuff like that with Dr. Strange in the late ’60s, too. Not every story can work out perfectly. JA: Did Moorcock like how you interpreted Elric? THOMAS: Well, he’s never said much for it or against it—except for understandably disliking the “dunce cap” Barry and I put on Elric’s head in Conan the Barbarian. But that was a mistake made because he was depicted that way on the covers of the first American paperbacks. I’m happy that Titan Comics is now reprinting our Pacific and First adaptations in hardcover. Some of those have never been collected before. JA: When you did the series for Pacific, I’m assuming you got a page rate. Did it make any royalties for you?

Roy Thomas Talks About His Life As A Comics Freelancer From 1986-1999

Planes, Trains, & Annuals The gods Loki and Pluto meet and will soon agree that each of them will kill the other’s worst enemy (that’s Thor and Hercules, to you!), thereby giving each other an alibi, to protect them from the vengeance of papas Odin and Zeus. The 1950 Hitchcock film classic Strangers on a Train, from which the theme of “Strangers on an Astral Plane” was borrowed, had been adapted from a novel by one-time Timely Comics writer Pat Highsmith! Script by Roy Thomas; full art by John Buscema—for Avengers Annual #23 (1994). The story was concluded in that year’s Thor Annual. [TM & © Marvel Characters, Inc.]

writing partners and to talk about the division of labor and pay. THOMAS: Dann and I met Jean-Marc and his wife and collaborator Randy in L.A. He’s French, she’s American. They live in France now, in the Carcasonne region. We met them around 1980 through the LASFAS, the Los Angeles Science Fantasy Society. Bradbury and Larry Niven have Randy & Jean-Marc Lofficier belonged to it; it was a bunch of Jean-Marc co-plotted numerous yarns science-fiction fans who held meetings with Roy—while he and Randy and gave parties. [mutual laughter] We together brought the collected works started hanging around together. Jeanof Moebius (Jean Giraud) to Marvel! Marc and Randy became the people Photo courtesy of the Lofficiers. we saw the most of, even though we lived an hour apart—them up in the San Fernando Valley, us down south in the San Pedro area. Jean-Marc was very interested in comics. Eventually he and Randy became partners with the artist Moebius when he moved to America for a while. They arranged for the landmark reprinting of virtually all of Moebius’ work by Marvel. Because I was looking for work but hated trolling around to editors, Jean-Marc would come up with an idea, and I’d say, “Let’s see if we can make something out of this and split the money.” He and Randy also wrote some comic stories on their own, including a few for DC.

What If—Roy Thomas & Jean-Marc Lofficier Collaborated On A Story? Well, one result—out of a grand total of eight—would’ve been the story in What If…?, Vol. 2, #24 (April 1991). Art by Tom Morgan. [TM & © Marvel Characters, Inc.]

“I Felt I Belonged At Marvel!”

Nikola Tesla, a very real scientist, who actually did die at an advanced age in 1943 in his New York hotel room. I just turned it into a murder. A couple of years before his death, he claimed he could build a wall of “teleforce” around the United States to protect it from enemy bombers… things like that… so it seemed logical that the Nazis would want to lay their hands on Tesla’s secrets. He’s popped up in a lot of comics since, but I don’t think you’ll find him in many earlier than The Medusa Effect. Rich Buckler drew a more realistic, illustrative approach to Captain America… and then everything fell apart. Rich left the book, and another artist—M.C. Wyman—was put on it; he was good, but he did a straighter comics approach. At the same time, or maybe just before, the editors decided it would just be an extrathick one-shot comic book, not a prestige book. So I’d lost a lot of my enthusiasm for it by the time I was plotting the second half. Incidentally, I never felt at Marvel, like I occasionally did at DC, that sometimes there was actual sabotage involved in things that went wrong. At Marvel, I just always felt, hey, it’s just Marvel screwing up in the way we always did. [Jim laughs] The Herod Factor, the Eternals thing, was done in eight-page chapters for that biweekly Marvel comic. JA: Marvel Comics Presents.

When “Tesla” Meant More Than An Electric Automobile The death of master inventor Nikola Tesla in Captain America: The Medusa Effect. Script by Roy Thomas; pencils by Rich Buckler; inks by Jim Sanders. It started out to be a graphic novel… and Roy feels it should’ve remained one. [TM & © Marvel Characters, Inc.]

On most of our projects, he’d be the plotter, basically. I’d work with him on the shaping of it, especially for front-of-the-book features. Jean-Marc’s area of expertise was a real knowledge of minutiae and an ability to bring all these things together and solve other continuity problems. In a way, it was a permutation of the same kind of thing I did in other areas. We did a series for Dr. Strange about the Book of the Vishanti, things of that sort. I hated to turn down any freelance work. When you’re a freelancer, if you turn something down, you don’t know if the person who offered it to you may never offer you anything else, because he feels he’d be turned down again.

THOMAS: Marvel Comics Presents. Actually, I was scheduled to do two series for that title. The first was a revival of The Invaders using an alternate history. We’d pick up in 1942 where the 1970s Invaders left off, and all of a sudden, Roosevelt would get killed. That would help us emphasize that, when you interject super-heroes and super-villains into a war, things aren’t going to stay the same as in the history you read in school—back in the days when they taught history in school, and not just feel-good politically correct narrative. “The Invaders” was all set to be a series. Then, at the last minute, Mark Gruenwald, who was a top editor and had approved the concept, sunk the series. I never could get any kind of answer as to why. They also wanted me to write “The Eternals” and bring them into the Marvel Universe, since Jack [Kirby] had kept them

JA: I know what you mean. As long as we’re talking about stand-alone comics, let me go ahead and knock these out. You did Captain America: The Medusa Effect in 1994, and you also did The Eternals: The Herod Factor in the same year. THOMAS: The Medusa Effect was supposed to be what they called then a “prestige format book.” It was supposed to be printed on good paper, and they wanted a “Captain America” story with a slightly more adult feel. Not “adult” in the sense of sex and violence, for a change, but in the sense of being a bit more realismbased than the usual comic. So, in the first half, I brought in elements like News on the March, that takeoff on the March of Time documentary series that Welles used in Citizen Kane. I brought in

Ikaris Dikaris Dock!

Mark Texeira at the Big Apple Comics Convention, 2010.

Mark Texeira’s bold cover for the 64-page Eternals: The Herod Factor #1-and-only (March 1994). He penciled the interior art; script by Roy & Dann Thomas. Note that the indicia title doesn’t appear on the cover. [TM & © Marvel Characters, Inc.]

Dr. Amy K. Nyberg

Seal Of Approval: The History Of The Comics Code

The Concluding Chapter Of The 1998 Study On Comics Censorship By DR. AMY KISTE NYBERG

A/E

EDITOR’S INTRODUCTION: This issue brings to a close the reprinting of the main text of her landmark history of comic book censorship, whose chapters have previously appeared in Alter Ego #123-128, 130, & 133-135. As we’ve noted before: Seal of Approval is “footnoted” in the MLA (Modern Library Association] style which lists book, article, or author name, plus page numbers, between parentheses in the main text: e.g., “(Hart 134-156)” refers to pp. 154-156 of whichever work by an author or editor named Hart is listed in Seal’s bibliography (which will be printed in an issue or two, to encourage further reading). When the parentheses contain only page numbers, it’s because the other pertinent information is printed in the text almost immediately preceding the note.

young minds. Protection of children made a strong case for both community and political action. In cities across the United States, decency campaigns organized by church groups, civic organizations, and women’s groups targeted local retailers. Threats of a boycott were usually enough to encourage shop owners to remove materials deemed offensive. Politicians, too, found the comic book crusade a worthy cause and launched investigations at the state and federal level, threatening to pass legislation censoring comic books. These investigations accomplished little in the way of legislation, but they quite effectively generated enough negative publicity to force the comic book publishers into action.

Once again, we have retained nearly all usages and spellings and capitalizations from the original work, which can still be obtained from its publisher, the University Press of Mississippi, at www.upress.sate.ms.us. Our thanks again to Dr. M. Thomas Inge, under whose general editorship the volume was originally published in 1998—and who aided us greatly in obtaining permission for our reprinting—and to William Biggins and Vijah Shah, acquisitions editors past and present of the UPM. In our own captions, which may not necessarily reflect the opinions of Dr. Nyberg or of the UPM, we have reverted to our own house style. Thanks to Brian K. Morris for a retyping assist.

Psychiatrist Fredric Wertham played a pivotal role in focusing national attention on comic books and juvenile delinquency. Wertham brought to the crusade a lifelong interest in social influences on violent behavior, suggesting that intervention at the social, not the individual, level was the most effective way to deal with problems such as juvenile delinquency. Far from being a naive social scientist with a simplistic causeand-effect model of media

The previous chapter brought the history of comics censorship and the Comics Code Authority up through the institution of a new and less restrictive Code in 1989, plus a general survey of the field through the latter 1990s, just before the book was published. There follows [1998] Dr. Nyberg’s observations concerning the relevance of the Code as of 1998...

Conclusion

The Significance Of The Code Today [1998]

rom the beginning, the comic book controversy was constructed around children. For educators and librarians, the comic book was a threat to adult authority over children’s reading and their leisure time; after the war, the comic book became a threat to adult authority in maintaining law and order. In both instances, the child audience was justification for taking action against comic books, as well as other mass media. Even with a lack of evidence proving that mass media sex and violence had harmful effects on children, common sense dictated that a steady diet of such material simply could not be good for

“Little Lulu, I Love You-Lu Just The Same!” In the wake of the United States’ action, some other countries enacted their own codes—as per the above Brazilian Little Lulu reprint, whose code seal was distinctly modeled after the American one. Thanks to George Hagenauer. [© the respective copyright holders.]

[Son of Vulcan TM & ÂŠ DC Comics.]

Mr. Monster’s Comic Crypt!

Kid Stuff! by Michael T. Gilbert

O me!

ur esteemed editor, Roy William Thomas, Jr., was born on November 22, 1940. Amazingly, that means that Roy the Boy turns 75 next month. Well, he still looks like a kid to

Regular readers are no doubt aware that Roy began his remarkable comic book career writing and editing (and even illustrating!) fanzines—most notably for Jerry Bails’ original 1961 AlterEgo. When he became Alter Ego’s editor, Roy kept up a lively correspondence with several comics pros, most notably writers Gardner Fox and Otto Binder and DC editor Julie Schwartz. His contacts with Charlton led to selling his first scripts to that company, “The Second Trojan War” in Son of Vulcan #50 (Jan. 1966), and “The Eye of Horus” in Blue Beetle, Vol. 3, #54 (Feb. 1966). Both stories sat around for a bit, so Roy’s first published story, “Whom Can I Turn To?,” appeared in Modeling With Millie #44 with a cover date of December 1965. But the two Charlton stories were his first professional sales. Back in the early 1960s, it was extremely rare for a fan to break into the pro ranks. For the most part, mainstream companies just weren’t hiring. But Charlton was a bit more fan-friendly than the norm. At one point, they even challenged fandom to see if they could do better than their regular writers. Roy responded—and caught the brass ring. The cover of Son of Vulcan #50 proclaimed this young tyro’s victory: “ATTENTION FANZINE READERS!!! Charlton’s challenge has been answered... The story in this issue was by one of YOU!!! DON’T MISS IT! “One of YOU!!!” makes is sound like Charlton thought comic fans were some weird species, doesn’t it?

No Contest! (Above:) The blurb on Son of Vulcan #50 announced Roy’s winning entry of the Charlton Challenge contest—only Charlton had never actually announced the “contest” in any of their comics! Pencils by Bill Fraccio, inks by Tony Tallarico. [Son of Vulcan TM & © DC Comics.]

A One-Two Punch—Of Sorts (Left:) Roy’s first two pro script sales appeared in Charlton’s Son of Vulcan #50 (Jan. 1966; titled Mysteries of Unexplored Worlds until issue #49), and Blue Beetle, Vol. 3, #54 (Feb. 1966). Art by Bill Fraccio & Tony Tallarico. As it happened, both were the final issues of those series. Was Charlton trying to tell Roy something? [Son of Vulcan & Blue Beetle TM & © DC Comics.]

Captain Marvel: A 75-Year Anniversary Tribute

The World’s Mightiest Kudos To The World’s Mightiest Mortal Edited by P.C. Hamerlinck

oly Moley! It’s been 75 years since Bill Parker and C.C. Beck’s Captain Marvel first appeared in Fawcett’s funny-books, taking the comics industry—and the hearts and fancy of millions—by thunderstorm. The amiable hero’s faithful followers during the Golden Age had been struck by lightning, and all that was needed was to summon one single wish-fulfilling, call-to-action word to bolt them into a remarkable realm where practically everything was possible. Shazam! To help celebrate the World’s Mightiest Mortal’s Big-75, I called together my fellow Captain Marvel Club members and presented them with a seemingly impossible task: put on paper (keyboard) one specific Fawcett-era “Captain Marvel” story that left a lasting impression on them… one that exemplifies the very things they feel made the original CM unique, exceptional, and memorable.

The review of lesser-known “CM” stories was encouraged, but not mandatory. There was only one ground rule: no one would take on Mr. Mind and the Monster Society of Evil. It was agreed that we all loved the unprecedented 25-chapter serial, and that what had already been said about it previously in Alter Ego was sufficient. And now, let’s wander down to the abandoned subway station where it all began…. —PCH.

The Great Comic Book Hero It was 1965. President Kennedy was gone. The Beatles were here. The Cuban invasion had failed. The British invasion had taken over the American rock ’n’ roll charts. The second New York comics convention was taking place, with over 200 attendees expected. Fanzines, largely the only way to learn about comic books and their superheroes, found their printed mimeographed circulations reaching as high as 500 in some cases. (The photo-offset Alter Ego had hit the 1000 mark.) “Internet” was a term that could only have been used in doubles tennis, if anywhere. The history of comics was like a buried treasure to us comic book readers of the Silver Age… lost and irretrievable without a key. But suddenly, everything changed! The mystical key to the glorious past of our beloved super-heroes appeared within the grasp of every fan. It was a book. It was written by a man named Jules Feiffer. And it was called The Great Comic Book Heroes. And it was good.

Under The “J”—75! Bingo! Frequent FCA contributor artist Jay Piscopo helps us commemorate 75 years of Captain Marvel with this thunderous tribute piece. [Shazam hero & Billy Batson TM & © DC Comics; other art © 2015 Jay Piscopo.]

At last, the vault swung open, and we fans not only were treated to an anecdotal history of our favorite pastime (or, in my case, “full-time”), we were also presented with full-color reprints of vintage comic book stories featuring the great first generation of super-heroes! We learned to our abject astonishment that Superman looked

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