Alter Ego #147 by TwoMorrows Publishing

Roy Thomas’ OTTO-matic Comics Fanzine

9.95

In the USA

No.147 July 2017

Proudly Presenting:

The Wondrous Writings Of GOLDEN & SILVER AGE GREAT

OTTO BINDER - Starring – CAPTAIN MARVEL SUPERMAN CAPTAIN AMERICA DOLL MAN MARVEL FAMILY SUPERGIRL CAPTAIN MIDNIGHT THE HANGMAN CAPTAIN BATTLE BLACK OWL & A Zillion Others!

82658 00094

Shazam heroes TM & © DC Comics; other new art © Estate of C.C. Beck.

Vol. 3, No. 147 / September 2017 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 Artist

C.C. Beck (probably)

Cover Colorist Tom Ziuko

With Special Thanks to: Heidi Amash Ger Apeldoorn Dave Armstrong Bob Bailey Jean Bails Shaun Clancy Comic Book Plus (website) Al Dellinges Shane Foley Stepahn Friedt Janet Gilbert Grand Comics Database (website) Jim Kealy Sean Kleefeld

Mark Lewis Art Lortie Jim Ludwig Doug Martin Will Meugniot Mark Muller Warren Reece Eric Schumacher Marc Svensson Dann Thomas Tony Thomas Steven Thompson Anthony Tollin Dr. Michael J. Vassallo Yocitrus Mike Zachary

This issue is dedicated to the memory of

Otto Binder

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Contents Writer/Editorial: On Otto-matic Pilot! . . . . . . . . . . . . . . . . . . . 2 Binder’s List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 P.C. Hamerlinck (& the FCA), Bill Schelly, & Roy Thomas visually annotate Otto Binder’s mid-’60s record of his many comic book scripts written from 1939-1965.

Mr. Monster’s Comic Crypt!: It’s An Ad, Ad, Ad, Ad World! . . . . 91 Michael T. Gilbert’s tour of some of the strangest comic book ads of all time!

On Our Cover: Collector Mike Zachary sent this drawing of the original Captain Marvel and America’s Uncle Sam to P.C. Hamerlinck, who suggested it be used as the central image of this issue’s cover. The illo was probably done, back in the wartime 1940s, by none other than Charles Clarence Beck, the talented cartoonist who was the artistic co-creator of the World’s Mightiest Mortal. We can’t be 100% sure—but it certainly matches his style, and doesn’t seem to have been done by his colleagues Pete Costanza or Marc Swayze. P.C. and his FCA cover coordinator Mark Lewis framed the two figures amid various pieces of classic Fawcett art by Beck, Bob Powell, Mac Raboy, & Kurt Schaffenberger. [This art spot & next: Shazam heroes art TM & © DC Comics; other art © the respective copyright holders.] Above: Look familiar? Yep, it’s the very same Captain Marvel/Uncle Sam illustration used on our cover—minus Tom Ziuko’s cavortin’ coloring! We wanted you to see it in black-&-white as well as color, and the head of this contents page seemed as good a place as any! We’ve wondered if perhaps it was done as possible cover art for Captain Marvel Adventures #28 (Oct. 1943), which is also on display above, but then Fawcett had Beck draw a different angle for Cap and his Uncle instead. No way to know…! Alter Ego TM is published 6 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. Six-issue subscriptions: $65 US, $102 Elsewhere, $29 Digital Only. 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

On OTTO-Matic Pilot!

eah, that’s what I thought this issue was gonna be, all right. Otto-matic = automatic. A snap!

I mean, after all, Bill Schelly had turned over to P.C. Hamerlinck and me scans of all 70-plus pages of the list that Golden and Silver Age writer Otto Binder had compiled in the mid-1960s (see Bill’s intro on next page)—and P.C. would supply most of the Fawcett illustrations for the sprawling FCA segment that would make up more than half of the coverage. And I had enlisted longsuffering A/E contributor Bob Bailey to send me scans from a goodly number of the Superman-related and science-fictional yarns that made up much of Binder’s post-Fawcett career at DC Comics. All I’d have to do was track down art to spotlight Otto’s pre-Fawcett stories, edit P.C.’s drafts of captions and write my own—stick in a few ads and “Mr. Monster’s Comic Crypt” (no room for a letters section this time)—and voila! This very different issue of Alter Ego would be ready to be sent to press! Yeah, right. Turns out that, though P.C. did indeed send loads of Fawcett scans, he hadn’t had a chance to coordinate them with the Binder pages, so there might be three art spots that should go on one particular page (where we just had room for two) and only one for another page (which also needed two). Besides, during the early part of Otto’s tenure at Fawcett, he was also writing for Timely, Anglo-American, and other companies, and we needed to showcase art from those, as well—yes, even in the FCA section—so it was down to me to come up with it. Which meant that I was, as always, dependent on the kindness of—well, not of strangers, but of correspondents and collectors, a number of whom came through for A/E… especially Warren Reece (who else owns copies of most of the really early Timely comics and would photocopy those precious, fragile pages for me?), Jim

Ludwig, Doug Martin, Jim Kealy, Art Lortie, Stephan Friedt, Mark Muller, Dr. Michael J. Vassallo, Anthony Tollin, and several others who provided an odd scan or two. You can see my indebtedness to them—and to the online Comic Book Plus site—on many of the pages in of this issue. So what I’m saying is, this issue of A/E turned out to be quite a bit more work than I expected. But hey, nobody ever held a gun to my head and said, “You will spend an inordinate amount of time in your later years putting out a heavily illustrated magazine about the Golden and Silver Ages of Comic Books!” Bill, P.C., and I had agreed that Otto’s list should be published. Otto was not only one of the greatest and most prolific writers of the original Captain Marvel… and a major contributor to the “Mort Weisinger Mythos” of the 1950s-60s “Superman” comics line… he was also one of nature’s nicest people, a gentle soul who, from the moment he discovered comics fans (like Dick and Pat Lupoff) in the early 1960s through those of us he befriended a couple of years later (Jerry Bails, Bill Spicer, and myself in particular), was unstinting of his aid and encouragement. In addition, his exhaustive mid-’60s list of his stories was one of the things that helped jumpstart the Who’s Who of American Comic Books and today’s Grand Comics Database. If not for pros like Otto helping the above Silver Age fans and others, we wouldn’t have the plentiful digitized data that is now at the beck and call of anybody with a PC and a typing finger. You were one of the special ones, Otto—and that’s why this issue is dedicated to you, the third patron saint of Alter Ego (along with Julius Schwartz and Gardner Fox)! Even above and beyond the stupendous stories you wrote, we wanted to honor Otto Binder— the man!

Bestest,

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OTTO BINDER’s Big Look Back

st Li n ’suctio ERod D intr IN n B a

Comic Fandom Archive

An Introduction

by Bill Schelly n 1960, just when Otto Binder thought he had left his comic book writing career behind, he came into contact with his first comic book fans.

“It just never occurred to me that there could be such a thing as comics fans,” he told Tom Fagan, J. Randolph Cox, and Frank Miller, when they visited him in 1973. “I knew there were sciencefiction fans and movie fans and such, but—I just assumed people read [the comics], enjoyed them for what they were, and threw them away. I was astounded when Dick Lupoff called me up and invited me to a meeting of comics fans at his house. They all knew Captain Marvel backwards and forwards.” Backwards and forwards? Not quite, although there was one fan who did aspire to that kind of thoroughness. Enter: Jerry G. Bails. Jerry read Dick Lupoff’s All in Color for a Dime entry titled “The Big Red Cheese” in Xero #1 in February of 1961, just as he was planning to launch a comics fanzine called Alter-Ego with help from his correspondent Roy Thomas. The Lupoff science-fiction (and pop culture) fanzine was loaned to him by DC editor Julius Schwartz during or shortly after Bails’ visit to New York City in February of that year. One can readily imagine Jerry Bails finishing “The Big Red Cheese” and immediately wondering if there was any way to determine how many “Captain Marvel” stories had actually been written by “Eando Binder.” The fact that Otto, not “Eando,” wrote the “Captain Marvel” stories was revealed by Lupoff in Xero #3, which Schwartz had also loaned Bails. Otto had used the “Eando” pseudonym for his science-fiction writing, although his writing partnership with his brother Earl—thus, “E-and-O”—had ended in 1936. It wasn’t long before Jerry, a natural-born data collector, wanted to know who had written and drawn all the comic books from the comics era that Lupoff soon suggested should be deemed a “Golden Age.” Bails wanted to honor those creators, but one needed to identify them first. In Otto Binder, Jerry was presented with a man who was (though neither realized it at the time) likely the most prolific comic book scribe of the 1940s. Bails wasn’t one to let the grass grow under his figurative feet, so it’s safe to assume that he quickly obtained Binder’s address from Lupoff (or Schwartz) and wrote to Otto by late 1961 or early 1962. We

Dr. Jerry G. Bails The science college prof and #1 comics fan of the 1960s—a pic taken during the Alley [Awards] Tally held at his Detroit-area home in 1964. Photo courtesy of Jean Bails.

Otto Oscar Binder at the 1965 New York comics convention, with dealers Carole and Phil Seuling as Mary and Captain Marvel. Photo taken by Dave Armstrong.

do know that Jerry’s interest in fanzine-publishing itself waned in 1962, because he passed the editorship of Alter-Ego to popular fan-artist Ronn Foss after A/E #4 appeared in the fall of that year. Bails’ goal of accumulating creator credits had risen to the level of obsession, and it soon became the centerpiece of his fan activity. This led eventually to the creation of his Who’s Who in American Comic Books, co-edited by Hames Ware. At some point early on, Otto Binder informed Bails that he had written not only many of the stories of the various members of The Marvel Family and those of other characters at Fawcett, but had also done a great deal of writing for other publishers, notably Timely, National (DC), EC, and numerous smaller houses. Hence, it’s no surprise that Bails asked Binder if he had records of those writing credits. Obtaining such information from one as prolific as Binder would be an invaluable influx of information for his files.

Two Who Made A Start Otto Binder and Jerry Bails, over the course of their mid-1960s correspondence, started the ball rolling for the amassing of comic-book-related data, which would culminate in the 4-volume 1970s print edition of Who’s Who of American Comic Books and in its current online counterpart (see ad on p. 89). Here is part of the Oct. 18, 1964, letter from Binder to Bails quoted in the main text of this introduction. Thanks to Bill Schelly.

Comic Fandom Archive

Binder had kept track of his assignments, especially during the 1940s, in what he called his “sales records.” This allowed him to confirm that he was paid for each story. But those records were far from complete. Also, some tales he wrote had different titles in his records from those used in the printed comic books, since editors often changed them. Fortunately, Binder had also kept copies of many of the comic books that contained his work and thus could fill in some of the gaps by going through them, issue by issue, and writing down the names of the stories that he remembered writing. Therefore, he told Bails that he would take on the task.

The Men & The Manuscript The 70-plus sheets of Binder’s list are juxtaposed with a photo of Bill Schelly (on left) and DC editor (and OOB friend) Julius Schwartz, circa 1997. Thanks to Bill for both.

Otto Binder created the list (seen in this issue) mostly between 1963 and 1966. In a letter to Jerry in October 1964, he wrote: I would judge that some of the stories just never will get traced down by myself, due to hard-to-get old issues or ambiguous entries among my records. However, I would estimate that my DC listings are at least 95% accurate and full, possibly 98%. (My forthcoming Fawcett listings will also be that accurate, but all else will be woefully full of blank holes as I was not terribly interested in them as compared to [Captain] Marvel & Co., and National [DC], which always received my best scripting.)

As can be seen by the changes in the way he formatted the pages, they were produced in several spates of activity, as time allowed. Ultimately, the list came to 71 pages, plus 3 pages of addenda. Bails carefully preserved the list until I told him in 2001 of my intention to write a biography of Otto Binder. At that point, he donated them to my Comic Fandom Archive, along with his correspondence with Binder and numerous other items. Since then, I’ve made copies of the pages for two or three fans.

I’m pleased that Otto Binder’s writing-credits list is now being shared with the entire readership of Alter Ego. It’s a fascinating document, and one that answers a lot of questions. It also creates questions, for those who attempt to match it up against the actual comic books, and in other ways. However you approach it, I’m confident you’ll find lots of jumping-off points for investigations, discussion, and further datagathering. Have fun, comics fans! Bill Schelly is, along with handling the Comic Fandom Archive in Alter Ego, the author of masterful biographies of comics geniuses Otto Binder, Joe Kubert, Harvey Kurtzman, and John Stanley.

Li ’sNE ER O D part IN

The Early Comics Years Of EANDO BINDER by Roy Thomas

n January 9, 1965, Otto Binder—who by then had compiled some, but perhaps not all, of his 1939-1965 listings—sent Jerry Bails the 3-page overview printed on this page and the next two. It gave a quick bird’s-eye look at his comics career, so we felt it was worth printing up front…

Otto, 1938 Not long before he wrote his first comic book script. Thanks to Bill Schelly.

Mostly In Black-&-White For A Dime C.C. Beck (with help from staff artists, including Marc Swayze, to meet an impending deadline) provided the artwork for Otto’s first-ever “Captain Marvel” writing assignment, circa August of 1941—for the Captain Marvel Dime Action Book, a same-format rival of the Big Little Books that featured art and text on facing pages. (See at right a rare glimpse of interior pages, as well as Beck’s cover.) The Scorpion, incidentally, was “returning” from that year’s Republic movie serial The Adventures of Captain Marvel. Thanks to P.C. Hamerlinck. [Shazam hero & Billy Batson TM & © DC Comics.]

The Early Years of Eando Binder

“Mr. Scarlet” Fawcett’s first “Batman” type cover-starred (and appeared in up to three stories) in the early Wow Comics. This story from #2 (Summer 1941) is probably by Otto & Jack Binder—but that, as well as whether the “#2” on Otto’s list means he scripted the hero’s second outing ever, or merely the second “Scarlet” story in a particular issue, is uncertain. His Robin-style ward Pinky would join the strip before long. Thanks to P.C. Hamerlinck. [Mr. Scarlet TM & © DC Comics.]

Remember Pearl Harbor Two-page splash from the 1942 one-shot comic published by Street & Smith at the behest of the Office of War Information. Script by Otto Binder; art by Jack Binder and associates. In his listings, OOB accidentally added an “I” to the title. Thanks to the Kleefeld on Comics blog. |[© the respective copyright holders.]

The Early Years of Otto Binder

Our Ever Changing Title (Above left:) A sample of Binder’s syndicated newspaper panel Our Ever Changing World, drawn in 1960 by Murphy Anderson. Thanks to Bill Schelly. (Above right:) By Jan. 5, 1961, the name of the feature had been changed to Our Space Age and Carl Pfeufer was the artist. Thanks to Ger Apeldoorn. [TM & © the respective trademark & copyright holders.]

Murphy Anderson hard at work.

Carl Pfeufer at a Fawcett reunion.

Binder’s List—Part One

OOB’s Earliest Comics Scripts

ince Binder at first freelanced for a number of different companies, FCA editor P.C. Hamerlinck and Ye A/E Editor agreed that the latter would cover many of OOB’s early features and forays, before P.C. begins the Fawcett Collectors of America section proper. We’ve reprinted all the 70+ pages of the list except a handful of redundant ones....

“Dan Hastings” was reported by Binder as the first comic book story he ever scripted, though it was not done for “Chesler Pub[lication]s” as per his list, but rather for Harry “A” Chesler’s comics shop, which then supplied art and story for MLJ, the future Archie Comics Group. OOB gives the date as “Oct. 1939,” which may represent when he began to write it (he does refer to that as a “starting date”) or some arcane Chesler schedule or something else entirely; the actual cover date of Blue Ribbon Comics #1, which contained the above very first “Dan Hastings” tale, was Nov. 1939. Art probably by Clem Gretter. Thanks to the Comic Book Plus website (abbreviated “CBP” for the remainder of this coverage) for both scans on this page. [TM & © Archie Comic Publications, Inc.]

“Scott Rand” Otto’ second script. On this equally science-fictional effort, he received a byline as “Eando Binder,” the name under which he’d written or co-written all his pulp fiction. From MLJ’s Top Notch Comics #3 (Feb. 1940). Art probably by his brother Jack. Thanks to CBP. [TM & © Archie Comic Publications, Inc.]

The Early Years of Otto Binder

“Little Nemo!” Although Robert McCay, son of the great Winsor McCay, is credited as both writer and artist of this continuation of his father’s legendary early-20th-centurty comic strip Little Nemo in Slumberland, Otto noted that he “ghosted” the script for McCay the younger in Street & Smith’s Shadow Comics, Vol. 2, #4 (May 1942). Thanks to Jim Ludwig. [TM & © Advance Magazine Publishers Inc., d/b/a Condé Nast.]

“Bulletman” Jack Binder’s shop provided the art for this early Fawcett outing scripted by Otto for Bulletman #3 (Jan. 1941). Thanks to P.C. Hamerlinck. [Bulletman TM & © DC Comics.]

Binder’s List—Part One

“Power Nelson, Futureman” “Iron Munro, The Astounding Man” was based on the hero of the prose science-fiction novella The Mightiest Machine by John W. Campbell, Jr., from 1934-35 issues of Astounding Stories pulp magazine—as altered somewhat for comics. We can’t say for certain that Otto Binder scripted this first comic book tale of “Iron Munro,” however— or who the artist was. (In the late-1980s DC comic Young All-Stars, Roy Thomas named an unrelated character “Iron” Munro.) From Street & Smith’s Shadow Comics, Vol. 1, #1 (May 1940), with thanks to Anthony Tollin, Jim Ludwig, Michael T. Gilbert, & Yocitrus. [TM & © Advance Magazine Publishers, Inc., d/b/a Condé Nast.]

“Vulcan” been a regular in Ace Publications’ Super-Mystery Comics since the first issue. This first Binder-scripted episode is from Vol. 2, #1 (April 1941); art probably by Jack Binder. See more about Vulcan in A/E #144. [© the respective copyright holders.]

Jack Binder Thanks to Bill Schelly.

started out as a super-hero in that far-future year 1982; but, by Prize Comics, Vol. 1, #10 (May 1941), when OOB’s first “Power Nelson” story appeared, he was battling spies in the pre-World War II era. Art may be by Paul Norris, for the Prize/Feature comics group. Thanks to CBP for this and the next scan. [© the respective copyright holders.]

The Early Years of Otto Binder

“Captain America” (Left:) Although only the names of artists/producers Joe Simon & Jack Kirby bylined this yarn in Timely’s Captain America Comics #8 (Nov. 1941), “The Case of the Black Witch” was scripted by Otto Binder. In fact, OOB’s records indicate he’d written several previous “Captain America” tales for S&K, but we’ll probably never be certain which ones they were. Otto also contributed at least one “Tuk, Cave Boy” story to Cap’s mag during its early issues. Thanks to Warren Reece. [TM & © Marvel Characters, Inc.]

“The Story of Stephen Decatur” Here’s a real rarity: a byline for “Jack & O. Binder,” one of the few times Otto ever used anything like his actual name as a credit during the Golden Age! This mini-bio of the early American Naval hero was written for Better/Nedor’s Real Life Comics #1 (Sept. 1941). Jack, of course, drew the piece. Thanks to CBP for this scan and the next. [© the respective copyright holders.]

“The Black Owl” (Left:) Prize/Feature’s “Batman” wannabe was scripted by Otto in this little epic from Prize Comics Vol. 2 #6 (a.k.a. #18) (Jan. 1942), which was illustrated by his brother Jack. [© the respective copyright holders.]

Binder’s List—Part One

“Young Allies” (Left & above:) Young Allies #1 (Summer 1941), which even spotlighted the first-ever meeting of Captain America and The Human Torch, was scribed by Binder and drawn by the combination of Simon & Kirby (some splash pages), Charles Nicholas Wojtkowski, Ernie Hart, and others. Though Bucky and Toro pre-existed, Otto was the first writer of the non-costumed members of this earliest S&K “kid gang”—including, alas, the racially stereotyped Whitewash Jones. But chances are that all the gangers were conceived and designed by Simon and/or Kirby. Thanks to Warren Reece. [TM & © Marvel Characters, Inc.]

“Captain Battle” “Captain Venture And The Planet Princess” From Fawcett’s Master Comics #18 (Sept. 1941), with art by Rafael Astarita. “Captain Venture” and “Mr. Scarlet” were the very first super-hero features for which Binder wrote scripts at Fawcett Publications, which would become one of his two major comic book employers, National/DC being the other. This outing was also included in Fawcett’s Xmas Comics #1, 1941. Thanks to P.C. Hamerlinck. [© the respective copyright holders.]

Although Binder is most noted for scripting the 40-page, multi-chapter story in Captain Battle #3 (Fall 1941), one splash page of which is pictured above, his list indicates that it wasn’t his first rodeo for the New Friday comics company character. He says he also wrote the hero’s origin, which makes “Captain Battle” one of the very few super-heroes he ever co-created. Note the byline for “Jack & Otto Binder.” Thanks to CBP. [© the respective copyright holders.]

The Early Years of Otto Binder

“Dr. Voodoo” (Right:) This tenth episode in this swashbuckling feature (from Whiz Comics #27, Feb. 20, 1942) was part of OOB’s “apprenticeship,” before he graduated to “the big boys” like Captain Marvel and Captain Marvel Jr. Art by Mark Schneider. Thanks to P.C. Hamerlinck for this scan and the one at bottom right. [© the respective copyright holders.]

“The Young Allies” Captain America and The Human Torch to the rescue—for a second issue in a row, actually—bailing their colorful sidekicks and their buddies out of trouble with the villainous Black Talon. Young Allies #2 (Winter 1941) is the script Binder refers to on p. 13 as “New America.” Warren Reece, who photocopied for us a page from his personal “Chamber of Fantasy” copy, wonders if Al Avison and/or Al Gabrielle might’ve had a hand in the art; the precise artists are unidentified. [TM & © Marvel Characters, Inc.]

“Spy Smasher” “The Man in the Iron Mask” borrowed Alexandre Dumas’ title for a Binder wartime classic in Spy Smasher #4 (April 1942)—art by Emil Gershwin. [Spy Smasher TM & © DC Comics.]

Binder’s List—Part One

“Ibis The Invincible” Another Fawcett first! From Whiz Comics #25 (Dec. 1941); art by Binder Shop artists. Thanks to P.C. Hamerlinck for this scan and the one directly below. [Ibis the Invincible TM & © DC Comics.]

“Golden Arrow” The above Western hero, like Spy Smasher and Ibis the Invincible and Captain Marvel himself, had debuted in the first issue of Whiz Comics—each the brainchild of writer/editor Bill Parker. This Whiz Comics #29 (April 1942) art is by Al Carreno. Thanks to P.C. Hamerlinck. [TM & © the respective trademark & copyright holders.]

“Ajax The Sun Man” Brothers Otto and Jack Binder were nearly as much of a team in early-1940s comic books as siblings Otto and Earl had been in mid-’30s pulp magazines! This tandem effort is from Street & Smith’s Doc Savage Comics #10 (May 1942). Thanks to Jim Ludwig. [TM & © Advance Magazine Publishers, Inc., d/b/a Condé Nast.]

The Early Years of Otto Binder

efore we move on to the next page of Otto’s list, which will commence this issue’s humongous FCA section, we felt it best to insert this and the following page, which detail his scripting in 1942-43 for Everett “Busy” Arnold’s Quality Comics, the MLJ (near-future Archie) group, and Harry “A” Chesler’s shorter-lived Dynamic Publications….

“Blackhawk” Binder refers to this story, the lone “Blackhawk” yarn he claims to have written, as “3 Witches”—the cover referred to them as “The Witches of Death”—and artist Reed Crandall’s exquisite splash page sports the title “Men Who Never Come Back.” It appeared in Quality’s Military Comics #15 (Jan. 1943). Thanks to CBP for this scan and the next. [Blackhawk TM & © DC Comics.]

“The Doll Man” Quality’s first-ever super-powered hero was also the one who faced the first “talking tiger” conceived by Binder, half a decade before he co-created Mr. Tawny for Fawcett’s Captain Marvel Adventures. But this fearsome feline turned out to be just a bad-guy in a striped costume! From The Doll Man Quarterly #5 (Spring 1943), with art by Max Elkan. Thanks to Jim Ludwig. [Doll Man TM & © DC Comics.]

Binder’s List—Part One

“The Hangman” (Left:) The splash-page title of this one was “The Crime of the Centuries”—but since that was the only text on it, we preferred to show this example of Otto’s scripting coupled with Bob Fujitani’s exciting art, from MLJ’s Black Hood #10 (Spring 1944). Thanks to Jim Ludwig. [Hangman TM & © Archie Comic Publications, Inc.]

“Steel Sterling” (Above:) See what we mean? This splash, too, has no text except the title—so maybe MLJ’s editor preferred ’em that way. Art by Clem Weisbecker. Thanks to Jim Kealy. [Steel Sterling TM & © Archie Comic Publications, Inc.]

“Dynamic Man” (Left:) A dynamic page from the “Dynamic Man” story in Dynamic Publications’ Dynamic Comics #10 (July 1944)—you think maybe Harry “A” Chesler was trying to make a point about his comics-publishing company? Art by the very able Charles Sultan. A personal minor note from A/E’s editor: Dynamic Man’s one-shoulder cape was the inspiration for the one worn by Hyperion of Marvel’s Squadron Sinister—and, of course, his Squadron Supreme counterpart—in the late ’60s. Thanks to Jim Ludwig. [© the respective copyright holders.]

And now, we’ll let FCAficionado P.C. Hamerlinck take it from here…!

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Since we had no room for a “re:” section this issue, we’re using Shane Foley’s colored Captain Ego illo for it here; it’s based on a Captain Marvel drawing by the late and longtime Fawcett production artist Emilio Squeglio that saw print in A/E #65. Thanks to both! [Captain Ego TM & © Roy Thomas & Bill Schelly; created by Biljo White.]

Edited by ROY THOMAS The first and greatest “hero-zine”—ALL-NEW, focusing on GOLDEN AND SILVER AGE comics and creators with ARTICLES, INTERVIEWS, UNSEEN ART, P.C. Hamerlinck’s FCA [Fawcett Collectors of America], MICHAEL T. GILBERT in Mr. Monster’s Comic Crypt, BILL SCHELLY’S Comic Fandom Archive, and more!

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BONUS 100-PAGE issue as ROY THOMAS talks to JIM AMASH about celebrating his 50th year in comics—and especially about the ‘90s at Marvel! Art by TRIMPE, GUICE, RYAN, ROSS, BUCKLER, HOOVER, KAYANAN, BUSCEMA, CHAN, VALENTINO, and others! Plus FCA, MR. MONSTER’s Comic Crypt, AMY KISTE NYBERG on the Comics Code, and a cover caricature of Roy by MARIE SEVERIN!

Incredible interview with JIM SHOOTER, which chronicles the first decade of his career (Legion of Super-Heroes, Superman, Supergirl, Captain Action) with art by CURT SWAN, WALLY WOOD, GIL KANE, GEORGE PAPP, JIM MOONEY, PETE COSTANZA, WIN MORTIMER, WAYNE BORING, AL PLASTINO, et al.! Plus FCA, MR. MONSTER, BILL SCHELLY, and more! Cover art by CURT SWAN!

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Science-fiction great (and erstwhile comics writer) HARLAN ELLISON talks about Captain Marvel and The Monster Society of Evil! Also, Captain Marvel artist/ co-creator C.C. BECK writes about the infamous Superman-Captain Marvel lawsuit of the 1940s and ‘50s in a double-size FCA section! Plus two titanic tributes to Golden Age artist FRED KIDA, MR. MONSTER, BILL SCHELLY, and more!

JIM AMASH interviews ROY THOMAS about his 1990s work on Conan, the stillborn Marvel/Excelsior line launched by STAN LEE, writing for Cross Plains, Topps, DC, and others! Art by KAYANAN, BUSCEMA, MAROTO, GIORDANO, ST. AUBIN, DITKO, SIMONSON, MIGNOLA, LARK, KIRBY, CORBEN, SALE, SCHULTZ, LIGHTLE, McKEEVER, BENDIS, and more! Cover by RAFAEL KAYANAN!

Golden Age great IRWIN HASEN spotlight, adapted from DAN MAKARA’s film documentary on Hasen, the 1940s artist of the Justice Society, Green Lantern, Wonder Woman, Wildcat, Cat-Man, and numerous other classic heroes—and, for 30 years, the artist of the famous DONDI newspaper strip! Bonus art by his buddies JOE KUBERT, ALEX TOTH, CARMINE INFANTINO, and SHELLY MAYER!

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DON GLUT discusses his early years as comic book writer for Marvel, Warren, and Gold Key, with art by SANTOS, MAROTO, CHAN, NEBRES, KUPPERBERG, TUSKA, TRIMPE, SAL BUSCEMA, and others! Also, SAL AMENDOLA and ROY THOMAS on the 1970s professional Academy of Comic Book Arts, founded by STAN LEE and CARMINE INFANTINO! Plus Mr. Monster, FCA, BILL SCHELLY, and more!

MARK CARLSON documents 1940s-50s ACE COMICS (with super-heroes Magno & Davey, Lash Lightning, The Raven, Unknown Soldier, Captain Courageous, Vulcan, and others)! Art by KURTZMAN, MOONEY, BERG, L.B. COLE, PALAIS, and more. Plus: RICHARD ARNDT’s interview with BILL HARRIS (1960s-70s editor of Gold Key and King Comics), FCA, Comic Crypt, and Comic Fandom Archive.

40 years after the debut of Marvel’s STAR WARS #1, its writer/editor ROY THOMAS tells RICHARD ARNDT the story behind that landmark comic, plus interviews with artists HOWARD CHAYKIN, RICK HOBERG, and BILL WRAY. Also: MR. MONSTER looks at “Jazz in Comics” with MICHAEL T. GILBERT—the finale of BILL SCHELLY’s salute to G.B. LOVE—FCA— and more! CHAYKIN cover.

DOUG MOENCH in the 1970s at Warren and Marvel (Master of Kung Fu, Planet of the Apes, Deathlok, Werewolf by Night, Morbius, Moon Knight, Ka-Zar, Weirdworld)! Art by BUSCEMA, GULACY, PLOOG, BUCKLER, ZECK, DAY, PERLIN, & HEATH! MICHAEL T. GILBERT on EC’s oddball “variant covers”—FCA—and a neverpublished Golden Age super-hero story by MARV LEVY! Cover by PAUL GULACY!

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Part II

B IN D

pa E rt R TW’s O L

OTTO BINDER’s Fawcett Universe

An Introduction To The Fawcett-Related Pages Of OOB’s Writing Records by P.C. Hamerlinck

ith a tobacco-less pipe planted firmly between his teeth, and clad in an interplanetary bathrobe uniform, Otto hopped into his spaceship and flew from the prose of pulps over to those colorful new pamphlets curiously called comic books. Otto’s first stop on his sojourn was at Harry “A” Chesler’s studio/comics shop. That experience was okay, but less than a year later he was already searching for something more—a prominent, friendly environment perfect for a freelancer to nurture a promising new art form and run untamed with a sprightly, unstoppable imagination. Hello, Fawcett! Otto fine-tuned his sequential storytelling craft on such B-list adventurers as “Captain Venture,” “Mr. Scarlet,” and others (as illustrated in early pages of this issue) before finally meeting his destiny with the World’s Mightiest Mortal. Suddenly, upon editor Ed Herron’s departure, Otto— perhaps reluctantly—accepted an editorial position at Fawcett in mid-January 1942. He now had a commute, his own desk, a

Otto In His Writing Studio, Circa 1944 When Binder sent this photo to Roy Thomas in 1964-65, he wrote: “During this era of greatest production, I did up to 200 scripts a year. Pajamas and robe represent ‘working clothes.’ I was so busy I didn’t have time to dress and go out for days at a time—no joke. When my wife was out and I answered the door for random salesmen and callers, I’m sure they thought I was a ‘kept man.’ True irony! I was working like a dog!”

secretary, and morning coffee. He traded in his bathrobe for a shirt and tie. He was at the office day after day, editing Wow Comics and other titles. But his heart wasn’t in it. He quit six months later, returning to freelancing with a mission to write better… hitting full stride, notably in the post-war years, at a wonderful, rhythmic pace (often in unison with artists C.C. Beck and Pete Costanza) where a folksy, good-natured lightheartedness prevailed in his tales… relatable (often satirical) themes reflecting our soul and humanity and the drive and purpose behind the human spirit … varied and absorbing narratives cheerfully set on limitless worlds where seemingly anything could occur at any moment, whether on a distant planet, or in the future, or within an artist’s painting, or downtown at the dry cleaners.

Captain Marvel Adventures #9 (April 1942) “Captain Marvel Saves the King” was Otto Binder’s first non-prose “Captain Marvel” comic book script, written in December of 1941, on assignment by editor Ed Herron. (See p. 5 for OOB’s listing.) Still more irony: Binder’s first “CM” outing didn’t rate a Beck art job; the artist of this tale is unknown! All art in this super-size FCA section was provided by P.C. Hamerlinck, unless otherwise noted. [Shazam hero TM & © DC Comics.]

Otto’s numbers were staggering. From 1941 to 1953, he authored 986 out of 1,743 “Captain Marvel”/“Marvel Family”-related tales— yes, over half of them. And this doesn’t count his scripts for all those other guys in capes and tights… or the cowboys… or the movie adaptations… or the supernatural stuff… or his “Jon Jarl” prose short stories used as text fillers. Prolific, yes. But Otto wasn’t mindlessly hacking them out like a robot working on the assembly line. He was an architect with a vision, building upon and enriching a mythology whose solid foundation had been set earlier by Parker and Beck, and which

Otto Binder’s Fawcett Universe

had been nurtured at different moments by other creative minds (Reed, Crowley, Woolfolk, and on and on). Otto gave us Mr. Mind… Black Adam… Mr. Tawny… Uncle Marvel… Freckles Marvel… the gawky Sivana offspring… and, existing beyond the realm of mankind, the mystical dwelling of Shazam: the Rock of Eternity. Color me repentant on one point: Otto did indeed co-create Mary Marvel with artist Marc Swayze. Marc had convinced me otherwise, since he was more or less certain that editor Herron had conceived the idea of giving Billy a twin sister, and he had surmised that Herron had probably written the first “Mary Marvel” story or two. And I reported the revelation, of all places, as part of a DC Shazam Archives introduction! Sigh. I mean, who was I to debate the issue with someone who had actually been there during the creation process —even though it contradicted what Otto had relayed in interviews during the ’70s? But alas, it wasn’t the case. Herron might well have ordered them up, but those early tales and the development of “the Shazam Girl” were all navigated by Otto. So, I’d like to apologize to you, Otto, wherever you are, in whatever galaxy. Like Beck, Otto Binder always treated his readers as equals. I wish I could have met him. I know many others who feel the same

Captain Midnight #2 (Nov. 11, 1942) Captain Midnight had begun life as a radio series in 1938. When Fawcett licensed the aviator, it turned him into a bit more of a super-hero, along the lines of its Spy Smasher. This Jack Binder-drawn story bears no title, but Otto’s title “Jap Juggernaut” is used on the contents page. Thanks to CBP for this scan and the next. [TM & © the respective trademark & copyright holders.]

way. But I do have friends who met him and who can attest to his kindness. I wish he could’ve kept pressing on and have written stories forever. But the universe doesn’t work that way, not even in Otto’s universe, where everything and anything was possible. Now, although Otto’s earliest forays into Fawcett’s pages were noted to some extent in the previous section, it’s time to deal in earnest with his tenure and writing at the House of Captain Marvel. We’ll start with listings that he dates as “Jan. 1942” on the lesser Fawcett heroes (which he didn’t entirely drop when he began scripting tales of the World’s Mightiest Mortal), and which include tales of the colorful mostly-“coed” characters so ably drawn by veteran artist Will Meugniot on our FCA cover: Mary Marvel, Bulletgirl, Ibis’ ladyfriend Taia, Freckles Marvel, and Hoppy the Marvel Bunny—plus wild card Nyoka the Jungle Girl, one of the few long-running Fawcett stalwarts that, so far as we know, Otto never scripted. Throughout the mostly-Fawcett-related pages that follow are sprinkled additional examples of his contemporaneous work for Timely Comics—with a spate of Fawcett-style scripting for WWII-era Canadian comics tossed in—before we get to the Big Red Cheese and his immediate Family….

Spy Smasher #11 (Feb. 26, 1943) The hero’s solo mag died with this issue, perhaps partly due to wartime paper quotas. Fawcett used Otto’s story-title (“The Man without a Flag”) this time— but since the splash was a two-page spread, we’ve opted for this action page instead. Artist unknown. [Spy Smasher TM & © DC Comics.]

Binder’s List—Part Two

Wow Comics #18 (Oct. 1943) “Mikado for a Day” was the published title of this Binder-written tale, whatever name (beyond “Mikado”) the writer may have originally given it. The main villain in this one was the Japanese Emperor Hirohito. Artist unknown. Thanks to CBP for this and the following scan. [Commando Yank TM & © DC Comics.]

Wow Comics #17 (Sept. 1943) Curiously, this “Mr. Scarlet and Pinky” yarn seems to have been scripted after the above “Commando Yank” tale. But at least this time Fawcett’s editor kept Otto’s title: “The Golden Touch.” Rather uniquely, Mr. Scarlet’s civilian identity was an unemployed ex-district attorney, who often had trouble making ends meet for himself and his ward. Not that that stopped him from being a costumed crime-buster! Art by Jack Binder Shop. [Mr. Scarlet & Pinky TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Master Comics #43 (Oct. 1943) True horror comics would be a thing of the postwar years, and particularly of the early 1950s—but this “Minute Man” story scripted by OOB and drawn by Phil Bard had a true vampiric feel. Bard was one of the best of the early Kirby-influenced artists. [Minute Man TM & © DC Comics.]

Captain America Comics #32 (Nov. 1943) Cap and Bucky encountered a “Mole Man” years before the Fantastic Four—or even before Superman, come to that! Art by Jimmy Thompson; the inking may be partly or wholly by Allen Bellman. Thanks to Jim Kealy. [TM & © Marvel Characters, Inc.]

Binder’s List—Part Two

Fawcett’s Funny Animals #20 (July 1944) Otto didn’t specialize in humor comics, but he did write an episode or two of Fawcett’s “Hoppy the Marvel Bunny” feature, like this one with its villain, Simon Spider. Art by Chad Grothkopf, who signed his stories “Chad.” [Shazam hero TM & © DC Comics.]

All Winners Comics #12 (Fall 1944) Binder listed this “Sub-Mariner” epic as “Tunnel”— which was probably his shorthand for the full title, “Tunnel of Terror.” The artist is unknown. Thanks to Jim Ludwig. [TM & © Marvel Characters, Inc.]

Otto Binder’s Fawcett Universe

Grand Slam Three Aces #47 (Oct. 1945) “Commander Steel” had first appeared in the previous issue of the Canadian company Anglo-American’s Grand Slam Three Aces comic, but we’ll be honest with you—this one had a better splash panel! Still, it’s quite possible Otto Binder was the co-creator of this worthy. Artist unknown—but he/she seems to have been influenced by C.C. Beck. For more on Canada’s comics of the WWII era, see A/E #36 & #71. The character’s military rank was Roy Thomas’ inspiration for the promotion of the U.S. wartime hero Steel in All-Star Squadron. Thanks to Stephan Friedt. [Art © the respective copyright holders.]

Marvel Mystery Comics #58 (Sept. 1944) “Miss America” was one of the last super-heroes introduced by Timely Comics during the Golden Age. Here, she battles a Black Widow who has no connection with the earlier character in Mystic Comics—or with the Marvel Age (and cinematic) Avenger. Art by Charles Nicholas. Thanks to Jim Ludwig. [TM & © Marvel Characters, Inc.]

Binder’s List—Part Two

Whiz Comics #67 (Sept.-Oct. 1945) Otto records it as “Seeds”; its title in the published “Ibis the Invincible” story was “The Sinister Seeds.” Chances are, the latter, rather than the shortened former, was the original title. Artist unknown. [Ibis the Invincible TM & © DC Comics.]

Wow Comics #32 (Jan. 1945) This tale, which is probably the saga that Binder records as “Air Vikings,” was only the third “Phantom Eagle” adventure that artist Marc Swayze drew after being mustered out of the Army. Thanks to CBP for this scan and the next. [Phantom Eagle TM & © the respective trademark & copyright holders.]

Marc Swayze

Otto Binder’s Fawcett Universe

Wow Comics #45 (July 1946) Mr. Scarlet and Pinky had a run-in with The Crimson Claw in this one. All they needed was for Red Ryder to drop by for a cameo! Artist unknown. Thanks to Michael T. Gilbert. Art by Carl Pfeufer & John Jordan. [Mr. Scarlet & Pinky TM & © DC Comics.]

Grand Slam Comics #52 (April 1946) (Right:) Binder wrote this and numerous other stories of “Commander Steel” and other heroes for the Canadian company Anglo-American during and just after the WWII years. The issue’s cover is seen at left. Artist unknown. [© the respective copyright holders.]

Binder’s List—Part Two

Master Comics #71 (Aug. 1946) Binder’s “Toyland Terror” became “Terror in Toyland,” as Bulletman and Bulletgirl neared the end of their run. Artist unknown. Thanks to CBP. [Bulletman & Bulletgirl TM & © DC Comics.]

Whiz Comics #76 (July 1946) With the war ended, Spy Smasher hung up his goggles, costume, and cape and became the trenchcoat-sporting “Crime Smasher.” The new series didn’t last long, though. Art by Al Careno. [Spy Smasher TM & © DC Comics.]

Otto Binder’s Fawcett Universe

All Winners Comics #21 (Winter 1946-47) Following the very first “All Winners Squad” tale, written by “Batman”/“Green Lantern” co-creator Bill Finger, Otto turned in an equally stellar performance on the group’s second (and final) adventure (“Menace from the Future World”), which co-starred The Human Torch and Toro, Captain America and Bucky, Sub-Mariner, Miss America, and The Whizzer. The artists of this climactic page are unidentified. Reproduced from the hardcover Marvel Masterworks: All Winners Comics, Vol. 4. [TM & © Marvel Characters, Inc.]

Vic Verity Magazine #7 (Sept. 1946) Otto wrote tales of “Vic Verity, High School Hero”—a sort of less gag-oriented Archie Andrews—for the Don Fortune Publishing Co. of Canada. Art by the Beck & Costanza studio, giving the mag the look and feel of a Fawcett comic—but this was the final issue. Thanks to P.C. Hamerlinck. [© the respective copyright holders.]

Binder’s List—Part Two

Captain Midnight #56 (Oct. 1947) Jagga the Space Raider was the most imposing of Midnight’s foes. In this last hurrah, he was convicted of murder, despite his defense that, not being human, he couldn’t be tried in court. Escaping, he was slain by a radioactive apparatus in the good Captain’s lab. Art by Leonard Frank. This story was reprinted in Dark Horse’s hardcover Captain Midnight Archives, Vol. 2: Captain Midnight Saves the World. Thanks to Comic Book Plus for this scan, though. [Captain Midnight TM & © the respective trademark & copyright holders.]

Flash Comics #91 (Jan. 1948) Otto’s “Hawkman” yarn “Eclipse, Mu Robots” was never published—though several pages of Joe Kubert’s original art for it have seen print in Alter Ego. This “New Element” entry became the sole “Hawkman” exploit drawn by Bob Oksner. Thanks to Al Dellinges. [TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Adventure Comics #140 (May 1949) The title of this “Aquaman” tale matches (more or less) the one given it by OOB in his listings, as seen on the next page. Art by John Daly. Thanks to Doug Martin. [TM & © DC Comics.]

Patsy Walker #21 (March 1949) “Double Trouble” apparently became “Seeing Double” when Otto’s “Jeanie” story saw the light of day. Otto was learning the virtue of versatility. Artist & writer unknown. Thanks to Dr. Michael J. Vassallo for going through his personal collection to locate this one! [TM & © Marvel Characters, Inc.]

Binder’s List—Part Two

Detective Comics #144 (Feb. 1949) Jimmy Thompson drew this OOB-scripted “Robotman” story that, for a change, used the precise title under which the writer recorded it. Did DC editors like Otto’s titles—or did he just happen to retain copies of those issues so that he could duplicate the titles exactly? Thanks to Doug Martin for this and the following scan. [TM & © DC Comics.]

Adventure Comics #140 (May 1949) And this published title is only one word away from OOB’s label “Untold Tales”! We’ve no idea if artist George Papp modeled the cartoonist in this story after himself, but we’d sure like to think so—since we’ve never been able to locate a photo of Green Arrow’s original artist! [TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel and The Good Humor Man (1950) This one-shot, illustrated by C.C. Beck & Pete Costanza, was an originalstory tie-in with a Columbia Pictures movie starring popular comedy actor Jack Carson (and featuring George Reeves, who’d soon portray Superman on TV!). The kids in the flick played members of the Captain Marvel Club. [Shazam hero TM & © DC Comics.]

Adventure Comics #146 (May 1949) Sometimes there was a considerable time lapse between Otto’s recorded date and the appearance of it in a comic book. That wasn’t the case with this John Daly-drawn “Aquaman” caper dated “Jan. 1949,” which would’ve gone on sale by February or March that year. Thanks to Doug Martin. [TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel And The Lieutenants Of Safety, Fawcett Movie Comic #7, & Destination Moon (all cover-dated “1950”) Otto scripted three issues of a public-service promotional comic introduced by Captain Marvel and featuring The Lieutenants of Safety, as well as doing such adaptations as that of Republic Pictures’s “Rocky” Lane Saturday-afternoon cowboy movie Gunmen of Abilene and the George Pal science-fiction film Destination Moon. Art, respectively, by C.C. Beck; Bob Powell; and the team of Dick Rockwell & Sam Burlockoff. [Shazam hero TM & © DC Comics; other material TM & © the respective trademark & copyright holders.]

Otto Binder’s Fawcett Universe

Fantastic Worlds #6 (Nov. 1952) (Above:) Binder wrote a number of horror and science-fiction tales for the company known at various times as Better, Nedor, Standard, and/or Pines. The art on “The Space Lorelei” (whose title thankfully matched the one OOB listed for it) is by George Roussos. Thanks to CBP. [© the respective copyright holders.]

Fawcett Movie Comic #15 (Feb. 1952) (Right & far right:) The Man from Planet X was a minor sciencefiction/horror movie from United Artists, but Otto and artist Kurt Schaffenberger turned in good performances in adapting it. [TM & © the respective trademark & copyright holders.]

Binder’s List—Part Two

Nuts! #5 (Nov. 1954) Soon after Fawcett folded up its comic shop, Otto got a chance to |write a very much on-target parody of the late great Captain Marvel for Premiere Magazines’ Nuts #5 (Nov. 1954), one of the many short-lived imitators of EC’s four-color Mad comic. Pencils by Ross Andru; inks by Mike Esposito. We’re not quite sure why Binder refers to the publisher as “Mad Pubs.” [© the respective copyright holders.]

Haunt Of Fear #24 (March-April 1954) Otto scripted this “Vault of Horror” entry in the above mag for editor Al Feldstein; it was drawn by EC mainstay Jack Kamen. [TM & © William M. Gaines, Agent, Inc.]

Otto Binder’s Fawcett Universe

Weird Science-Fantasy #27 (Jan.-Feb. 1955) After writing a number of original tales for EC’s science-fiction titles, Otto finally began adapting his “Adam Link” series, with its first entry, “I, Robot,” which he had authored in prose more than a decade and a half earlier as “Eando Binder.” The art by Joe Orlando ranks as some of his finest for EC—or anywhere else. Thanks to Jim Kealy. [Comics work TM & © William M. Gaines, Agent, Inc.; the original story is © Estate of Otto Binder.]

Mighty Samson #1 (July 1964) In the final entry before we get to Captain Marvel and his extended Family, Otto notes his commencing this new series for Gold Key/ Western, the first nine issues of which he had scripted by the time he compiled his listings for Jerry Bails. The Frank Thorne-drawn action page is courtesy of Bob Bailey; Otto’s entire run of the title’s first 20 issues can be perused in Dark Horse’s hardcover archives Mighty Samson, Vol. 1-3. [TM & © Random House, Inc., under license to Classic Media LLC.]

Binder’s List—Part Two

Captain Marvel Adventures #16 (Oct. 1942) “The Alaskan Adventure,” drawn by C.C. Beck & staff, was later reprinted (in black-&-white) in a 1942 Samuel E. Lowe & Co. Captain Marvel “Mighty Midget” giveaway comic. [Shazam hero & Billy Batson TM & © DC Comics.]

Captain Marvel Adventures #18 (Dec. 1942) & #19 (Jan. 1943) (Left:) Binder and artist Marc Swayze co-created Captain Marvel’s sibling, Mary Marvel, with editing by Ed Herron. Billy discovered the existence of his twin sister in this classic, pivotal story. Swayze did the complete art job, including the Captain Marvel Jr. figures (often attributed to Mac Raboy)—and even drew Otto himself as one of the bad guys on this story page! (Right:) In “The Training of Mary Marvel,” her second appearance, Swayze again did the complete art job. [Shazam heroes & Billy Batson TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel Adventures #35 (May 1944) Binder’s celebrated and unprecedented opus, “The Monster Society of Evil,” was serialized in 25 chapters in Captain Marvel Adventures. Above is the splash page from Chapter 14 (“Mr. Mind’s Blitz”). Art by Beck & staff. [Billy Batson & Mr. Mind TM & © DC Comics.]

Captain Marvel Adventures #37 (July 1944) Binder wrote many of the city-visiting tales in Captain Marvel Adventures. “Captain Marvel and His Battle of the Bubbles” took place in Cincinnati, Ohio. Art by C.C. Beck & Pete Costanza. [Shazam hero & Billy Batson TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Adventures #41 (Nov. 1944) A battle against the Seven Deadly Enemies of Man, based on the iconic Seven Deadly Sins. Art by Beck & Costanza. [Shazam hero & Billy Batson TM & © DC Comics.]

Captain Marvel Adventures #43 (Feb. 1945) In an offbeat adventure, the World’s Mightiest Mortal went… “Nowhere.” Art by Beck & Costanza. [Shazam hero & Billy Batson TM & © DC Comics.]

C.C. Beck 1942.

Otto Binder’s Fawcett Universe

Captain Marvel Adventures #66 (Oct. 1946) (Top:) Binder’s stark cautionary tale, “Captain Marvel and the Atomic War.” Art by Beck & Costanza. (Right:) The Binder-scripted “The Cult of the Curse” serial was far less successful than the previous “Monster Society of Evil” one. Oggar lasted only six chapters before being defeated by Captain Marvel in “The Battle of the Century.” Art by Beck & Costanza. [Shazam hero, Billy Batson, & Oggar TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Adventures #80 (Jan. 1948) The mind-bending “Captain Marvel in the Land of Surrealism,” with solo art by Beck, had the World’s Mightiest Mortal and artist Leonardo Vinch enter the surrealistic land of the artist’s paintings. [Shazam hero TM & © DC Comics.[

Captain Marvel Adventures #85 (June 1948) The Freedom Train that Captain Marvel saved from Dr. Sivana’s evil clutches was a real locomotive, which traveled around the country between 1947-49, displaying the original Declaration of Independence, Emancipation Proclamation, and other priceless U.S. documents so that Americans could view important pieces of their heritage. Art by Beck & Costanza. [Shazam hero, Billy Batson, and Dr. Sivana TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel Adventures #100 (Sept. 1949) One of Binder’s greatest—and most often-reprinted—“Captain Marvel” stories was “The Plot Against the Universe,” an epic four-parter drawn by Beck & Costanza. [Shazam hero & Dr. Sivana TM & © DC Comics.].

Captain Marvel Adventures #113 (Oct. 1950) Binder regularly explored various aspects of human nature, as in “The Imperfect Perfection,” which is listed on the next page of his papers. Art by C.C. Beck. [Shazam hero TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Adventures #115 (Dec. 1950) “Mr. Tawny’s Personality Peril” was a part of Binder and Beck’s popular series featuring Mr. Tawny the Talking Tiger. Tawny’s desire to be a part of human society always led to misadventures that reflected our own (and Binder’s) desires, foibles, flaws, and humanity. [Shazam hero & Mr. Tawny TM & © DC Comics.]

Captain Marvel Adventures #119 (April 1951) “The Man Who Thought Aloud” was just one of many stories that showcased Binder’s witty and often wry sense of humor. Art by Beck & Costanza. [Shazam hero TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel Adventures #125 (Oct. 1951) “The Mechanical Man Mystery,” with art by Beck, marked the first appearance of the short-lived supporting character Timmy Tinkle, but he was no Adam Link … or C3PO! [Shazam hero, Timmy Tinkle, Billy Batson, & Mr. Morris TM & © DC Comics.]

Amazing Stories, Vol. 14, #4 (April 1942) Speaking of Otto (“Eando”) Binder’s creation Adam Link—here’s Robert Fuqua’s cover for one of the issues of the pulp magazine Amazing Stories in which that thinking-man’s robot appeared. From the personal collection of Roy Thomas. [© the respective copyright holders; Adam Link TM & © Estate of Otto Binder.]

Binder’s List—Part Two

Captain Marvel Adventures #144 (May 1953) In “The Stolen Shazam Powers,” drawn by Beck, Dr. Sivana stole Captain Marvel’s six super-powers one by one—until the World’s Formerly Mightiest Mortal had to be rescued by Billy Batson! [Shazam hero, Shazam, Billy Batson, & Dr. Sivana TM & © DC Comics.]

Captain Marvel Adventures #141 (Feb. 1953) Binder’s creation (with artist C.C. Beck) of the villainous King Kull was an attempt by the writer and his editors to infuse horror elements into the Captain’s exploits … with sometimes unwieldy results. King Kull took his name—but nothing else—from the lost-age hero King Kull, a predecessor of Conan the Cimmerian, created in the late 1920s by Robert E. Howard for the pulp magazine Weird Tales. Art by Beck & Costanza. [Shazam hero & Billy Batson TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel Adventures #147 (Aug. 1953) The defiant Delura reflected the Communist threat of the 1950s in Binder’s “The Queen of Spies,” in the penultimate issue of CM’s own comic book. Pencils by Beck; inks by Jack Bowler. [Shazam hero & Billy Batson TM & © DC Comics.]

Captain Marvel Adventures #145 (June 1953) “Whirling Terror,” with art by Beck, was another foray into the outer world by King Kull, the subterranean (and prehistoric) Beastman. [Shazam hero & Billy Batson TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Adventures #137 (Oct. 1952) & Unpublished 1950s Comic Strip Otto added a “Corrections” page to combine his listings on the “Tawny Tiger” stories that were so popular in the last few years of Captain Marvel Adventures, all drawn by C.C. Beck, as per the above from CMA #137 (Oct. 1952). Thanks to CBP. [Shazam hero, Billy Batson, & Tawny Tiger TM & © DC Comics.] In addition, after Fawcett stopped publishing comics, the company gave Binder and Beck permission to pursue the marketing of a Mr. Tawny comic strip, of which six dailies were prepared. They first appeared in Alter Ego (first series) #9, late in 1965, courtesy of the writer and artist. They hadn’t yet been published in A/E when Otto prepared his list, so he didn’t mention them along with the two unpublished comic book scripts. [Art © Estates of Otto Binder & C.C. Beck.; Tawny Tiger TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Whiz Comics #39 (Jan. 1943) “Captain Marvel Finds Utopia” was the second “CM” script written by Otto Binder to appear in Fawcett’s monthly anthology Whiz Comics, which had introduced the World’s Mightiest Mortal in its first issue (“#2”). The earlier “Steeplechase” tale from Whiz #38 was seen in an earlier ish of A/E. Art by C.C. Beck & staff. [Shazam hero, Billy Batson, and Mr. Morris TM & © DC Comics.]

Whiz Comics #67 (Sept-Oct. 1945) This story about Captain Marvel stamps was drawn by Beck & Costanza. The change in frequency of Whiz to bimonthly for a time was due to the World War II paper quotas. Note that the even more popular Captain Marvel Adventures managed to stay monthly throughout. [Shazam hero & Billy Batson TM & © DC Comics.]

Binder’s List—Part Two

Whiz Comics #89 (Sept. 1947) This time Captain Marvel battled a costumed villain with the unlikely name of “Spider Man.” Incidentally, the Grand Comics Database lists this yarn as being drawn by Kurt Schaffenberger, but P.C. Hamerlinck assures us it’s actually by the Beck/Costanza team. [Shazam & Shazam hero TM & © DC Comics.]

Whiz Comics #99 (July 1948) Another “Captain Marvel” lead feature drawn by Beck & Costanza. [Shazam, Shazam hero, & Billy Batson TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Whiz Comics #105 (Jan. 1949) Otto Binder was master of the title that made a reader eager to find out what was going to happen in a comics yarn. And “The Son of Shazam” was definitely no exception to that rule. Fortunately, though the Shazam-powered heroes themselves are today the trademarked property of DC Comics, this and many other Golden Age tales can be read in full on such public-domain websites as Comic Book Plus and Digital Comic Museum. Art by Kurt Schaffenberger. [Shazam hero, Shazam, & Billy Batson TM & © DC Comics.]

Whiz Comics #115 (Nov. 1949) If that bearded guy with the trident is the Graeco-Roman god Poseidon, aka Neptune—wonder if he knows he’s battling it out with someone who receives some of his powers from his brother Zeus, aka Jupiter!? Art by Kurt Schaffenberger. [Shazam hero & Billy Batson TM & © DC Comics.]

Binder’s List—Part Two

Whiz Comics #135 (July 1951) Otto sure knew how to write a titillating splash page! This one was drawn by Kurt Schaffenberger—except for the newspaper “photo” of Captain Marvel, which is the work of C.C. Beck… most likely a Photostat, since Kurt S. could certainly have done his own illo of the Big Red Cheese. [Shazam hero & Billy Batson TM & © DC Comics.]

Whiz Comics #144 (April 1952) In the above story, Captain Marvel “destroys” the world—in this one, as per usual, he’s saving it, this time from the volcanic menace of the Disaster Master. Art by Kurt Schaffenberger. [Shazam hero & Billy Batson TM & © DC Comics.]a

Otto Binder’s Fawcett Universe

Whiz Comics #153 & 155 (Jan. & June 1953) In the last year of its (and Captain Marvel’s Fawcett-published) existence, Whiz skipped two or even three months between issues. But in both these stories (published in left-to-right order), Otto was given permission by editor Wendell Crowley to mix the World’s Mightiest Mortal with elements of the horror comics that had become so popular. Artist C.C. Beck was very much against this combination, but Otto pushed for it—and his memo to the Fawcett brass was seen in full back in Alter Ego #123. [Shazam hero & Billy Batson TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Jr. #2 (Dec. 1942) In this lead story, Junior contends with Captain Nazi and (in later pages) Captain Nippon and the Japanese Emperor Hirohito—in one of Otto Binder’s earliest tales of the World’s Mightiest Boy. Art by Al Carreno, who was channeling Master Comics “CMJr” artist/originator Mac Raboy as best he could. [Shazam hero & Captain Nazi TM & © DC Comics.]

Captain Marvel Jr. #12 (Oct. 1943) What’s Sivana up to now? Creating gigantic insects, clearly. Art by Phil Bard, accompanied with Mac Raboy swipes and paste-ups. [Shazam hero & Dr. Sivana TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel Jr. #17 (March 1944) Mac Raboy’s art tended to appear in Master Comics rather than in Junior’s own title, but he did a bang-up job on “Captain Marvel Jr. Meets Himself In the Future.” [Shazam hero & Freddy Freeman TM & © DC Comics.]

Captain Marvel Jr. #15 (Jan. 1944) Artist Phil Bard’s own style is on display in this story of Captain Marvel Jr. starring in a movie about himself… illustrating an OOB entry on the preceding page. [Shazam hero TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Jr. #54 (Oct. 1947) Artist Bud Thompson brought his own unique style to such stories as “Captain Marvel Jr. and the Merry Merman.” [Shazam hero & Freddy Freeman TM & © DC Comics.]

Captain Marvel Jr. #61 (May 1948) “Captain Marvel Jr. Fights Himself”— art by Kurt Schaffenberger. [Shazam hero & Freddy Freeman TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Captain Marvel Jr. #84 (April 1950) This is only the final splash page among the four stories of the World’s Mightiest Boy that Otto Binder scribed for this issue of the character’s solo title. Art by Bud Thompson. [Shazam hero & Freddy Freeman TM & © DC Comics.]

Captain Marvel Jr. #93 (Jan. 1951) Once again CMJr exclaims “Holy Moley!” in a story’s splash page. 1951 would prove the final calendar year in which Binder would write any stories for Junior’s monthly solo title, though the comic would continue through #119 (June 1953). Art by Joe Certa. [Shazam hero, Freddy Freeman, & Mrs. Wagner TM & © DC Comics.]

Binder’s List—Part Two

Master Comics #34 (Dec. 1942) Maybe it was Otto’s idea (in his second script for Master, and his first featuring the nefarious Captain Nazi) that the super-fascist gain flying powers to be a bit more of a physical opponent for Junior—but it still left Nazi deficient in the strength department. Captain N. needed the help of Hercules far more than he needed Mercury’s! Art by Mac Raboy. [Shazam hero & Captain Nazi TM & © DC Comics.]

Master Comics #43 (Oct. 1943) The fight between the forces of Nazi Germany and the U.S.S.R. for the city of Stalingrad (named for the Soviet Union’s dictator) was one of the turning points of the Second World War—so it’s only appropriate that the World’s Mightiest Boy lend a hand. Art by Raboy—who even got a foot-of-the-page credit on this one. This story was redrawn in 1944 for the Bestmaid giveaway comic Captain Marvel Jr. Well Known Comics. [Shazam hero & Freddy Freeman TM & © DC Comics.] After that final listed “CMJr” foray in a 1948 issue of Master (for which, curiously, OOB isn’t credited in the Grand Comics Database, which presumably had access to his list), he wrote no more stories of that hero for the monthly anthology title.

Otto Binder’s Fawcett Universe

Wow Comics #10 (Feb. 1943) This second solo adventure of the World’s Mightiest Girl was drawn by the [Jack] Binder Shop artists. She was still being referred to at that time as “The Shazam Girl.” [Shazam heroine & Mary Batson TM & © DC Comics.]

Wow Comics #51 (Feb. 1947) Many of Mary Marvel’s solo tales were relatively light affairs with little menace— but the art and story for “The Mad Mirror Maze” showed what she could have accomplished if she’d been treated more dramatically like her male counterparts. Art by Jack Binder. [Shazam heroine & Mary Batson TM & © DC Comics.]

Binder’s List—Part Two

Mary Marvel Comics #1 (Dec. 1945) Otto wrote all four stories in Mary’s first solo issue. In the first, she battled Dr. Sivana—and in this follow-up, she first encountered his daughter, the equally evil Georgia Sivana. (Forgotten were the elder scientist’s lovely daughter Beautia and her brother Magnificus, who had appeared in early “Captain Marvel” tales.) Art probably by Jack Binder art shop. Thanks to CBP for this and the following scan. [Shazam heroine & Mary Batson TM & © DC Comics.]

Mary Marvel Comics #10 (March 1947) The editor altered the title of this Binder-script story slightly; we kinda like Otto’s better! “Freckles Marvel,” who had no true super-powers, was to Mary Marvel what Uncle Marvel was to her twin brother. Art by Jack Binder. [Shazam heroine, Mary Batson, & Freckles TM & © DC Comics.]

Otto Binder’s Fawcett Universe

Mary Marvel Comics #15 (Aug. 1947) “The Shazam Girl” got her powers from Graceo-Roman goddesses and heroines: Selena (grace), Hippolyta (strength), Ariadne (skill), Zephyrus (fleetness), Aurora (beauty), and Minerva (wisdom)—except that “Zephyrus” had originally been a Greek god, not a goddess. Well, at least Mary didn’t have to rely on a king from the Biblical Old Testament! Art by Jack Binder. [Shazam heroine & Mary Batson TM & © DC Comics.]

Mary Marvel Comics #28 (Sept. 1948) In the title’s final issue, that lovable old fraud Uncle Dudley, who for years had pretended to be The Marvel Family’s “Uncle Marvel” but had no true Shazamic powers, finally got them for a single story. Dudley was physically modeled after the great movie comedian W.C. Fields. Art by Jack Binder. Thanks to CBP. [Shazam heroine & hero & Mary Batson TM & © DC Comics.]

Binder’s List—Part Two

Marvel Family Comics #1 (Dec. 1945) Once the WWII paper restrictions were history, Cap, Mary, and Junior finally got their own title together—for whose premier issue Otto Binder created Black Adam, in possibly the most renowned “Marvel Family” tale ever, “The Mighty Marvels Join Forces!” Even Uncle Marvel played a crucial part in the doings. Art by C.C. Beck & Pete Costanza. [Shazam heroes & Black Adam TM & © DC Comics.]

The Marvel Family #10 (April 1947) This issue featured the first and only time the three main Marvels fought side-by-side in the first and final chapters, with each having a solo chapter in between, drawn by his/her regular artist. In other issues for the first several years, there would be a lead “Marvel Family” yarn, then one each of Junior, Mary, and the Captain. This splash page is by Beck & Costanza. With #3, the mag’s title had added a “The” and dropped the word “Comics.” [Shazam heroes, Billy & Mary Batson, Freddy Freeman, & Sivana Family TM & © DC Comics.]

Otto Binder’s Fawcett Universe

The Marvel Family #39 (Sept. 1949) The Marvel Family solved the mystery of Atlantis in slightly fewer than ten pages (drawn by Kurt Schaffenberger)—and it turned out that it was actually Australia, located in the Pacific Ocean, all along! Which is even more surprising when you consider that Captain Marvel had visited Atlantis back in Marvel Family #10! Fawcett’s editors and writers were never believers in “a foolish consistency.” Thanks to CBP. [Shazam heroes TM & © DC Comics.]

The Marvel Family #44 (Feb. 1950) Otto did his own answer to H.G. Wells’ classic War of the Worlds, in which the menace from the planet Mars is—a deadly rust! Art by Beck. [Shazam Family, Billy & Mary Batson, & Freddy Freeman TM & © DC Comics.]

Binder’s List—Part Two

Kurt Schaffenberger as a student at the Pratt Institute. From Comic Book Marketplace. Thanks to Shaun Clancy.

The Marvel Family #59 (May 1951) In the early 1950s, the format of The Marvel Family changed so that it usually featured just one severalchapter story, drawn by one artist or team of artists. This time, the illustrations were by Beck & Costanza. [Shazam heroes, Billy & Mary Batson, & Freddy Freeman TM & © DC Comics.]

The Marvel Family #67 (Jan. 1952) King Kull, the Beastman, was one foe who was tough enough—and cunning enough—to battle the mighty Marvels as a team more than once. Art by Kurt Schaffenberger. [Shazam heroes, Billy & Mary Batson, Freddy Freeman, and Beastman TM & © DC Comics.]

Otto Binder’s Fawcett Universe

The Marvel Family #81 (March 1953) While Kurt Schaffenberger drew the majority of later “Marvel Family” multi-parters, C.C. Beck would still turn his talented hand to one once in a while as well. [Shazam heroes TM & © DC Comics.]

The Marvel Family #87 (Sept. 1953) Otto’s final Marvel Family outing came two issues before the mag itself (along with Fawcett’s entire comics department) closed down after #89, victims of the settlement of the long-running DC lawsuit. For #87 he wrote both this lead story (with solo art, for once, by Pete Costanza) and a two-parter drawn by Schaffenberger. Thanks to CBP. [Shazam heroes, Shazam, Billy & Mary Batson, & Freddy Freeman TM & © DC Comics.]

Binder’s List—Part Two

Captain Marvel Adventures #66 & 67 (Oct. & Nov. 1946) Otto Binder’s first “Jon Jarl” 2-page short story appeared in CMA #66, under his own name—but all the others ran with the old pulp byline “Eando Binder.” Apparently, they were read and enjoyed by comics fans who didn’t read the text stories in most other comic books—all of which were present, of course, to fulfill second-mail U.S. Postal regulations. Artists unknown. [© the respective copyright holders.]

Otto Binder’s Fawcett Universe

A Few Wartime Fawcett Extras!

Wow Comics #25 (May 1944) Otto was inspired to write this story after Fawcett received numerous letters with money from young readers who wanted to help out their “starving” heroes Mr. Scarlet and Pinky! In the script, he gently let the young readers know that their kind acts weren’t necessary… and included one of the actual letters, from Suzy Duek of Gila Bend, Arizona, who also co-starred in the story! Art by Jack Binder. [Mr. Scarlet & Pinky TM & © DC Comics.]

Don Winslow Of The Navy #7 (Sept. 1943) Don Winslow was a hero created at the suggestion of the U.S. Navy—and proved very popular indeed for several years. Art by Edd Ashe. [TM & © the respective trademark & copyright holders.]

Master Comics #41 (Aug. 1943) Fictional Western movie hero Hopalong Cassidy would get his own solo comic after the war, but when Otto was assigned to script his adventures in Master Comics, he couldn’t resist tossing in a bit of science-fiction— a “Time Saddle,” no less! Art by Harry (“H.V.L.”) Parkhurst. [TM & © the respective trademark & copyright holders.]

Binder’s List—Part Two

Wow Comics #33 (Feb. 1945) (Above & above right:) Binder had The Phantom Eagle and Commando Yank team up against “The Iron Gate” in this 2-part tale. The collaborative effort between the two heroes began in the “Phantom Eagle” strip, illustrated by Marc Swayze, and concluded in “Commando Yank,” drawn by Carl Pfeufer. [TM & © the respective trademark & copyright holders.]

Wow Comics #41 (Feb. 1946) (Right:) The war was probably just ending when Otto brought a long quest to a finish in “The Phantom Eagle Finds the Golden Mace.” Art by Marcus D. Swayze. [TM & © the respective trademark & copyright holders.]

Otto Binder’s Fawcett Universe

Post-WWII Extras!

Lance O’Casey #3 (Fall 1946) (Above:) After the war, Fawcett tried out a solo title for the Whiz Comics sailor. Art by Ezra Jackson. [TM & © the respective trademark & copyright holders.]

Master Comics #56 (Nov. 1944) (Above:) Well, actually, the world was still at war when “Radar, the International Policeman” was created, but he foreshadowed a post-war mentality, a time when cops, not soldiers, would keep order. The real-life International Criminal Police Commission had been established in 1923; it would begin to use the short form “Interpol” in 1946. Luckily, Radar—nee Pep Pepper, believe it or not—possessed mind-reading powers to give him a leg up! Art by Al Carreno. [TM & © the respective trademark & copyright holders.]

Ken Maynard Western #7 (Dec. 1951) (Right:) Ken Maynard had been a cowboy movie star from the 1920s through the early ’40s—but Fawcett figured that if its Tom Mix Western was selling, even though ol’ Tom had been killed in an auto accident in 1940, maybe another old-timer would hit paydirt as well. But Maynard, unlike Mix, wasn’t still being kept “alive” by a popular daytime radio series! Art by Carl Pfeufer. [TM & © the respective trademark & copyright holders.]

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OTTO BINDER

The DC Years

Li ’sREE ERTH D rt IN pa B

Part III

by Roy Thomas

rom the 1953 demise of Fawcett’s comics department through the mid-1960s period when he was preparing these listings for Jerry Bails, Otto worked mostly for DC Comics, primarily under “Superman” line editor Mort Weisinger and science-fiction editor Julius Schwartz. But before we peruse that work, below (and on the following page, which displays Binder’s sheet) are pages from that era done for Standard and EC, and for a third DC editor (officially Whitney Ellsworth, as was also the case with Weisinger’s and Schwartz’s titles, but actually probably Jack Schiff)…

Lost Worlds #6 (Dec. 1952) For this Standard/Pines SF comic, Otto scripted “The First Man to Reach the Moon,” which was illustrated by Art Saaf. Here’s the story’s shock ending, which gave the writer yet another shot at toying around with robots. Thanks to Comic Book Plus. [© the respective copyright holders.]

Weird Science-Fantasy #27 (Jan.-Feb. 1955) OOB teams up with EC star artist Wally Wood—and editor Al Feldstein must’ve liked Otto’s title! Thanks to Tony Thomas. [TM & © William M. Gaines, Agent, Inc.]

House Of Mystery #32 (Nov. 1954) Moodily drawn for DC’s original (and always very mild-mannered) “horror” comic by Bill Ely. Thanks to Art Lortie. [TM & © DC Comics.]

Binder’s List—Part Three

Forbidden Worlds #5 (Sept. 1952) Before Otto Binder collaborated with artist Murphy Anderson at DC Comics—then mostly known as National—they would’ve shared a byline (if any had been given) on this story in one of Standard’s two sciencefiction titles. From 1947 through 1949, Anderson had drawn the newspaper comic strip Buck Rogers, and it definitely showed in the final panel on this splash page. Thanks to the Comic Book Plus website for this and the following image. [© the respective copyright holders.]

Forbidden Worlds #7 (Jan. 1953) The woefully underrated Ross Andru penciled this OOB-scripted tale of 21st-century space warfare; inking by his longtime partner Mike Esposito. Andru claimed never to have enjoyed a single day in the comic book industry, but you couldn’t tell it by the skill shown in his work. [© the respective copyright holders.]

Otto Binder—The DC Years

Otto Binder circa mid-1960s.

Superman’s Pal, Jimmy Olsen #1 (Sept.-Oct. 1954) The very first story in the very first issue—penciled by Curt Swan & inked by Ray Burnley. Swan would, in the 1960s, become the preeminent artist of the Man of Steel himself. Thanks to Bob Bailey for both scans on this page. [TM & © DC Comics.]

Superman’s Pal, Jimmy Olsen #31 (Sept. 1958) Jimmy’s Plastic-Man-inspired super-power was a sometime thing; but he played the role of Elastic Lad (soon in a super-hero costume) off and on for years. Art by Swan & Burnley. [TM & © DC Comics.]

Binder’s List—Part Three

Star Spangled Comics #86 (Nov. 1948) & #94 (July 1949) (Above:) Although Binder lists himself as scripting “Star-Spangled Kid,” he was actually writing about the masked exploits of his sister “Merry, the Girl with 1,000 Gimmicks,” as she took over her sibling’s feature near the end of its run. If Binder named the costumed heroine, was he perhaps giving a secret nod to the earlier Mary Marvel? Art by Winslow Mortimer. Thanks to Eric Schumacher & Jim Ludwig. [TM & © DC Comics.] (Top right:) Star Spangled #94 included an early adventure of “Captain Compass,” a sea adventurer. His first name, by the way, was Mark. Art by George Papp. Thanks to Jim Kealy & Mark Muller. [TM & © DC Comics.]

Otto Binder—The DC Years

World’s Finest Comics #40 (May-June 1949) A rare George Papp byline on the perhaps-inevitable yarn comparing Green Arrow and Robin Hood. In the early ’40s, GA had been the cover feature of More Fun Comics, and at this stage he still appeared in both World’s Finest and Adventure Comics. Thanks to Doug Martin. [TM & © DC Comics.]

Detective Comics #145 (March 1949) By this time, Robotman (who had moved over from Star Spangled Comics) no longer had his metallic pooch Robbie for company, but the light-hearted art was still done by Jimmy Thompson. Soon, Joe Certa would give the strip a more serious look for its final years. Thanks to Bob Bailey. [TM & © DC Comics.]

Binder’s List—Part Three

Showcase #10 (Sept.-Oct. 1957) Lois Lane, unlike Jimmy Olsen, had to have a pair of “tryout” issues before the DC brass would risk a regular comic book about her. It didn’t take long—only till the first story in the second issue of the audition—for a wedding-themed story to raise its rice-festooned head! Pencils by Wayne Boring; inks by Stan Kaye. Thanks to Bob Bailey for this and the following scan. [TM & © DC Comics.]

Superman’s Girl Friend, Lois Lane #5 (Nov.-Dec. 1958) Otto’s former Fawcett teammate Kurt Schaffenberger soon endeared himself to editor Weisinger, as in this yarn—one of many at DC in which a major character (even sometimes a super-hero) suddenly experienced severe weight gain. What’re the chances there wasn’t a “fat Jimmy Olsen” story, too? [TM & © DC Comics.]

Otto Binder—The DC Years

Superman #123 (Aug. 1958) Binder scripted a major (and then-rare) three-part story here, “The Three Magic Wishes,” which dealt with an early draft of Supergirl—and, in its final segment, a “return to Krypton.” Pencils by Dick Sprang; inks by Stan Kaye. Thanks to Bob Bailey for both art scans on this page. [TM & © DC Comics.]

Superman #127 (Feb. 1959) Since this was the closest anyone was likely to get in those days to seeing “Superman vs. King Kong,” this was a truly memorable story, penciled by Wayne Boring & inked by Stan Kaye. [TM & © DC Comics.]

Binder’s List—Part Three

Adventure Comics #202 (July 1954) The list-page at top left repeats a few stories mentioned elsewhere on Otto’s list, but mainly it illustrates how, between 1949 and 1954, when the DC vs. Fawcett/Superman vs. Captain Marvel lawsuit heated up (and was finally settled), the writer couldn’t work for National/DC. But after the end of Fawcett’s comics line, he was soon back and writing a major feature like “Superboy.” Art by John Sikela. Thanks to Doug Martin for this scan and the next. [TM & © DC Comics.]

Adventure Comics #203 (Aug. 1954) Johnny Quick was on his last legs (at least until All-Star Squadron in the early 1980s) when Otto handled several of his final solo exploits, in tandem with artist Ralph Mayo. [TM & © DC Comics.]

Otto Binder—The DC Years

Adventure Comics #247 (April 1958) Doubtless Otto Binder considered it “just another script” when he, in conjunction with line editor Mort Weisinger and artist Al Plastino, came up with “The Legion of Super-Heroes.” But it turned out to be a concept with legs—and the end is not yet! Chances are that titular “editor” Whitney Ellsworth had little to do with the issue. Thanks to Bob Bailey for this and the following scan. [TM & © DC Comics.]

Mort Weisinger Day-to-day editor of all the “Superman”related comics Otto Binder wrote during the post-Fawcett period.

Superboy #40 (April 1955) One of OOB’s first stories for Superboy’s solo mag after he began writing for DC again was this one in which the Boy of Steel loses his powers. Art by Curt Swan & George Klein. [TM & © DC Comics.]

Binder’s List—Part Three

Superboy #56 (April 1957) Krypto was a co-star in many a “Superboy” tale back in the day, this Binder-scripted one being penciled by Curt Swan & inked by Stan Kaye. Thanks to Bob Bailey for this and the next scan. [TM & © DC Comics.]

Superboy #74 (July 1959) Editor Weisinger liked to fool around with alternate scenarios— what came to be called “Imaginary Tales”—and a quick read of the contents of this three-parter, ballyhooed on its first page, shows what Otto and longtime “Superman” artist John Sikela had to handle. [TM & © DC Comics.]

Otto Binder—The DC Years

Action Comics #225 (Feb. 1957) & #229 (June 1957) Because of his work as a science-fiction writer for pulp magazines years before, Otto “Eando” Binder was a natural to be teamed with artist Jim Mooney for many “Tommy Tomorrow” stories in Action and World’s Finest. OOB had scripted the introductory “Tommy Tomorrow” tale back in 1948’s Action #127. Thanks to Bob Bailey. [TM & © DC Comics.]

Binder’s List—Part Three

Action Comics #254 (July 1959) Otto scribed both features for this issue: a “Superman” story co-starring Bizarro, and the tale in which Supergirl met her adoptive parents. (Two months earlier, he’d scripted the story that had introduced Supergirl, in Action #252, May ’59.) Bizarro was apparently created by writer Alvin Schwartz for the Superman comic strip, but then Binder was instructed to write a story introducing the oddball character to comic books—and the comic book seems to have come out before the strip! Art by Al Plastino and Jim Mooney, respectively. Thanks to Bob Bailey. [TM & © DC Comics.]

Otto Binder—The DC Years

Strange Adventures #54 (March 1955) Otto must’ve had his tongue stuck in his cheek when he titled this story of a different “world’s mightiest” mortal than the one he’d been writing about just a year or so earlier. Pencils by Carmine Infantino, inks by Bernard Sachs. OOB also wrote two other stories that appeared in this issue. [TM & © DC Comics.]

Strange Adventures #51 (Dec. 1954) OOB came up with two powerful images for the splash page of this story of oxygen larceny, and artist Sy Barry was more than equal to the task. Thanks to Bob Bailey for this scan and the above. [TM & © DC Comics.]

Binder’s List—Part Three

Strange Adventures #83 (Aug. 1957) Longtime Strange Adventures and Mystery in Space editor Julius Schwartz liked stories that dealt with alternate worlds and histories, as per this story by OOB, Sid Greene, & Joe Giella. Four years later, working out a tale titled “Flash of Two Worlds” with writer Gardner Fox, Schwartz would introduce the revolutionary “Earth-Two” concept to DC and the comics universe. [TM & © DC Comics.]

Strange Adventures #75 (Dec. 1956) This was the era of “gorilla covers” at DC—and Otto got to write the story to go with this month’s—while Carmine Infantino penciled it and Joe Giella inked it. (And, just for the record, Gil Kane penciled the cover.) Thanks to Bob Bailey for this and the next scan. [TM & © DC Comics.]

Otto Binder—The DC Years

Mystery In Space #21 (Aug.-Sept. 1954)

Strange Adventures #109 (Oct. 1959) This story, illustrated by Sid Greene, was Binder’s final outing for the title—because editor Mort Weisinger pulled rank on fellow editor (and old friend) Julie Schwartz to have Otto work fulltime on stories of the Man of Steel. Thanks to Bob Bailey for both scans on this page. [TM & © DC Comics.]

(Above:) In a deviation from our usual practice, we’re spotlighting a story that isn’t on Otto’s list—but one which he’s still averred, by various sources, to have written: namely, the very first entry in what became the “Space Cabby” series. Art by Howard Sherman. Even if it turns out OOB didn’t script this one, he did definitely write other tales in the continuity. In the early 1940s, in the pulp magazine Thrilling Wonder Stories, “Eando Binder” had written a yarn about an interplanetary cab driver. Thanks to Art Lortie for that info. [TM & © DC Comics.]

Binder’s List—Part Three

Mystery In Space #34 (Oct.-Nov. 1956) See? Here’s one of several “Space Cabby” stories that do track with Binder’s listing—with pencils by Gil Kane, inks by Bernard Sachs. Thanks to Bob Bailey for this and the following scan. [TM & © DC Comics.]

Mystery In Space #44 (June-July 1958) Editor Schwartz was famous for commissioning cover art that spotlighted some outrageous concept—which he and his writers and interior artists would then have to justify. Can there be any doubt that this tale, illustrated by Sid Greene & Joe Giella, was one of them? [TM & © DC Comics.]

Otto Binder—The DC Years

House Of Secrets #13 (Oct. 1958) Otto listed three stories he’d written for Schwartz’s sciencefiction titles that he couldn’t account for… but Ye A/E Editor hopes he’s tracked down at least one of them: “The Museum of Worthless Inventions” in House of Secrets #13 just barely fits in OOB’s timeline (it would’ve come out in late summer of ’58, so if he delivered the script in March of that year, it must’ve been rushed into production). Art by Bernard Baily. Thanks to Mark Muller & Jim Kealy. [TM & © DC Comics.] Of the other two lost-story “titles” listed by Binder, “Mind from Outer Space” became the name of an SF paperback novel he wrote a bit later… and, curiously, we did find a comics story called “The Human Homing Pigeon”—but that one had appeared in Strange Adventures #69 (June 1956), so that can’t be Otto’s yarn. That script is, in fact, credited by the Grand Comics Database to Joe Samachson.

Mystery In Space #54 (Sept. 1959) The idea of a “Noah’s Ark” of space wasn’t exactly new when Binder and artist Sid Greene took a whack at it— but, in conjunction with editor Julius “Be Original” Schwartz, they probably came up with their own twist on it. Thanks to Bob Bailey. [TM & © DC Comics.]

t is

po E st R sc ’s ri pt L

BINDER—The Final Years

B IN D

he year 1965 can be seen in retrospective as the twilight of Otto Binder’s decades-long career… though at the time it must have seemed, at most, its late afternoon. While DC was already beginning to shed many of its older scripters, Otto was still writing for Mort Weisinger when, on March 26, 1967, his and wife Ione’s only child, their teenage daughter Mary, was struck and killed by an automobile. After that, any enthusiasm that remained for writing comics seems to have dissipated; he and Ione soon departed New Jersey to live in upstate New York, which made weekly trips into Manhattan for editorial conferences at DC impossible.

While he continued to script a few comics, he mostly returned to writing science-fiction (which he called his “first love”) and “science fact”… but his last few years were sad ones, for the most part. When I phoned him in 1974 to invite him to do some scripts for Marvel’s black-&-white horror comics, he politely declined, saying his heart just wasn’t in it any longer. He died that October 14, at the relatively early age of sixty-three. But his legacy continues to inspire, decades later… particularly his work on Fawcett’s Captain Marvel-related heroes, and to some extent his 1950s-60s tales of Superman and friends… and he is recognized by comics historians as one of the best and most important comic book writers in the history of the field.

Creepy #2 (Jan. 1965) (Left:) Perhaps not counting Warren Publications’ black-&-white magazines as “comic books,” Otto didn’t list for Jerry Bails his second adaptation of his story “I, Robot,” which (like its earlier EC version) featured Joe Orlando art. He adapted half a dozen Adam Link tales for Creepy, and did a few other yarns for Warren as well. [© New Comic Company, LLC; original story © Estate of Otto Binder.]

Dracula [1966] (Left:) In conjunction with co-writer Craig Tennis and illustrator Alden McWilliams, Otto adapted Bram Stoker’s classic novel into an original paperback which surely ranks among the earliest “graphic novels.” Thanks to Bill Schelly. [© the respective copyright holders.]

Thrill-O-Rama #2 (Sept. 1966) (Above:) Jack Sparling illustrated OOB’s two “Pirana” scripts done for this issue and the next of Harvey’s short-lived super-hero comics line, edited by Joe Simon. Otto also wrote “Tiger Boy” & “Jack Q. Frost” for this title and Unearthly Spectaculars. [TM & © the respective trademark & copyright holders.]

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Headline Headline 2 Author

(Right:) Cheesey Jail-Jamas ad from Story Pubs.’ Love Diary #33 (Feb. 1953).

Mr. Monster’s Comic Crypt!

It’s An Ad, Ad, Ad, Ad World!

by Michael T. Gilbert

K, it’s 1954, and you’re a sweet teenage girl reading a juicy copy of Brides Romances, dreaming of the day you, too, will be a blissfully romantic bride. Suddenly you turn the page, and what do you see? Why, an ad offering an actual honest-to-God tombstone …”Direct from the Factory to You!” And all for a mere $14.95! Talk about a buzzkill!

Death Be Not Cheesy! Now all that sweet young thing can think about is her own fleeting mortality! Ugh! The poor girl then picks up her brother’s Dead-Eye Western comic. Uh-oh. Another, uh, grave mistake! Dear God, it’s a second ad from the Rockdale Monument Company, offering a different death-stone. But hey, this one’s even a bigger bargain. These monuments start at a mere $9.95, including shipping that huge slab of granite anywhere in the U.S. For those not feeling particularly flush, they even offer a... ahem... layaway plan. Wow! A tombstone for under ten bucks. Nothing but the best for your future husband, or maybe even mom and dad!

Two “Monumental” Ads! (Above & right:) The first is from Quality’s Brides Romances #5, (May 1954), followed by Hillman’s Dead-Eye Western #3 (March 1949). [© the respective copyright holders.]

Don’t like gravestones? Well, how about owning your very own steam engine... Free!... courtesy of Tip Top Comics? Every kid’s dream, right? Just plunk down a buck for 24 thrilling issues of The Open Road for Boys and it’s yours. Won’t Mom be surprised? If the idea of Tarzan and Ella Cinders selling steam engines or a tombstone advertisement in a love comic surprises you, well, you ain’t seen nothin’ yet!

A Steamy Offer! Tip-Top Comics #20, (Dec. 1937) advertised a free steam engine to all “red-blooded he-boys”! Wow! Sign me up! [© the respective copyright holders.]

It’s An Ad, Ad, Ad, Ad World!

A Hole In The Ending! At right you’ll see the last two panels of “A Hole in the Head“ a 1953 story from Prize’s Black Magic #27, illustrated by Steve Ditko. Sturdy Steve sent Mike Britt a stat of the story in 1959, with the last panel blank except for a caption on top. The empty space was reserved for an intended newspaper clipping, but the typesetting was never done. I’ve approximated it for this article (see top right). The story’s plot? Three archeologists, a gal and two gents, discover an ancient human skull with a mysterious perfectly round hole in his head. They somehow travel back in time, where a murderous prehistoric human attacks them. The beast kills the two men, but not before one fatally shoots it in the head (hence the hole in the skull they found 1000 years later!). The woman, Martha, faints. When she wakes up, she’s back in the 20th century. Naturally, after Martha tells the police what happened, they stick her in the booby-hatch. In the original version, the writer envisioned an extra twist ending in which a newspaper headline confirms her crazy story. But apparently the editors decided typesetting that final panel wasn’t worth the money. Instead they made a couple of bucks by pasting “The End” on the next-to-last panel and replacing the last pic with a … pimple ad?! Nice surprise ending, cheapskates! Sheesh!

Talk About A Shock Ending! (Above:) The last two panels of “A Hole in the Head” from Prize’s Black Magic #27 (Nov. 1953). The top tier is how the writer hoped the story would end. Below, pimple ad and all, is how it actually looked when printed! Art by Steve Ditko; scripter unknown. [© the respective copyright holders.]

Nobody’ll Notice! Of course one lousy pimple ad is nothing compared to the marketing geniuses at Fiction House. If they spotted a page with an empty space, they’d slap on an ad. And if there wasn’t empty space, they’d slap one on anyway. I mean, who’s gonna notice, right? The “Any Photo Enlarged” ads pasted over the art suggests that Fiction House hired Broadway hucksters Max Bialystock and Leo Bloom, (lead characters in Mel Brooks’ film The Producers) to sell ads. Then it all went bad. ”Max, what are we going to do?” asks Bloom. “We sold more ads than we have pages! We’ll be arrested. Or worse, have to return the money!” “Don’t worry, Leo,” says Max, grinning like a crazed Zero Mostel. “I’ve got a great idea…”

Photo Too Tiny? (Left:) Panels from Fiction House’s Fight Comics #31 (April 1944), and Jungle Comics #51 (March 1944). “Wambi of the Jungle” art by Henry C. Kiefer. [© the respective copyright holders.]

Mr. Monster’s Comic Crypt!

Hey Kids, Comics! Of course some ads really were great. The 1944 example on the right featured something that was decades ahead of its time—a Comic Book Club that rented out comics! For a mere buck a year, readers could sign up to borrow six comics weekly from a comic book library. And we’re not talking old copies of Zoo Funnies, either. More like All-Star Comics, Captain America, The Shadow, and all for a mere 30¢ a week, postage included. Sign me up, Scotty! Or maybe you prefer to buy your comics? Well, a 1942 newspaper ad offered 100 assorted comic books (Complete With Covers!) for a mere $1.95, or 1000 for a cool $19.00! These included Action Comics, Superman, Batman, and Green Hornet. Hey, I’ve got a twenty! Where’s my time machine!?

Where’s My Time Machine? Wouldn’t you love to take advantage of these offers? The above Comic Book Club ad appeared on June 29, 1944, in the Kansas newspaper The Belleville Telescope. The ad at left appeared March 14th, 1942; precise source unknown. [© the respective copyright holders.]

Maybe Wertham Was Right! Of course, not all comic book ads were so innocent. Not for those of us with dirty minds, at least! How about the ad for a genuine leather “Big Bull Whip?” They were probably hawking it in some manly Western comic, right? Wrong! This beauty was advertised in the ninth issue of Ajax-Farrell’s... Lonely Heart! Now why would the readers of a sleazy love comic need a “Big Bull Whip”? Maybe to go with those criminally sexy Jail-Jamas, perfect for that kinky wedding night of her dreams?

It’s An Ad, Ad, Ad, Ad World!

And then there’s that suspicious-sounding ad in Young Love #104, concerning the hottie bragging about making a little extra cash just by ”visiting” her friends and neighbors. She claims she’s selling Blair Beauty Aids (whatever the hell that was!), but I’m not convinced.... And let’s not even talk about the sick advertisement for Magic Slacks with a handy “magic removable crotch.” I think the editors of Quality’s Love Letters should have saved this ad in their littleknown male-oriented comic, Pervert Love, instead. Then there’s the questionable ad in Black Magic #27 for the “Juelene System,” which promises to “Lubricate,” “Massage” and “Stimulate.” According to them, it’s just an innocent hair product. Yeah, and I’m Stan Lee!

Sick! Sick! Sick! (Clockwise from above:) “Big Bull Whip” from Ajax-Farrell’s Lonely Heart #9 (March 1955)… a “working girl” from DC’s Young Love #104 (July 1973)…“Removable Crotch Magic Slacks” ad From Quality’s Love Letters #6 (September 1950)… and a slippery “Lubricate” ad from Black Magic #27 (November 1953). Hmmm… [© the respective copyright holders.]

Mr. Monster’s Comic Crypt!

Weight, Weight, Don’t Tell Me... “Gosh, Jean, you sure are popular since you put on those extra pounds!” “Oh Biff, you sweet talkin’ devil, you!” Yup, everyone knows guys hate skinny chicks. At least that’s what the medical experts at All-Famous Crime Cases assert... and who are we to argue? Ah, yes, gaining weight was such a chore in the days before 48-oz. Big Gulps, giant frozen Frappuccinos, Pie-Shakes, and 36-hour bingewatching TV marathons. Fifty years ago, those poor gals had to pay good money to lay on the lard. Now it’s a snap!

And In Conclusion… Which reminds me that it’s time for us to “snap to” and say goodbye for now. Until then, anyone interested in buying a Chihuahua in a teacup? Till Next time,

Shake Those Calories! Is it just me, or does this ad look like it came from a Jack Chick pamphlet? [© the respective copyright holders.]

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Good Girl, Jean! (Above:) Judging from the ad in Star’s All-Famous Police Cases #16 (Sept. 1954), and the inset art from DC’s Young Love #104 (July 1973), Jean managed to keep those pounds on for decades. Good girl, Jean! [© the respective copyright holders.]

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DRAW! #33

Showcases GIL KANE, with an incisive and free-wheeling interview conducted in the 1990s by DANIEL HERMAN for his 2001 book Gil Kane: The Art of the Comics— plus other surprise features centered around the artistic co-creator of the Silver Age Green Lantern and The Atom! Also: FCA (Fawcett Collectors of America), MICHAEL T. GILBERT, and BILL SCHELLY! Green Lantern cover by KANE and GIELLA!

STAN LEE’s 95th birthday! Rare 1980s LEE interview by WILL MURRAY—GER APELDOORN on Stan’s non-Marvel writing in the 1950s—STAN LEE/ROY THOMAS e-mails of the 21st century—and more special features than you could shake Irving Forbush at! Also FCA (Fawcett Collectors of America), BILL SCHELLY, and MICHAEL T. GILBERT! Colorful Marvel multi-hero cover by Big JOHN BUSCEMA!

Golden Age artist FRANK THOMAS (The Owl! The Eye! Dr. Hypno!) celebrated by Mr. Monster’s Comic Crypt’s MICHAEL T. GILBERT! Plus the scintillating (and often offbeat) Golden & Silver Age super-heroes of Western Publishing’s DELL & GOLD KEY comics! Art by MANNING, DITKO, KANE, MARSH, GILL, SPIEGLE, SPRINGER, NORRIS, SANTOS, THORNE, et al.! Plus FCA, BILL SCHELLY, and more!

Interview and demo by Electra: Assassin and Stray Toasters superstar BILL SIENKIEWICZ, a look at THE WATTS ATELIER OF THE ARTS (one of the best training grounds for students to gain the skills they need to get the jobs they want), JERRY ORDWAY shows the Ord-Way of drawing, JAMAR NICHOLAS reviews the latest art supplies, and BRET BLEVINS and Draw! editor MIKE MANLEY take you to Comic Art Bootcamp.

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“DC in the ‘80s!” From the experimental to the fan faves: Behind-the-scenes looks at SECRET ORIGINS, ACTION COMICS WEEKLY, DC CHALLENGE, THRILLER, ELECTRIC WARRIOR, and SUN DEVILS. Featuring JIM BAIKIE, MARK EVANIER, DAN JURGENS, DOUG MOENCH, MARTIN PASKO, TREVOR VON EEDEN, and others! Featuring a mind-numbing Nightwing cover by ROMEO TANGHAL!

“BATMAN: THE ANIMATED SERIES’ 25th ANNIVERSARY!” Looks back at the influential cartoon series. Plus: episode guide, Harley Quinn history, DC’s Batman Adventures and Animated Universe comic books, and tribute to artist MIKE PAROBECK. Featuring KEVIN ALTIERI, RICK BURCHETT, PAUL DINI, GERARD JONES, MARTIN PASKO, DAN RIBA, TY TEMPLETON, BRUCE TIMM, and others! BRUCE TIMM cover!

100-PAGE SPECIAL featuring Bronze Age Fanzines and Fandom! Buyer’s Guide, Comic Book Price Guide, DC’s Comicmobile, Super DC Con ’76, Comic Reader, FOOM, Amazing World of DC, Charlton Bullseye, Squa Tront, & more! Featuring ALAN LIGHT, BOB OVERSTREET, SCOTT EDELMAN, BOB GREENBERGER, JACK C. HARRIS, TONY ISABELLA, DAVID ANTHONY KRAFT, BOB LAYTON, PAUL LEVITZ, MICHAEL USLAN, and others!

ROCK ’N’ ROLL COMICS! Flash Gordon star SAM J. JONES interview, KISS in comics, Marvel’s ALICE COOPER, T. Rex’s MARC BOLAN interviews STAN LEE, PAUL McCARTNEY, Charlton’s Partridge Family, David Cassidy, and Bobby Sherman comics, Marvel’s Steeltown Rockers, Monkees comics, & Comic-Con band Seduction of the Innocent. With AMY CHU, JACK KIRBY, BILL MUMY, ALAN WEISS, and others!

MERCS AND ANTIHEROES! Deadpool’s ROB LIEFELD and FABIAN NICIEZA interviewed! Histories of Cable, Taskmaster, Deathstroke the Terminator, the Vigilante, and Wild Dog, plus… Archie meets the Punisher?? Featuring TERRY BEATTY, MAX ALLAN COLLINS, PAUL KUPPERBERG, BATTON LASH, JEPH LOEB, DAVID MICHELINIE, MARV WOLFMAN, KEITH POLLARD, and others! Deadpool vs. Cable cover by LIEFELD!

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KIRBY COLLECTOR #72

KIRBY COLLECTOR #73

Celebrating 30 years of artist’s artist MARK SCHULTZ, creator of the CADILLACS AND DINOSAURS franchise, with a featurelength, career-spanning interview conducted in Mark’s Pennsylvanian home, examining the early years of struggle, success with Kitchen Sink Press, and hitting it big with a Saturday morning cartoon series. Includes rarely-seen art and fascinating photos from Mark’s amazing and award-winning career.

A look at 75 years of Archie Comics’ characters and titles, from Archie and his pals ‘n gals to the mighty MLJ heroes of yesteryear and today’s “Dark Circle”! Also: Careerspanning interviews with The Fox’s DEAN HASPIEL and Kevin Keller’s cartoonist DAN PARENT, who both jam on our exclusive cover depicting a face-off between humor and heroes. Plus our usual features, including the hilarious FRED HEMBECK!

The legacy and influence of WALLACE WOOD, with a comprehensive essay about Woody’s career, extended interview with Wood assistant RALPH REESE (artist for Marvel’s horror comics, National Lampoon, and underground), a long chat with cover artist HILARY BARTA (Marvel inker, Plastic Man and America’s Best artist with ALAN MOORE), plus our usual columns, features, and the humor of HEMBECK!

FIGHT CLUB! Jack’s most powerful fights and in-your-face action: Real-life WAR EXPERIENCES, Marvel’s KID COWBOYS, the Madbomb saga and all those negative 1970s Marvel fan letters, interview with SCOTT McCLOUD on his Kirby-inspired punchfest DESTROY!!, rare Kirby interview, 2017 WonderCon Kirby Panel, MARK EVANIER, unpublished pencil art galleries, and more! Cover inked by DEAN HASPIEL!

ONE-SHOTS! We cover Kirby’s best (and worst) short spurts on his wildest concepts: ANIMATION IDEAS, DINGBATS, JUSTICE INC., MANHUNTER, ATLAS, PRISONER, and more! Plus MARK EVANIER and our other regular panelists, rare Kirby interview, panels from the 2017 Kirby Centennial celebration, pencil art galleries, and some one-shot surprises! BIG BARDA #1 cover finishes by MIKE ROYER!

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THE PARTY STARTS WITH

KIRBY100

TWOMORROWS and the JACK KIRBY COLLECTOR magazine celebrate JACK KIRBY’S 100th BIRTHDAY in style with the release of KIRBY100, a full-color visual holiday for the King of comics! It features an all-star line-up of 100 COMICS PROS who critique key images from Kirby’s 50-year career, admiring his page layouts, dramatics, and storytelling skills, and lovingly reminiscing about their favorite characters and stories. Featured are BRUCE TIMM, ALEX ROSS, WALTER SIMONSON, JOHN BYRNE, JOE SINNOTT, STEVE RUDE, ADAM HUGHES, WENDY PINI, JOHN ROMITA SR., DAVE GIBBONS, P. CRAIG RUSSELL, and dozens more of the top names in comics. Their essays serve to honor Jack’s place in comics history, and prove (as if there’s any doubt) that KIRBY IS KING! This double-length book is edited by JOHN MORROW and JON B. COOKE, with a Kirby cover inked by MIKE ROYER. (The Limited Hardcover Edition includes 16 bonus color pages of Kirby’s 1960s Deities concept drawings)

(224-page FULL-COLOR TRADE PAPERBACK) $34.95 ISBN: 9781605490786 • (Digital Edition) $12.95 Diamond Order Code: MAY171932 PRINTED IN CHINA

(240-page LIMITED EDITION HARDCOVER with 16 bonus pages) $45.95 ISBN: 9781605490793 • Diamond Order Code: MAY171933

SHIPS AUGUST 28! Download an interactive PDF version of TwoMorrows’ NEW 2017-2018 CATALOG at www.twomorrows.com! Then just click on any item, and you’re taken to its ordering page online! SUBSCRIPTIONS ECONOMY US Alter Ego (Six 100-page issues) $65 Back Issue (Eight 80-page issues) $73 BrickJournal (Six 80-page issues) $55 Comic Book Creator (Four 80-page issues) $40 Jack Kirby Collector (Four 100-page issues) $45

EXPEDITED US $83 $88 $66 $50 $58

PREMIUM US $92 $97 $73 $54 $61

TwoMorrows. The Future of Comics History. TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

INTERNATIONAL $102 $116 $87 $60 $67

DIGITAL ONLY $29 $31 $23 $15 $19

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