Alter Ego #41 by TwoMorrows Publishing

FRANKENSTEIN FEAR-FEST WITH

BERNIE WRIGHTSON, DICK BRIEFER, & FIENDS

1994--2004

5.95

In the USA

No. 41 October 2004

Vol. 3, No. 41 / October 2004

M ™

Editor

Roy Thomas

Associate Editors Bill Schelly Jim Amash

Design & Layout

Christopher Day

Consulting Editor John Morrow

FCA Editor

P.C. Hamerlinck

Comic Crypt Editor Michael T. Gilbert

Editors Emeritus

A Fiendish FRANKENSTEIN Festival

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

Production Assistant

Eric Nolen-Weathington

Cover Artists Bernie Wrightson Marc Swayze

Covers Colorist Tom Ziuko

And Special Thanks to: Heidi Amash Michael W. Kaluta Ger Apeldoorn Allen G. Kracalik Bob Bailey Richard Langlois Richard Bealzley Marshall Lanz Alberto Beccatini Mark Lewis John Benson Christy Lockstein Jackson Bostwick Vatche Mavlian Jerry K. Boyd Mike Mikulovsky Chris Brown Sheldon Moldoff Gary Brown Brian K. Morris Frank Brunner Frank Motler Bernie Bubnis Peter Normanton John Coates John G. Pierce Howard Leroy Bud Plant Davis Virginia Provisiero Al Dellinges Ed Rhoades Michael Dewally Alex Ross Roger Dicken Dorothy & Wendy Hunt Schaffenberger Jay Disbrow David Siegel Michael Dunne Robin Snyder Don Ensign Emilio Squeglio Conrad Eschenberg Mike Tiefenbacher Michael Eury Dann Thomas Ed Fields Alex Toth Shane Foley Jim Vadeboncoeur, Jr. Ray Funk Dr. Michael J. Carl Gafford Vassallo Janet Gilbert Mark Voger Donald F. Glut Pete Von Sholly Ron Goulart Loston Wallace Paul Gravett Delmo Walters, Jr. Chris Green Jean Marie Ward Walt Grogan Hames Ware Jennifer Hamerlinck John Wells Jim Harmon Mark Wheatley Bill Harper Tom Wimbish Kyle Henry Bernie Wrightson Greg Hunyager Mike Zeno

Contents Writer/Editorial: “Lost in Darkness and Distance” . . . . . . . . . . 2 “A Lifelong Love Affair with Frankenstein” . . . . . . . . . . . . . . . . 3 Bernie Wrightson talks to Roy Thomas about those sensational 1970s-80s illustrations.

Frankenstein in Four Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Don Glut spins an informal biography of Mary Shelley’s Monster in comic books. A Not-So-Spirited “Spirit of Frankenstein” . . . . . . . . . . . . . . . . 29 Michelle Nolan on the American Comics Group’s odd Adventures into the Unknown. Alex Toth Meets Frankenstein . . . . . . . . . . . . . . . . . . . . . . . . 32 “A Tip of the Topper to Dick Briefer” from one of his greatest fans. Frankenstein: Monster in Tights . . . . . . . . . . . . . . . . . . . . . . . 34 When Dell Comics stitched together super-heroes and horror, by Stephan Friedt. Spawn Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Victor Frankenstein’s fearful fiend at DC Comics (1948-1994), by John Wells. Frankenstein in the Funny Pages? . . . . . . . . . . . . . . . . . . . . . . 45 Dick Briefer nearly pulled it off it back in the 1970s—in his own words and pictures! Happy 100th, FCA! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flip Us! About Our Cover: What can we say, except—“a plethora of riches!” Bernie Wrightson generously gave us our choice of using any one of his fabulous Frankenstein drawings as this issue’s cover—and that’s when our dilemma began. Because there are literally a dozen of his 1970s-80s illustrations for Mary Shelley’s novel—spread over no less than two different books—any one of which would have made our day! We settled on this one, to avoid repeating the cover of the 1983 edition. Any complaints? We didn’t think so. [Art ©2004 Bernie Wrightson.] Above: Since this section’s twin spotlights are on the Frankenstein art of Silver-Ager Bernie Wrightson and Golden Age cartoonist Dick Briefer, here’s a favorite splash of ours by the latter, from the Prize Comics Group’s Frankenstein #1 (Summer 1945), courtesy of Al Dellinges. [©2004 the respective copyright holders.] Alter EgoTM is published monthly by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, N C 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. Single issues: $8 ($10 Canada, $11.00 elsewhere). Twelve-issue subscriptions: $60 US, $120 Canada, $132 elsewhere. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in Canada. FIRST PRINTING.

Title writer/editorial

“Lost in Darkness and Distance” “He was soon borne away by the waves and lost in darkness and distance.” I’ll confess I’ve always found this last sentence of Mary Shelley’s 1818 novel Frankenstein, or the Modern Prometheus terribly poignant and moody, even poetic. Translation: I’ve swiped and/or paraphrased it numerous times in my nearly four decades in the comic book field. My own first exposure to Frankenstein came in fits and starts back in the (for me) pre-TV mid- to late 1940s—with Dick Briefer’s wonderful humorous comic book of that name… with caricatures of a Karloffian Monster in cartoons shown at Saturday movie matinees… with grainy black-&-white trailers for Universal movie re-releases I was too young to be allowed to attend (at least partly because the films usually played at Halloween midnight shows)… and with the marvelous best-of-bothworlds Abbott and Costello Meet Frankenstein, which my mother took

me to see at age seven or so in 1948, when it was fresh and new, on the theory, I suppose, that because Bud Abbott and Lou Costello were the stars, it wouldn’t be scary. It was—but I loved it, and have been happy to note in the years since that all intelligent movie critics do, too. So here’s a look at the Monster as rendered by some great comic book artists—Bernie Wrightson, Dick Briefer, Michael W. Kaluta, Mike Ploog, Graham Ingels, Alex Toth, and others. We only wish we could have featured even more art by the half dozen listed above, and by their comic book compeers. But ’tis enough—’twill serve. Happy Halloween!

COMING IN NOVEMBER ™

THE FORGOTTEN ARTISTS OF

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• Two never-before-published color covers—The Avengers by STEVE FASTNER & RICH LARSON and Airboy & The Heap by Golden Age artist ERNIE SCHROEDER! • Silver Age Threads among the Gold! Spotlight on the 1960s Marvel work of DON HECK, WERNER ROTH, and PAUL REINMAN! (But there’s liable to be a bit of JACK KIRBY, DICK AYERS, GENE COLAN, SAL BUSCEMA, NEAL ADAMS, JOHN ROMITA, JOHN BUSCEMA, et al., on view, as well!) • Golden Age Gallery! From the 1940s-50s glory days of Hillman and Ziff-Davis comics! Airboy/Heap artist ERNIE SCHROEDER—editor HERB ROGOFF—artist WALLY LITTMAN—in deep conversation with JIM AMASH! With fabulous added art by FRED KIDA, MURPHY ANDERSON, DAN ZOLNEROWICH, ALEX KOTZKY, DAN BARRY, BERNIE KRIGSTEIN, DAN DeCARLO, MORT LEAV, JOHN PRENTICE, EVERETT RAYMOND KINSTLER, MIKE SUCHORSKY, MARV LEVY, BILL ELY, & many others! • FCA with MARC SWAYZE and the (delayed) finale of The Fawcett/Charlton Connection, plus a full, profusely-illustrated index! • MICHAEL T. GILBERT with KIRBY & DITKO “Twice Told Tales”—BILL SCHELLY on early fanzines—ALEX TOTH on Quality Comics talents we missed in A/E #34 —& MORE!!! Edited by ROY THOMAS • 108 PAGES!

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“A Lifelong Love Affair With Frankenstein ” BERNIE WRIGHTSON on Illustrating Mary Shelley’s Monster Conducted by Roy Thomas

Transcribed by Brian K. Morris

[INTRODUCTION: There will probably be very few readers of Alter Ego—especially of this issue of it—who will be unfamiliar with Bernie Wrightson’s work, in particular his art on DC’s Swamp Thing comic book in the early 1970s and his illustrations for a special edition of Mary Shelley’s 1818 novel Frankenstein, which was published in 1983—with an introduction by Stephen King, no less. This phone interview was conducted, in a rather impromptu fashion on Ye Editor’s part, on August 2, 2004. —Roy.] ROY THOMAS: How far back does your interest in the Frankenstein character go? BERNIE WRIGHTSON: Oh, Jesus. It goes way back to the 1950s, when I was a kid and Universal released their monster movie package to TV. Just seeing all the Frankenstein movies for the first time—who knows what a little six-year-old brain is going to latch onto? I just fixated on the Monster. That’s the guy that really grabbed me. I have friends who got really caught up in The Mummy or the Creature [from the Black Lagoon] and became fixated on those guys. Frankenstein was mine. RT: Before you did the illustrations for the novel, you had done quite a few Frankenstein drawings in your early professional work for various black-&-white comics, hadn’t you? WRIGHTSON: Oh, sure, sure. The character showed up again and again in stuff I did for fanzines and things like that. There were even several aborted attempts to do it as a graphic novel. It never went beyond a couple of pages of continuity. RT: When do you think was the first time you depicted the Monster in a story? Did you do anything in some of the Warren magazines or Web of Horror with him? Or was it when you did things like The Patchwork Man in Swamp Thing? WRIGHTSON: You know, that was probably the first time he showed up in any published work, like newsstand stuff. And there was a story in one of the Warren magazines. I can’t remember the title, it was either Creepy or Eerie, called “Muck-Monster,” which was a total Frankenstein rip-off and kind-of done in the style of the illustrations that would appear in the book. RT: So the first thing that you came out with, as regards the illustrations that were later printed with a special edition of Mary Shelley’s novels, was the first of the two portfolios you did? WRIGHTSON: Right. At some point, I kind-of decided that this was never going to happen as a graphic novel. You know, an adaptation to comic books. And I thought, “Well, I don’t think anyone has done a fully-illustrated edition of the novel.” I mean, there was the edition in the ’30s or ’40s…. RT: Lynd Ward? [NOTE: See illustration on p. 11.]

Bernie Wrightson (top left), in a photo from an interview done for Crescent BlueÕswebsiteÑand the cover of the 1983 Dodd, Mead hardcover edition of Frankenstein which existed primarily to showcase BernieÕsexquisite illustrations. (He then spelled his first name ÒBerni.Ó) Bernie told Crescent Blue, a website presided over by Jean Marie Ward: ÒMy mother took me to see a Frankenstein movie when I was really young, and it affected me very deeplyÉ That led to seeing all the other Frankenstein movies, led to reading the book, and I developed a lifelong love affair with Frankenstein and anything associated with it. Illustrating the book had always been a dream of mine. I always wanted to see that storyÑMary ShelleyÕsÑillustrated faithfully.Ó In another recent online interview, with Christy Lockstein (which you can read at <Christy@sequentialtart.com>), Bernie related how Stephen King came to write the introduction to the volume: ÒWhen I did the comic book adaptation of [the film] CreepshowÉ I met with Stephen King and it turned out that he was a fan of mine. He had read Swamp Thing and a few other things I had done. I told him I was illustrating FrankensteinÉ I asked him if he would write an introduction to it, and he said that he would be happy to. It was like a favor.Ó Thanks to Tom Wimbish and Fernando Correa de Carvalho for their help in locating these two website interviews. [Art ©2004 Bernie Wrightson.]

Bernie Wrightson on Illustrating Mary Shelley’s Monster

Ò[The Frankenstein Monster] showed up again and again in stuff I did for fanzines.Ó Here are two samples of same from the 1960s and early Õ70s: an early Wrightson illustration with a very Karloffian look, and a single-page gag. This art was reprinted in Apple PressÕ1993 book Bernie Wrightson: The Lost Frankenstein Pages. That volume collected numerous preliminary sketches for the 1983 book, plus drawings the artist decided not to use, as well as examples of BernieÕsearlier depictions of the Monster. The Lost Frankenstein Pages is a worthy companion to the illustrated novel, and is available from publishers Michael & Hilary Catron for $9.95 a copy postpaid. Their address is P.O. Box 309, Greencastle, PA 17225Ñor you can e-mail them (Hilary, really, since sheÕllbe doing the heavy lifting!) at <hcatron@earthlink.net>. PayPal accepted. Do yourself a favor and pick up this one, as well as the illustrated novel! [Art ©2004 Bernie Wrightson.]

WRIGHTSON: Lynd Ward, yeah, with woodcuts, which was great. But I really wanted to do something that looked a little more archaic. My original intention was, I wanted the illustrations to look as though they could have been done at the time Mary Shelley’s novel was first published, given the printing process and reproduction techniques of the time. So I settled on something that would look like a woodcut or a steel engraving: all black-&-white, pen-and-ink and everything, and kind of old-fashioned-looking. RT: And the portfolios, I guess, were what—a way to finance things as you went along? WRIGHTSON: Yeah, that was early along in the process. Originally, I was going to self-publish, and the portfolios were to make the money to cover the printing costs for the book. And, of course, that never happened because I was young and I had no idea what I was getting into. So we sold the portfolios; they made quite a bit of money for the time. RT: They were classic portfolios. I think they’re some of the most valuable that came out during that era or after. WRIGHTSON: That’s what I hear, yeah, yeah. You know, there never were too many of them; I think maybe a thousand or so were made, but I wasn’t thinking about that. It’s just, “This is what I’ll do. I’ll make money from this, put it back into the book.” And, of course, all the money went to trivial, inconsequential things like rent. [laughs] And

then Marvel came along. RT: Well, wasn’t the original portfolio done in ’77? That’s the earliest copyright date I’ve seen on any illustrations in the edition that I have of the novel version. Some illustrations were copyright ’77, others ’78. WRIGHTSON: I remember it made its debut at Phil Seuling’s convention in Philadelphia. RT: Please forgive my ignorance, but I have the Dodd, Mead version. Which came first, the Marvel or the Dodd, Mead? WRIGHTSON: Well, they came kind-of simultaneously. What happened was that [Marvel editor-in-chief] Jim Shooter wanted to do a whole line of comic and graphic novels, illustrated novels he could put into bookstores. And I remember him telling me that he wanted to get it into airport bookstores, which was a pretty big venue at the time. And he saw Frankenstein and said, “Yeah, we’d like to do this and this would be our introduction into this venue. It’d be like our flagship book.” And by that point, I thought, “Well, I’m not going to publish this myself,” and here comes Jim. So I said, “Okay, sure.” So I signed the contract, and it never actually made it into the airports, as far as I know. But anyhow, they had a deal with Dodd, Mead for the hardcovers. RT: Ah, so Marvel led to the Dodd, Mead thing.

“A Lifelong Love Affair with Frankenstein”

(Left:) One of the pages Bernie did in the 1960s, during his first attempt to adapt the novel Frankenstein into comics form. (Right:) In 1975, he drew this page as a sample for a French publisher. Both pages were reproduced in Bernie Wrightson: The Lost Frankenstein Pages. See them lots bigger there. Thanks to Michael & Hilary Catron. [©2004 Bernie Wrightson.]

These reproductions are far too small to do them justiceÑbut here are the sleeves of the two Wrightson Frankenstein Portfolios produced in the late 1970s, ostensibly to finance BernieÕswork on the illustrations. These sleeves, too, were reprinted in Bernie Wrightson: The Lost Frankenstein Pages. [©2004 Bernie Wrightson.]

Bernie Wrightson on Illustrating Mary Shelley’s Monster FRANKENSTEIN TIMES FOUR! Bernie Wrightson: The Lost Frankenstein Pages also printed this quartet of drawings, only one of which had been previously published. [Clockwise from top left:] A preliminary sketch for Victor FrankensteinÕssecond confrontation with his creation, near Mont Blanc, Switzerland; What Lost Pages called the Òuncompleted, unused illustrationÓ that grew from the foregoing sketchÑwith the backgrounds left un-inked; The finished illustration of that scene which was used in the Marvel and Dodd, Mead editions in 1983. Another angle on the same sceneÑa truly breathtaking piece of unused art, showing the scale of the 8ÕMonster. [©2004 Bernie Wrightson.]

“A Lifelong Love Affair with Frankenstein”

(Above:) A stunning scene from the published book: the MonsterÕsfirst confrontation with Victor, on the night of his creation. (Above right:) Yet another powerful Wrightson illustration that was not used in the 1983 edition. It appeared in the Lost Pages book, above a quotation from the Monster: ÒI will glut the maw of deathÉ withÉ your remaining friends.Ó [©2004 Bernie Wrightson.]

WRIGHTSON: Yeah, Marvel was the conduit. It’s essentially the same book, just with hard covers. RT: You mentioned that an edition will be coming in the near future as a sort of anniversary edition. WRIGHTSON: Well, the 25th Anniversary [of its 1983 book publication] will be in 2008. So I want to put together an anniversary edition, which will be, essentially, the edition that it is, but with some additional material. You know, I have some of the original sketches that I did on notebook paper. I wanted to ink some of those, maybe in comparison with the original drawings. RT: Some of those may have been in that Lost Pages book? WRIGHTSON: Yes. But a lot of it probably has never been published. RT: So this will be the DVD version. (Right:) About time we showed you the cover of the Apple Press Lost Pages book, which utilized another of BernieÕsmany self-rejected drawings done for the published version. Thanks to the Catrons. See p. 4 for info on how to get hold of a copy. [©2004 Bernie Wrightson.]

Bernie Wrightson on Illustrating Mary Shelley’s Monster

Two preliminary sketches from The Lost Frankenstein Pages which Bernie later rejected in favor of totally different layoutsÑthe first, yet another version of the scene in which Victor Frankenstein encounters the Monster in Chapter VIIÑthe second, depicting what Mary Shelley often called Òthe FiendÓ fleeing from angry villagers. WhatÉ no torches? [©2004 Bernie Wrightson.]

WRIGHTSON: Right, exactly. This will be the Director’s Cut. I want to do a fairly comprehensive essay about the art, because I don’t feel qualified to really address the story in literary terms. RT: Do you anticipate doing any new art for it at all? Even one or two drawings? WRIGHTSON: I don’t think so. There was a time when I thought about supplementing the illustrations in the book with, oh, maybe some chapter heads or illuminated letters or things like that. And I think that time has passed. I look at the book now and my feeling is that I just don’t want to f*** with it. [laughs] Anything I do at this point is not really going to improve it. RT: You can turn it into a time capsule for that particular period in your life, really. WRIGHTSON: Sure, sure. RT: Is there anything else you’d like to say? WRIGHTSON: Off the top of my head, no, I can’t really think of anything. You’re the writer. You can put really terrific words in my mouth. RT: [laughs] I’m content with the ones that you actually said.

Bernie drew the cover of the program book for Phil SeulingÕs1977 New York Comic Art Convention. Surely the Swamp Thing and the Frankenstein Monster are the two visual images most associated in many aficionadosÕminds with Wrightson. But the two creatures never metÑunless you count the Frankensteinian Patchwork Man in early-Õ70sissues of Swamp Thing. Thanks to John Benson. [Art ©2004 Bernie Wrightson; Swamp Thing TM & ©2004 DC Comics.]

“A Lifelong Love Affair with Frankenstein” [NOTE: This was originally meant to be the conclusion of the interview, but then I mentioned that, also in this same issue of Alter Ego, we had planned an article on the DC series “The Spawn of Frankenstein,” the first several installments of which were drawn by Bernie’s longtime friend and associate Michael W. Kaluta. Bernie added these comments:] WRIGHTSON: When Mike got that job, I remember he called me and said, “What does the Monster look like?” [Roy laughs] And I described the Monster for him, and he drew it exactly the way I described it, which is why Michael’s Monster looks like mine. RT: I knew there was a family resemblance. At that time, had you drawn your own illustrations for the portfolio? WRIGHTSON: Of course, I had fooled around quite a few years before. But Michael’s thing came out before mine did, yeah.

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Frankenstein In Four Colors An Informal Biography of Everybody’s Favorite Monster in Comic Books by Donald F. Glut

ÒFrankenstein Meets the Comics!Ó Author Don Glut as the Frankensteinian DC super-villain Solomon Grundy, at the 1971 Witchcraft & Sorcery Convention in Los AngelesÑbookended by Dick BrieferÕscover portrait for PrizeÕsFrankenstein #23 (Feb.-March 1953), and Boris Karloff in that wonderful Jack Pierce makeup from the 1931 James Whale film. You tell us which of the three is the scariest! Glut photo by Allen G. Kracalik. [Frankenstein photo ©2004 Universal.]

[A/E EDITOR’S NOTE: Among his other considerable achievements, which include such cult films as Dinosaur Valley Girls and Countess Dracula’s Orgy of Bood and past comics creations such as Dr. Spektor and Dagar the Invincible for Gold Key, Don Glut is one of the world’s outstanding experts on and catalogers of the many appearances of the Frankenstein Monster in various media over the decades—no, make that centuries. This article has been abridged by Ye Editor, with Don’s permission, from a chapter in his still-in-print 2002 McFarland book The Frankenstein Archive, with beaucoup illustrations added. That chapter, in turn, made use of material by Don that had previously appeared in The Comic-Book Book (1973), edited by Dick Lupoff and Don Thompson, and this writer’s All-Star Companion (TwoMorrows, 2000). A reprint of The Comic-Book Book is currently available from Krause Publications, while the revised edition of The All-Star Companion appeared this past summer. Oh, in adding some boldly-lettered division headings below, I’ve slipped in even more puns than usual—because Don is one of the few people I know who can dream up more and worse ones than Jim Amash and I put together! —Roy.]

A lightning storm raged in the bleak heavens as Frankenstein eagerly manipulated the controls of his laboratory apparatus. After the giant humanoid received the life-giving jolts of electricity, it sat up on the platform. Victor stared into the face of his living creation, oblivious to the ghastly features he himself had stitched together. Perhaps it was his plan to give this being a new face, someday. But with the absentmindedness of most such unorthodox scientists, he had overlooked that single detail. The face of this being was that of a hideous monster. The dead white flesh barely covered the contours of the misshapen skull. The bloodgashed forehead was high, with stringy black hair hanging in uneven lengths almost to the wide shoulders. The two bulging eyes rarely looked in the same direction. A skeletal stub, which Victor assumed to be a nose, was set up between those eyes. The lips were torn to reveal a set of ugly teeth. Despite the proximity of the wretched face, the scientist failed to recognize the potential horror he had created.

Dr. Victor Frankenstein stared at the giant white-skinned form stretched before him on a platform in his laboratory. The creature was at least 15 feet tall, assembled from parts of many corpses and covered with a sheet.

The actual blame for the creation of this Frankenstein Monster falls upon Richard Briefer. A previous appearance of the infamous Monster had been an adaptation of the Universal motion picture Son of Frankenstein in the premier issue of Movie Comics (April 1939), published by Picture Comics (now DC Comics, the publisher of Superman and Batman). But this was presented as a one-shot combination of retouched movie stills and artwork. It was Briefer who took the Frankenstein concept and, for the first time ever, developed it into a comic-book series.

In his enthusiasm, Dr. Frankenstein thought he had created a perfect man.

Seemingly Richard (later just “Dick”) Briefer was a fan of the novel Frankenstein, or The Modern Prometheus, written by Mary

A Briefer History of Frankenstein

Frankenstein in Four Colors Wollstonecraft Shelley and first published in 1818, and of the series of Frankenstein movies (including the afore-mentioned 1939 Son of Frankenstein) then being made by Universal Pictures. Both seemed to have greatly influenced his comic book work. Before he actually utilized that concept of a scientist creating a monstrous living being, Briefer began to do his own experimenting. Briefer had already been writing and illustrating the “Rex Dexter, Interplanetary Adventurer” series in Mystery Men Comics, a four-color comic book published by Fox. Rex was kind of a poor man’s Flash Gordon who rocketed about the universe battling extraterrestrial menaces. In the fifth issue of Mystery Men (Dec. 1939), the space hero defeated a fiendish robot having a squarish head, sunken cheeks, straight black hair that hung in bangs, and a pair of electrodes protruding from its head. Obviously this robot was patterned after the Frankenstein Monster stalking through the Universal series; also, it was virtually the face of Briefer’s own future Frankenstein Monster. Taking the basic facial structure of Universal’s Monster (high forehead, straight black hair with bangs, scars, and powerful physique) and altering it enough to avoid any problems with copyright infringement, Briefer put his own version of the character into a comic strip and tried selling it professionally. Briefer was not one of the upper echelon of comic book writers and artists, nor would he ever be, occasionally “ghosting” for other talents on such features as the very popular “Captain Marvel.” His style was simply too loose and often unfinished-looking to compete with the work of some of the fine draftsmen then seeing their work printed. Therefore, Briefer took his intended series to Feature Publications’ Prize Comics (the title which gave that comic book line its name of the Prize Group), where he sold it under the title “New Adventures of Frankenstein,” supposedly written and drawn by “Frank N. Stein.” (Naturally no one believed that the pseudonym was a real name. Fans of “Rex Dexter” could immediately recognize Briefer’s style, which during the 1940s would be applied to a few more strips, including “Pirate Prince” in Silver Streak Comics and Daredevil Comics, published by Lev Gleason.)

Dead Eyes on the Prize Prize Comics, which made its debut in March 1940, was one of the more successful magazines in the ’40s primarily featuring super-heroes. National, Timely, and Fawcett led the field in that area. Prize’s star characters included The Black Owl, who did his best to imitate National/DC’s Batman; Doctor Frost, who controlled coldness as kindof an opposite of Timely’s Human Torch; the Great Voodini, who seemed to have been a fan of Mandrake the Magician of newspaper-strip fame; and Power Nelson, a futuristic imitation of National’s Superman, who traveled to the 20th century to perform his super-heroics. Of course, none of the Prize heroes could compete with the original characters that inspired them. It would take an ugly anti-hero like the Frankenstein Monster to give the magazine its special distinction. Briefer’s “Frankenstein” strip debuted in Prize Comics #7 (Dec. 1940). When the Prize version of the Monster came to life in Frankenstein’s laboratory, its movements were sporadic. Inadvertently the creature knocked his creator unconscious; then he fled the castle to find his place in the world. As would be expected, the hideous being was persecuted wherever he went. He experienced happiness for the first time in his short life when he came upon the cabin of a blind man who fed and befriended him. When the blind man’s son returned to the cabin and found his father in the company of a 15-foot-tall horror, he blasted the creature with a shotgun. The Monster was driven away by an angry mob that attacked him with clubs and stones. Briefer adapted these first four pages from the plotline of Mary Shelley’s novel. The Frankenstein castle and fantastic laboratory reflected Briefer’s own interest in the Universal movies and were an attempt to present on paper what was already familiar to filmgoers. It should be mentioned, however, that at the time that Briefer produced his first “Frankenstein” comic book tale, he did not—unlike the many writers and artists of illustrated stories that would follow him—have the tradition of a long list of Frankenstein movies upon which to pattern his stories. In 1940, for example, Universal Pictures had filmed only three movies in its Frankenstein series—Frankenstein, Bride

(Left:) Perhaps the first print visualization of the Frankenstein Monster was this Chevalier illustration which appeared in the 1831 edition of Mary ShelleyÕs immortal work. (Center:) In the 1930s Spanish artist Nino Carbe did 46 definitely non-Karloffian drawings for an edition of the novel. (Right:) In the 1940s American artist Lynd Ward produced numerous wood engravings for yet another edition. Some of WardÕsother work has been posthumously hailed as forerunners of todayÕsgraphic novels. [©2004 the respective copyright holders.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books

of Frankenstein, and Son of Frankenstein. Thus far the Universal version of the Monster had not yet met such other horror stalwarts as the Wolf Man and the vampire Dracula. This forced Briefer to be more original in his story ideas, and his character’s encounters with such familiar horror figures as werewolves, vampires, and zombies would not occur until much later. Readers of the Shelley novel had been led to believe that the Frankenstein story was set in an earlier century, in the wilds of various places in Europe. But those who read the Prize version might have been surprised to learn that the Frankenstein Monster had been created not far from Manhattan... in 1940! After the Monster committed the cardinal sin of throwing two children into a lion’s cage, the fiend caused some more destruction, then climbed to the top of the Statue of Liberty. Obviously, Briefer was also drawing on the popular images created by past monster movies. Anyone who had seen King Kong ascend New York’s Empire State Building could not help making the association. Atop the Statue of Liberty, the Monster snatched people from the giant crown and dashed them to their deaths. Luckily, with a coincidence typical of the comic books, Victor Frankenstein was in the vicinity with his fiancée Elizabeth. Victor reached the crown and then leaped upon his murderous creation. He missed the Monster, however, and landed in Miss Liberty’s left hand. Surprisingly, instead of crushing his maker, the Monster gently placed him within the Statue’s crown. After the police aimed their guns and opened fire, the bullet-ridden giant plummeted—again, like Kong—to an apparent death beneath the waters off Bedloe’s Island. Later, Victor wondered why the Monster had saved his life. Suddenly there was a crash of glass and the giant fiend threatened through the broken window: “I spared you to live—to live in misery also—to watch

(Left:) Even though proto-DCÕsMovie Comics #1 got to Franky first in terms of comic books, it was only when Dick Briefer wrote and drew his first ÒFrankensteinÓ story for Prize Comics #7 (Dec. 1940) that Mrs. ShelleyÕscreation truly entered that wondrous new world. Scan by Don Glut. (Right:) Seven years earlier, King Kong had climbed the Empire State BuildingÑ so BrieferÕsFrankenstein scaled the Statue of Liberty, a year or so before Nazis and Robert Cummings would do so in Alfred HitchcockÕs1942 film Saboteur. Do you suppose maybeÑ? Naaah! (Incidentally, this page was painstakingly traced by Al DellingesÑand, except for the lettering, it almost perfectly reproduces BrieferÕsart line.) [Comic art ©2004 the respective copyright holders.]

and see the suffering and grief that I, your creation, will cause the human race. You will chase me, but never get me! I go now, always haunting and tormenting you!” Victor was still brooding over the horror he had unleashed upon the world in Prize Comics #8 (Jan. 1941). Realizing that such misery was the result of creating a soulless being, Frankenstein resolved to destroy his Monster in the most practical way he could devise. He would build another! And this second creation would be even less human than the original. This monster would have the head and paws of a giant crocodile and the brain of a madman! (By now, Frankenstein should have known better.) The reptilian horror and the Frankenstein Monster fought atop New York’s Radio City. Although the crocodile-man should have been the winner of their battle, the Monster killed his foe and escaped via an elevator shaft into a subway excavation. Apparently Victor had not considered the consequences had the reptile-man and not the Monster won. The Frankenstein Monster had become the greatest super-villain in Prize Comics. As the Prize super-heroes were occupied with their own, usually lesser, adversaries in their own features, someone was needed to battle the Monster on more equal terms. Victor Frankenstein was, by then, becoming so neurotic over the Monster’s every new crime that

Frankenstein in Four Colors

disposing of the brute would obviously have to become someone else’s responsibility. While not equaling the Monster in size and raw strength, this new adversary would have enough courage and sheer “goodness” to combat even so terrible a fiend.

Faster Than a Speeding Bulldog A young boy named Denny happened to be the sole survivor of an automobile crash caused by the Monster. Denny’s parents were killed in the wreck, and Victor Frankenstein felt responsible. The boy’s legs were injured, and only the surgical skill of Frankenstein saved him. But Denny was forced to remain in a wheelchair. Frankenstein resolved to cure the boy completely, while seemingly aging 20 years under the strain. While the Monster commanded the criminal underworld and continued to wage his war against humanity, Denny received periodic treatments. During the ten years following his cure, Denny lived as the ward of the spirit-broken Dr. Frankenstein, training himself (à la Bruce Wayne, who would become The Batman) to physical perfection. Wearing a black riding outfit and a pin with a picture of his pet bulldog Spike, the young man became a super-hero of sorts with the single purpose of destroying Frankenstein’s Monster. Briefer may also have been a fan of the old “Bulldog Drummond” stories and movies. Drummond was an amateur sleuth aided in his adventures by a valet named Tenny. Just as Briefer had once applied the Frankenstein concept to Rex Dexter, so did he seemingly apply Bulldog Drummond and the similarly sounding name “Tenny” to Frankenstein (the “New Adventures” and “Frank N. Stein” had been dropped). The Monster had threatened to demolish New York’s subway system. But Denny heroically intervened, defeating the Monster’s hired thugs and finally capturing the giant. When a reporter photographed Denny running from the scene and found the bulldog pin which had fallen from

his black outfit, the following headline ran in the morning newspaper: “Bulldog Captures Monster!” With the bulldog emblem on his chest, “Bulldog Denny” vowed to be the eternal enemy of the Frankenstein Monster. The decade in which Denny grew into Bulldog Denny also affected the Monster. In his original Briefer conception, the Monster was too large and powerful to be defeated by one of even Denny’s prowess. During those years the Monster had somehow grown considerably smaller. And although he was still a hideous creature to behold, his face lost many of the gruesome features it possessed when the being first came to life. When Victor Frankenstein was finally written out of the strip to be replaced as the Monster’s main antagonist by the more appealing Bulldog Denny, the Monster assumed his maker’s name. Briefer had tried to remain accurate by not calling the Monster “Frankenstein.” But the public had already been, for many years, confusing the Monster with its maker in terms of names, and Briefer finally went along with this trend. Frankenstein, as the Monster was now called, continued his battles against humanity, at one time even (literally) going to Hell to team up with the Black Owl’s demonic adversary Doctor Devil (Prize #22, July 1942), until Bulldog Denny demonstrated his goodness by defeating both villains. The United States had entered World War II. Bulldog Denny knew that in Germany there existed a “monster” far worse than the one created by Dr. Victor Frankenstein. The hero was called to Washington for defense work in Prize Comics #24 (Oct. 1942). But Frankenstein was still at large and a terrible threat. So, before he left for Washington, Denny called together a strange group whose combined efforts, he hoped, would demolish the creature now called Frankenstein. The Black Owl and the slapstick General help the latterÕshapless sidekick, the Corporal, to his feet in Prize #24, as The Green Lama prepares to work his wonders on the fallen Frankenstein. Thanks to Don Glut. [©2004 the respective copyright holders.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books The Monster was about to enter a new phase of his artificial life. He had already lost his stark white complexion in favor of a more normal flesh tone. A scientist named Professor Carrol, believing that Frankenstein had never been given a chance in life because people hated him for his appearance, defended him in court. Despite the horrendous crimes perpetrated by the Monster for so many years, the giant was given over to the scientist for treatment and rehabilitation. Professor Carrol’s transformation of Frankenstein into a decent citizen involved special injections, hypnosis, and psychiatric treatments, plus the services of a plastic surgeon, barber, and tailor. Carrol changed the beast into a mild-tempered “Mister Frankenstein.” The world would soon somehow forget that this was once a terrible and murderous demon. Perhaps there was good reason to overlook his crimes. After all, could Frankenstein’s evil acts really compete with the atrocities currently being performed by the Nazis? Dick Briefer began to change his artistic style. His drawing had always been slightly “cartoony.” There was nothing wrong in being cartoony, especially since such a style gave the artist’s work a particular individuality, a quality otherwise lacking in so much comic book art. Briefer must have realized that a horrible Frankenstein Monster out to destroy humanity was hardly frightening considering the real overseas horrors of those wartime years. He began to exaggerate further his drawings until the overall tone shifted to almost that of a humor strip.

A Dellinges re-creation of the splash of Prize Comics #48 (Dec. 1944). Artwise, by now, all the elements of BrieferÕshumorous ÒFrankensteinÓ were in placeÑbut the stories were still half-serious. A/EÕseditor still recalls reading, one night circa 1966-67 in between poker hands at the late Phil SeulingÕsConey Island apartment, a WWII-era Prize story in which FrankyÕs vampire pals did their bit for the war effortÑby sucking blood out of criminals, then having it taken from them by transfusion to help the Red Cross. Now that’s inventive! [©2004 the respective copyright holders.]

Cross-overs (that is, a character from one strip appearing in another character’s feature) were rare among the varied strips in Prize Comics during the 1940s, as they were in most comic books of that era. As stated above, Frankenstein had already overlapped with The Black Owl. Only once, however, did the Prize heroes (Black Owl, Green Lama, Yank and Doodle, Dr. Frost, et al.) join forces as a team to tackle that greatest menace outside of the Axis powers—Frankenstein. The story, titled “Utter Failure!!,” appeared in Briefer’s strip in Prize Comics #24 (Oct. 1942). Oddly enough, the Prize editors seemed not to realize the historic significance of this tale nor its potential as an ongoing series. Furthermore, not so much as a mention of the team-up appeared on the cover. [A/E EDITOR’S NOTE: Because considerable art and a story summary by Don of the above tale are available in the second edition of our All-Star Companion, we’ll skip ahead at this point to other aspects of the Dick Briefer “Frankenstein.”]

Good Corpse, Bad Corpse Even after such a crushing (and humiliating) defeat, Frankenstein revived and resumed his war against mankind. The real war was still going on, and patriotic readers knew that there were heroes whose courage and fighting ability rivaled even that of The Black Owl, The Green Lama, and the rest of the Prize Comics roster of super-heroes. In the 33rd issue of the magazine (Aug. 1943), Frankenstein was captured by the combined might of Uncle Sam’s armed forces.

“Mister Frankenstein” was more than a mere giant-sized human being. He was an American who now felt the urge to do what virtually all American comic book heroes were doing in 1943—fight the Nazis. With Frankenstein added to the list of Prize Comics’ champions, other comic book companies’ heroes, and even movie heroes who were battling the Germans, it seemed Hitler and his maniacs had little chance for survival. In Prize #34 (Sept. 1943), Briefer did one of his rare nonFrankenstein stints for that magazine, drawing the final installment of “The Green Lama” (replaced the next issue by “The Flying Fist and Bingo,” another super-hero feature). The issue was also significant in that in it “The Black Owl” and “Yank and Doodle” were combined, for good, into a single feature, “Yank and Doodle – Starring The Black Owl.” At the same time, Frankenstein began his new life by attending school, starting in the first grade. The entire flavor of the magazine was changing. Emphasis was now being placed on youth (with The Black Owl playing second banana to the much younger Yank and Doodle), most significantly with the introduction of “Buck Saunders and His Pals,” another of the popular “kid gang” type features by the prolific team of Joe Simon & Jack Kirby. There was hardly room anymore for the gore and horror so prevalent in the early Frankenstein stories. Still, there was a considerable helping of murder and violence interspersed with the humor of a bumbling giant in grammar school. Frankenstein fought Nazi spies on the home front until Prize Comics #39 (Feb. 1944). The Gestapo captured the giant, drugged him, and entrusted him to a Nazi scientist who promptly undid all the positive miracles that Professor Carrol had accomplished. For a while Europe was haunted by a hideous creature wearing a Gestapo uniform that brutally killed anyone failing or refusing to raise an arm and exclaim, “Heil Hitler!” However, eventually Frankenstein escaped his special Nazi treatments and regained his red-white-and-blue memory and sense of patriotism. For a time he worked as an undercover agent against the Nazis, sabotaging trains and wiping out German troops from the sidelines, until he was discovered and forced to flee for his unnatural life. For a while, he came under the influence of a female vampire named Zora, who turned him into a kind of Jekyll-and-Hyde character. By day he was the nice “Mister Frankenstein”; by night, however, he was the destructive beast set upon the world by Victor Frankenstein. Eventually Frankenstein drove Zora away with garlic and was able to settle down to a more peaceful existence.

Frankenstein in Four Colors

(Left:) Al DellingesÕre-do of a splash from Frankenstein #1 (Summer 1945). (Right:) In 1977 Dick Briefer painted his own re-creation of his cover for Frankenstein #2 (MayJune 1946); it was sold by Collectors Showcase of Hollywood, California. [Art ©2004 Estate of Dick Briefer.]

15 the publisher of Prize Comics awarded the big guy his own 48-page comic book. Frankenstein #1 appeared in 1945 (“By Popular Demand!” the cover boasted). With this new book, Briefer was able to do something perhaps he should have done much earlier—give Frankenstein a new origin in a possible attempt to sever his connection with the former gruesome Monster. That was fine for new readers of the feature. But for those trying to reconcile the original “Frankenstein” strip (wherein the Monster was created in New York by Victor Frankenstein) with the new version running in both Frankenstein and Prize Comics, it provided only confusion. In the new origin, “Frankenstein’s Creation,” in the premier issue of Frankenstein, an anonymous

“The Humor! The Humor!” More changes were taking place in the pages of Prize Comics. Many of the once-popular super-heroes were forced to surrender their feature spots to a new assemblage of humor strips. Within a few issues, features like “Ham and Eggs,” about a pig and a rooster, respectively, “Sir Prize” (knight of the Castle Booboo), “Peter Pelican and Grouper,” and “Caveman Frolics” dominated its pages. With the end of World War II, the editors of Prize apparently felt that their audience would prefer to breathe more easily and see gags instead of violence. People wanted to laugh. With the new format of Prize Comics established, Frankenstein was given a stitched cut running vertically down the middle of his high forehead. His face had already changed to a caricature of its former appearance. The peg of a nose simply could not have been placed any higher above the eyes and still be a nose. These changes were gradual, and there was no real break in story continuity. And yet the creature now claiming to be Frankenstein was, in fact, the same monstrosity that had once terrorized New York City and thrown innocent children to the lions. “Frankenstein” was no longer a mildly humorous strip but outright comedy, using funny versions of the old horror characters. This creature with a transplanted heart of gold now lived in a ridiculous world of inane vampires, werewolves, mummies, ghouls, and related fiends. And this horror-humor strip predated a similarly-themed television series, The Munsters, by about 20 years. When “Frankenstein” became a humor strip, Dick Briefer went wild in his stories and art. His already loose style “exploded” to the point that he often did not pencil his work but inked right from scratch. He worked so fast that when he used up his supply of drawing board he scribbled his pictures on the back of wallpaper. To further economize, Briefer, when using the standard drawing board, cut it in half in order to get two pages of finished artwork for every one page of board. “Frankenstein” became so popular in this humorous incarnation that

This 1948 ÒFrankenstein (The Merry Monster)Ó page was reproÕd from a photocopy of Dick BrieferÕsoriginal art. Thanks to Jerry G. Bails & Hames Ware, and their 1970s Who’s Who of American Comic Books. [©2004 the respective copyright holders.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books In April of 1948, the 69th issue of Prize Comics became Prize Western. The following year, Frankenstein #17 (Jan.-Feb. 1949), the cover of which depicted “Franky” high above the city, standing before a huge clock and about to be impaled by a madman using a clock hand for a spear, was the final issue of this humorous series. Frankenstein and its association with Dick Briefer seemed defunct—at least for the next three years.

No—“The Horror! The Horror!”

Oh, Franky, how youÕvechanged! At left is BrieferÕscover for the humorous Frankenstein #1 in 1945Ñat right, his grimmer take on a closeup for #18 (March 1952), the issue that re-launched the title as a horror comic. [©2004 the respective copyright holders.]

mad scientist tried to eliminate his boredom. The scientist’s black cat enacted the role of Fate by accidentally knocking a book from the shelf. The mad scientist stared at the book through his thick spectacles. It was a copy of Frankenstein by Mary Wollstonecraft Shelley. Inspired by the novel, the mad scientist resolved to create “the most terrible beast man or animal has ever known!!” Taking his shopping list to a shady undertaker, he purchased such necessary ingredients as “two eyes, two ears, a forehead, half a nose, some lungs, a stomach, a half pound of hair, black preferably—quarter pound of cream cheese—” Even mad doctors can mix up their shopping lists. After Frankenstein (as the creation was called again) came to life in the scientist’s laboratory, the latter injected him with a drug capable of giving a rabbit the ferocity of a lion. To the mad scientist’s disappointment, Frankenstein loved flowers and animals, and would no more think of attacking the human race than of harming an ant. After escaping an explosion, which destroyed the mad doctor in his castle, Frankenstein set out to resume the absurd existence he was already enjoying in the pages of Prize. Frankenstein soon took up residence in a haunted-looking old mansion in Mippyville (the house given to him by the mayor), where he was at home with the bats and spiders. He eventually married his dream woman, a ghastly creature who proved to be a domineering social climber and nag. After a quick divorce, Frankenstein went back to a solitary life. Later he joined a type of commune of freaky characters, such as the hag Awful Annie and other weird creatures. [NOTE: See Dick Briefer's funny Frankenstein comic strip on pp. 45-52.] Yet more changes began to occur within the Prize Comics pages. Westerns were enjoying new popularity due to the influence of motion pictures, radio, and that new medium of television, the latter successfully running a seemingly endless stream of old theatrical cowboy films. The publishers of Prize Comics agreed that sales might be increased if cowboys replaced “funny animals,” “Yank and Doodle” (not to mention The Black Owl), and “Frankenstein.” Thus, Prize Comics #68 (Feb.March 1948) opened with “Harry Tracy, Last of the Western Badmen.” It was also the last issue to feature “Frankenstein,” “Yank and Doodle,” and other familiar strips, including Dick Briefer’s one-shot “Max the Magician,” which was even more loosely drawn than his “Frankenstein.”

But, as in other forms of popular media, comic book trends run in cycles. During the early 1950s a new phenomenon emerged to replace the superheroes that had dominated the color pages since the late 1930s. The super-heroes, with the exception of a few seemingly immortal characters like Superman and Batman, were hanging up their tights, capes, and masks to go into retirement. Readers no longer wanted stories of mystery men zooming through the air and thwarting crime. Instead, they craved tales of vampires, werewolves, and zombies told and drawn in realistic fashion. The more grisly the scenes depicted, the more blood and dismembered limbs, the better. The new heroes were crypt- and vault-keepers who chortled gleefully as a vampire sank its fangs into the throat of a busty young woman, or as a hen-pecked husband chopped his nagging wife up into little pieces and used them in some twisted method of revenge. The time was right for the return of the Frankenstein Monster, but not the blundering boob who preferred sniffing daisies to snuffing out human lives. The Prize Group decided to continue Frankenstein with the 18th issue (March 1952), again with Dick Briefer writing and drawing. But Briefer’s drawing style had to be considerably revamped in order to meet the standards established by the other companies already publishing horror comics. Despite the gore, the current readers of comic books would not have accepted the cartoonier Frankenstein of the early Prize issues. Briefer had to discipline himself. Frankenstein #18 began an entirely new storyline, with Briefer’s individualistic art style debuting in its more “sophisticated” form. Though still not up to the caliber of some of the artists working at the competition, especially those employed at the prestigious EC publishing house, Briefer’s drawings were always his own, always original, and presumably never copied or “swiped” from other existing sources. And this new style was entirely appropriate for the new Frankenstein series. Briefer’s latest and final version of the Frankenstein Monster was still based on his earlier concepts. The “beast,” as Briefer sometimes referred to him in the captions, still had a high forehead, flat head, and a ridiculously small nose between his eyes. Among the innovations were an open wound with torn stitches that revealed the skull underneath, and a torn, lipless mouth that exposed the misshapen teeth even when the brute’s mouth was closed. There were more ghastly features about Briefer’s 1940 Frankenstein Monster, but the 1952 version was even less pleasant to behold, owing to the more realistic style in which he was rendered. As before, Briefer took care not to bring down the wrath of Universal Pictures for using their copyrighted Frankenstein Monster’s face. The basic features vaguely suggested the Boris Karloff Monster, although some of the more obvious trappings were changed. Karloff’s stitchless scar was moved from the side of the forehead to the center, for example, and all of the Universal Monster’s metal clips and electrodes were avoided.

Frankenstein in Four Colors

In “The Rebirth of the Monster” in Frankenstein #18, two villagers broke into the castle of Frankenstein, which had not been opened in a century (clearly setting the new series apart from the 1940s strip), to learn if the old legends about Henry Frankenstein creating a Monster were true. (After 11 years of “Victor,” Briefer now chose to use the name “Henry” for the Monster’s creator, in conformance with the character’s name in Peggy Webling’s stage play of 1927 and the 1931 movie starring Karloff.) They find, lying on a slab next to the skeleton of its creator, the giant Frankenstein Monster. The sudden rush of cold air that accompanied the villagers’ entrance would also bring them death, for it revived the beast. Both men were promptly crushed by the creature’s enormous hands.

of the story was eventually adapted to Frankenstein #28 (Dec. 1953-Jan. 1954), “The She-Monster,” in which yet another mad doctor brought a murderess back to life as a companion for the Monster.

Reborn, the Frankenstein Monster ravaged the nearby village. Bullets did not stop the Monster, for Henry Frankenstein had given him a leathery flesh that sealed as soon as a bullet penetrated it. In these small European towns (especially ubiquitous in Universal’s Frankenstein movies, on which Briefer obviously patterned his 1950s series), no one ever thought to call out the army to blast apart the marauding giant. Apparently it was more “fun” to take up blazing torches and garden rakes and clubs and form a mob to pursue and destroy the Monster.

Briefer’s plots were now showing less imagination than those of earlier years. It was becoming standard (and expected) to see the Monster naively trusting some questionable character who only planned to use the giant for his own evil or selfish ends, probably eventually also to eliminate the beast in some grisly fashion. The Monster would invariably learn of the treachery and then inflict upon his “friend” the same kind of horrible death. Indeed, the stories were gradually becoming almost parodies of the stories that had begun with Frankenstein #18. The relative lack of care and originality hardly mattered anymore, however. A “monster” more powerful and destructive than any created by Henry or Victor Frankenstein had appeared, to threaten the comicbook industry and its characters and themes.

The great-grandson of Henry Frankenstein flew to Europe from the United States, intending to destroy his ancestor’s creation. Believing the similar-looking descendant to be his creator, the Monster relaxed his guard, only to receive a burning torch in the face. In agony, the Monster jumped into the water. Frankenstein realized that he had been spared in order to experience the horror and know the guilt that would result again from the acts committed by his ancestor’s creation.

In the 30th issue of the comic book (April-May 1954), now with the cover title The Monster of Frankenstein, Briefer had a sculptor pour molten bronze over the Monster in order to create a perfect life-sized statue of the giant. When the bronze hardened, the still-living Monster ripped his way out, grabbed the whimpering sculptor, and poured liquid bronze down his throat. This time Briefer hit the proverbial jackpot. The basic theme had already been used in both the original Prize series and in the humorous Frankenstein book.

Briefer’s earlier versions of the Frankenstein Monster were anything but reticent. This new version, however, was apparently designed more for the benefit of readers familiar with the Universal movies, wherein the Monster was usually speechless. They could more readily accept this new conception, who never so much as uttered a word or was given even a single thought balloon to reveal what he might be thinking. The Monster’s thoughts remained a mystery to the readers, and this technique worked. Young Dr. Frankenstein pursued the Monster, who had stowed away aboard the doctor’s America-bound ship. In the United States the doctor last saw the Monster destroying some foreign spies before the laboratory in which they were hiding blew up in Frankenstein #19 (Summer 1952). Inevitably, he was written out of the series, leaving the Frankenstein Monster to roam across the countryside, encountering such creatures and fiends as American Indian zombies, a scientist who “devolved” lizards into dinosaurs and evolved a wildcat into a beautiful young woman, and a Mexican werewolf. Seemingly, Briefer assumed that his new audience had not read or at least would not remember his earlier stories in Prize Comics or the comedy version of the Frankenstein comic book. He never stole the poses for his artwork, but he did reuse or at least adapt material from his own past plots. The sources did not really seem to matter. Briefer had already adapted stories from his first Prize series into the funny series. By the 1950s, basically he had two past series offering material that he could retool into “new” stories. “The Monster’s Mate” in Frankenstein #23 (Feb.-March 1953) was based on a similar story from Prize #26 (Dec. 1942), in which a scientist created a female horror for the Monster, only to see her destroyed by the usual mob of angry townspeople. In the new story, the Monster, now mysteriously back in Europe (Briefer never told us which country), befriended an ugly giantess who had wandered away from a circus. When the woman was killed by another band of townspeople, the Monster, like his 1940s predecessor, lashed out at them with a terrible vengeance. This story was only partially based on the Prize Comics tale, as the original involved the actual creation of a female being. That part

This Briefer ÒFrankensteinÓ story, among others, was restored and printed in Bill BlackÕsAC Comics line of vintage material. It appeared in Men of Mystery #34 in 2001, and is still available; see ACÕsad elsewhere in this issue. [Restored art ©2004 AC Comics.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books issue of the funny series, with the Monster about to be hand-harpooned in front of a giant clock. The last story in the book, “Frankenstein and the Plant,” was about another mad scientist who developed a carnivorous plant whose buds assumed the shape of its last meal. Not surprisingly, the story ended with the plant’s buds looking exactly like the face of the mad scientist who had provided its most recent dinner. The story had been done before, back when Frankenstein was a friendly oaf. There was no longer any reason for Briefer to show much originality. Frankenstein #33 was the swansong issue. Dick Briefer proved that a monster could survive in a world of super-heroes (at least those in the Prize Group lineup). He took an established character, Frankenstein’s Monster, adapted it to the tastes of contemporary comic book readers, and eventually evolved that character from a hideous monstrosity to a patriotic American citizen to a bumbling clod and finally to a misunderstood misanthrope in a world of prejudiced human beings. If a thingÕsworth doing, itÕsworth doing twice! The humor-style cover of Frankenstein #17 (Jan.-Feb. 1949) was re-worked to herald the more horrific story ÒDeath OÕClockÓin the final issue, #33 (Oct.-Nov. 1954). See two other pages from the latter issue in Pat CalhounÕsarticle in A/E #33, still available from TwoMorrows. [©2004 the respective copyright holders.]

Frankenstein Meets the Wertham Man Comic books in general, but especially horror and crime titles, were being attacked by one of the most heinous of “monsters”—censorship. Primarily through the crusading efforts of Dr. Frederick Wertham, a psychiatrist, in a series of magazine articles and in his 1954 best-selling book Seduction of the Innocent, people were “informed” that comic books constituted one of the greatest threats to modern civilization. Wertham cited case upon case wherein emotionally disturbed children, many of them from questionable home environments, had read comic books just previous to their embarking on careers as juvenile delinquents. Naturally it followed, Wertham pointed out, that virtually every delinquent child in the country was made that way because he or she read comic books. It certainly seemed logical to parents searching for an excuse for their own failure to raise their children correctly. (This was years before it was likewise “proven” that television, motion picture, and video-game violence were the real culprits in so corrupting children.) A scapegoat was needed, and comic books conveniently provided one. Some horror and crime comics published at the time were in bad taste. But the whole industry was under attack, and with the mass panic spreading (so that dealers were afraid to place horror and crime comic books on their display racks), the publishers finally tossed in their towels, coffins, and torture devices. The Comics Code Authority was established, forbidding the necessary ingredients of the horror books. By the beginning of 1955 there would be no more horror comics in the grand 1950s tradition. The publishers of the Prize Comics Group saw the hysteria coming and knew that their Frankenstein title had no future. Since its 20th issue, only one “Frankenstein” story was run per book, the others being nonseries horror and science-fiction “fillers.” With #30, two “Frankensteins” began appearing per book. These tales were originally scheduled for issues that would, unfortunately, never be printed. The gruesome Frankenstein could never pass the taboos of the Comics Code Authority, and the publishers were trying to use up their inventory stories while they still could. The cover of Frankenstein #33 (Oct.-Nov. 1954) was historical and mildly nostalgic. The art was a serious version of the cover of the last

This final incarnation of Briefer’s Frankenstein Monster was the present writer’s first encounter with the character in any form, back in the early 1950s. I had always been enthralled by the very concept of the Frankenstein story and was delighted to find that the Monster had his own comic book series. Unfortunately, the one book that I bought from a newsstand for a dime was its second-to-last issue. Yet that single issue of Frankenstein had appeal, as did the Universal movies featuring the character that I would experience just a few years later. Years would pass before I would be able to acquire a complete run of Dick Briefer’s Frankenstein series (not for the original cover prices!) and discover that the artist had been developing his feature since the 1940s. Comic books numbering in the thousands have used the Frankenstein Monster or theme, including series and individual stories published throughout the world. But Dick Briefer’s version, enduring from 1940 through 1954, was the only one possessing the required appeal to make it a success for such a long period of time. Perhaps the drawing and even the scripting were not up to par with some of the competition. Nevertheless, to those of us who had read Mary Shelley’s Frankenstein or seen the Universal Frankenstein movies, Briefer’s series (including the funny version) had all the correct elements. With the arrival of the Comics Code Authority, the Prize Group ceased all publication of horror comic books. Editorship of their line eventually changed over to Joe Simon and Jack Kirby, who continued, doing romance stories, mystery tales, and a few other genres of books before the company went completely out of business. Briefer freelanced, working for companies like Marvel Comics, until he, too, unfortunately vanished from the comic-book scene. [A/E EDITOR’S NOTE: For still more coverage of the Dick Briefer Frankenstein, see pp. 32-33 and pp. 45-52.]

Classics—and the Not-So-Classy Dick Briefer’s Frankenstein was not the only illustrated book utilizing the character—or variations thereof—to come out during the early 1950s. While Briefer’s Monster waited in comic book limbo for his return in 1952, the American Comics Group (ACG) introduced its own “Spirit of Frankenstein” series in Adventures into the Unknown #5 (June-July 1949). The ACG horror stories were always rather tame by comparison with most of those published by other companies... [A/E EDITOR’S NOTE: See pp. 29-31 for a full account of ACG’s “Spirit of Frankenstein” series—and p. 38 for a DC “Batman” Franky.]

Frankenstein in Four Colors

19 Jack Davis, with his ability to infuse humor into an otherwise gruesome story, had a mad scientist create his own Frankenstein Monster for a museum exhibit in “Mirror, Mirror, on the Wall!” in EC’s Tales from the Crypt #34 (Feb.-March 1953), with Davis presenting his own adaptation of the Universal Monster. Interestingly, most of this story was related from the creation’s point of view, from his first awakening in the scientist’s laboratory to his final death in a hall of mirrors, where he is frightened to death by his own multiple images. In the 40th and last issue of The Vault of Horror (Dec. 1954-Jan. 1955), in Feldstein and Ingels’ “Ashes to Ashes!” the Frankenstein line created a perfect baby girl following generations of developing what

Dr. Jekyll may have had two facesÑbut the first comic book adaptation of Mary ShelleyÕsnovel had two different coversÑfirst the one by Robert Webb (probably inked by Ann Brewster) when it first came out in 1945Ñthen a painted one by noted pulp-mag cover artist Norman Saunders when it was reissued in 1958. By then, Classic Comics had become Classics Illustrated, but the interior art and story were the same Webb/Brewster combo. And a masterful one it was, too, as scripted by Ruth A. Roche. [©2004 Frawley Corporation and its exclusive licensee, First Classics, Inc., a subsidiary of Classics International Entertainment, Inc.]

Among the best and most successful Frankenstein comic book stories other than Briefer’s were those that did not attempt to create a new or competing series. In December 1945, Classic Comics (later to become Classics Illustrated) devoted its 26th issue to a straightforward adaptation of Mary Shelley’s Frankenstein. The script was faithfully written by Ruth A. Roche and interpreted visually by artists Robert Hayward Webb and Ann Brewster. Like Briefer, Webb and Brewster used some of the physical characteristics suggested by the Universal movie Frankenstein Monster, this time including placing “bolts” at the neck and joints. But the creature was given an almost black skin and was barefooted, perhaps in an effort to make it different enough to avoid a lawsuit. Ms. Roche was obviously familiar with the original novel. Her breakdown as interpreted by the artists remains a veritable storyboard for some future definitive movie version of Frankenstein, if it is ever filmed. The now-legendary Entertaining Comics (EC), which produced the best-written and -illustrated four-color horror comics during the early 1950s, published a number of significant Frankenstein-type stories, but only one of these, “The Monster in the Ice!” in Vault of Horror #22 (Dec. 1951-Jan. 1952), featured the original Monster. The story, written by EC editor Al Feldstein and illustrated by “Ghastly” Graham Ingels, told of the discovery of the Frankenstein Monster in a block of Arctic ice. Anyone who saw its face went mad. That was understandable. In attempting to only suggest the Universal Pictures concept, Ingels created one of the most hideous versions of the character ever to appear on a comic book page. The Monster’s eyes bulged from the sockets, enormous tusk-like teeth protruded from the mouth, and scraggy hair hung from the deformed head. Most other EC Frankenstein tales had relatively pleasant-appearing “monsters.”

Victor Frankenstein decides to destroy the MonsterÕsmate rather than bring her to life, in the Roche/Webb/Brewster adaptation, which was produced by the Jerry Iger Studio for Classic Comics #26. [©2004 Frawley Corporation and its exclusive licensee, First Classics, Inc., a subsidiary of Classics International Entertainment, Inc.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books

(Top tier:) Johnny Craig drew the cover, and Graham Ingels the interior art, for ÒThe Monster in the IceÓ in ECÕsThe Vault of Horror #22 (Dec. 1951Jan. 1952). This tale picked up where Mary Shelley left offÑwith the Fiend entombed in Arctic ice; but it seems to have been inspired just as much by the 1951 science-fiction/horror movie The Thing from Another WorldÑwhich, in turn, probably owed (especially in the makeup applied to a preGunsmoke James Arness, who played the Thing) as much to Frankenstein as it did to John W. CampbellÕsoriginal novella Who Goes There? (Above left:) A modern-day reincarnation of the Monster literally scared himself to death when trapped in a hall of mirrors in Tales from the Crypt #34 (Feb.-March 1953); art by Jack Davis. (Bottom left:) A descendant of Victor (or is it Henry?) Frankenstein carries on the family tradition in ÒAshes to Ashes!Ó in The Vault of Horror #40 (Dec. 1954-Jan. 1955)Ñbut it was a vampire who grabbed the cover spot that final issue! Art by Graham Ingels; script by Carl Wessler. And of course who could forget the Kurtzman/Elder ÒFrank N. SteinÓ in Mad #8 (Dec. 1953-Jan. 1954)!? All art in this montage is from the fabulous Russ Cochran hardcover reprints of the EC classics. [©2004 William M. Gaines Agent.]

Frankenstein in Four Colors

21 Although creatures purporting to be the original Frankenstein Monster continued to appear in that company’s comic books, it was obvious that they had not read the USA Comics story, or at least had faulty memories. For example, in Blonde Phantom #14 (Summer 1947), in the story “Horror at Haunted Castle!” the beautiful golden-haired heroine fought a Baron Frankenstein who looked exactly like the Monster. In the early 1950s the original Frankenstein Monster appeared in Marvel Tales #96 (June 1950) in “The Return of the Monster,” illustrated by Syd Shores, who drew the character with pointed ears, fangs, and claws. In “The Monster,” drawn by Paul Reinman for Marvel Tales #106 (April 1952), a very Universallooking Monster attacked a motionpicture crew shooting a film in the Frankenstein castle.

Two pages from the ÒCaptain AmericaÓ story in U.S.A. Comics #13 (Summer 1944). Alas, because Don Glut was photocopying the splash from a bound volume, a bit of art is lost at leftÑbut we kinda suspect you still get the idea of whatÕsgoing on! Artists uncertain. [©2004 Marvel Characters, Inc.]

was originally merely a blob of earth. There was no longer any need to adapt the Universal Monster, for the Frankensteins had at last created a being of perfection, only to be returned in the end to its original elements by a bullet fired by a jealous suitor. The EC Frankenstein stories were always extremely well-written and -drawn by some of the best comic book talents in the business. They usually climaxed, after a storyline emphasizing plot and characterization, with a shock or surprise ending.

Jim Mooney drew another Universal-type character for “The Monster’s Son” in Strange Tales #15 (Sept. 1952), which showed that the brute was really a scientific genius capable of creating an offspring. Arguably the best of these stories was “Your Name Is Frankenstein!” written by Stan Lee and drawn by Joe Maneely for Menace #7 (Sept. 1953). In this story the Monster, after years of digging his way to the surface from a swamp bog (inadvertently connecting, albeit tenuously, this story with the creature with whom Captain America and Bucky

A Timely Terror The comic books produced by Timely, a.k.a. Atlas (now the Marvel Comics Group), in the 1940s and early 1950s did their best to compete with the ECs, but generally stressed action and monsters over literary content. Atlas has the distinction of publishing more unrelated or non-series Frankenstein stories during that period than any other comic-book company. Patriotic super-heroes Captain America and Bucky battled the revived Monster in “The Curse of Frankenstein,” published in USA Comics #13 (Summer 1944). In this opus, the Monster was eventually lured into a bog of quicksand (a fate similar to that suffered by Universal’s Monster in House of Frankenstein, a movie released that same year).

HereÕsa pair of Syd Shores splashes: from Blonde Phantom #14 (Summer 1947)Ñand from the straight horror story in Marvel Tales #106 (April 1952). The ÒBaron FrankensteinÓ in the former was actually a grotesque human being, while the latter was a fanged and pointy-eared version of the Monster. Thanks to Dr. Michael J. Vassallo for the photocopies of these stories. [©2004 Marvel Characters, Inc.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books

(Left:) Joe Kubert drew a filmic Frankenstein in St. JohnÕsHollywood Confessions #1 in 1949; panel courtesy of Al Dellinges. (Center:) The Paul Reinman-drawn story in Marvel Tales #106 dealt with a movie being shot in FrankensteinÕscastleÑand guess what happened next! Thanks to Doc V. for the scan. (Right:) Ernie Schroeder drew (and quite possibly wrote) a ÒHeapÓ story in HillmanÕsAirboy Comics, Vol. 7, #11 (Dec. 1950), with the same general plot. Thanks to Jim Vadeboncoeur, Jr. By the way, donÕtmiss our coverage of Reinman (esp. his 1960s Marvel work) and Jim AmashÕsinterview with the still-active Mr. SchroederÑ both coming up next issue! ItÕllinclude more panels from this very storyÑincluding FrankyÕsbattle with The Heap! [©2004 Marvel Characters, Inc.]

had tangled), found the humans he tried to save as uncaring as always, and preferred to return to the Earth. Perhaps the most unusual of these stories was “The Lonely Dungeon” in Mystery Tales #18 (March 1954), which proved that it was really the Monster who created Dr. Frankenstein, and who was, in turn, built by the caretaker of his castle (who had also created many other such monsters).

The Monster Mesh In March of 1963, Dell Comics published a version of Frankenstein rather freely adapted from the 1931 Universal movie of the same title. Three years later, the second issue of Dell’s Frankenstein (September 1966) appeared on the newsstands…. [A/E EDITOR’S NOTE: The Dell “super-hero” Frankenstein comic is dissected on pp. 34-37 of this issue.] Frankenstein’s Monster has also been a series character in foreign countries. Frankenstein, published by Edicao la Selva from 1959 to 1960, was one of two series issued in Rio de Janeiro. Some of the stories, done mostly in the Dick Briefer school, borrowed heavily from both Briefer’s old plots and artwork. The Monster, now called simply Frankenstein again, was portrayed as a brutal killer who met up with a number of mad doctors, vampires, and other fiends. A second series from Rio de Janeiro, published in 1969 by Editora Penteado and running only two issues, featured some mild horror tales labeled “adults only.” Since we printed the splash of ÒYour Name Is Frankenstein!Ó (from Menace #7) with A/E #28Õsin-depth coverage of artist Joe Maneely, here is the final page of that Stan Leescripted story. Thanks to Doc Vassallo. WeÕretold by AEficionado Chris Brown that there was also an early-to-mid-1950s Timely/Atlas Frankenstein offering in Suspense #20Ñnot to mention a parody drawn by Bill Everett in Crazy #1Ñwhile Harvey Comics produced at least one, over in Witches’ Tales #9. Collect Ôemall! [©2004 Marvel Characters, Inc.]

Frankenstein in Four Colors (Left:) Bob Brown drew this coverÑand the accompanying taleÑfor Tomahawk #103 (MarchApril 1966). Belated Spoiler Warning: ÒThe Frontier FrankensteinÓ turned out to be Big Anvil, one of Tom HawkÕs Rip-roarinÕRangers, whoÕdeaten some truly weird berries. At storyÕsend, writer Ed Herron asked the musical question: ÒIs it possible that years later Mary Shelley\ adapted this grotesque giant, this horrible hulk, as the basis for her Frankenstein character? Nobody will ever knowÑfor sure!Ó HmmÉ sounds to us like a certain Lee-Kirby Marvel creation of a few years earlier might, rather, have been an influence on this particular green-skinned DC golem! Thanks to Carl Gafford for writer ID. [©2004 DC Comics.]

(Right:) The Brazilian Frankenstein mentioned in DonÕsarticle. (Below left:) Archie Goodwin wrote, and Reed Crandall drew, ÒFootsteps of Frankenstein!Ó for WarrenÕsblack-&-white Eerie #2 (March 1968). (Below right:) A page from one of Tom SuttonÕsÒFrankenstein Ð Book IIÓ tales in SkywaldÕsPsycho b&w comic. [Eerie art ©2004 Warren Publishing, Inc.; Psycho art ©2004 the respective copyright holders.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books size), they did not have to subscribe to the Comics Code Authority and adhere to its censorship requirements; thus, they could go all-out when it came to horror. A suitable place for the Frankenstein Monster had been created. Like the stories published before by EC and Atlas, the Warren Frankenstein tales had no real plot or character continuity with each other. Each of them was a complete story in itself that, like the EC opuses, led to a final shocking ending.

From the wilds of North Wales in the UK, DonÕsand RoyÕsold pal Roger Dicken sent the above humorous ÒFrankie SteinÓ art by originator Ken Reid from an issue of the English Wham comic mag of some years back. At right is a recent photo of Roger holding two other famous monstrositiesÑthe original so-called Òface-huggerÓ and Òchest-bursterÓ creatures from the first Alien movie, which he designed and built in the late 1970s! (In his stately old manse, Roger also keeps stumbling over the foam-rubber dinosaurs from those low-budget Õ70sDoug McClure/Edgar Rice Burroughs movies.) Photo by Wendy Hunt. [Art ©2004 the respective copyright holders.]

The first actual series to appear in one of these magazines was Skywald Publishing Corporation’s “Frankenstein – Book II” in the third issue (May 1971) of Psycho, a magazine similar to Creepy and Eerie in format. Written and illustrated by Tom Sutton (under the pseudonym “Sean Todd”), this new series began after the climax of the Mary Shelley novel. The Monster, an uglier [Continued on p. 28]

Perhaps this was due to many South American horror comics also being published at that time featuring the sexy adventures of Dracula, the Mummy, the Wolf Man, and even the Phantom of the Opera. During the 1960s, the old-style horror comic books provided the basic format for a large number of horror magazines, their stories usually printed in black-&-white (rather than the traditional “four colors”), pioneered by Warren Publishing Company’s Creepy, and later Eerie and Vampirella. As these publications were not officially classified as comic books, but comic magazines (standard magazine Frankenstein lives! As proof, below are the covers of three prominent Monsterworks from the past decade and a half:

Frankenstein in Four Colors Topline

MAKE MINE FRANKENSTEIN!

Above: (Left:) Collector/dealer Conrad Eschenberg sent us a photocopy of the original model sheet Mike Ploog did when asked to design his own version of the Frankenstein Monster for Marvel in 1972Ñcomplete with associate editor Roy ThomasÕnote recording Stan LeeÕsapproval: ÒMikeÑThis is version Stan wants to useÉ Please call me to discuss.Ó (Center:) A detail from PloogÕscover for MarvelÕsFrankenstein #1 (Jan. 1973). (Right:) A somewhat later Ploog sketch, courtesy of Greg Hunyager. Below: (Left:) Cross-over John Buscema cover for Frankenstein #8 (Jan. 1974). (Center:) Val Mayerick-penciled, Bernie Wrightsoninked cover of #18 (Sept. 1975), the final issue. (Right:) Boris VallejoÕsstunning cover painting for the b&w mag Monsters Unleashed! #2 (Sept. 1973). Franky didnÕtappear in #1, but was in most issues from 1973-75. Incidentally, though at various times the logo of the color comic read either The Monster of Frankenstein or The Frankenstein Monster, its official title was always simply Frankenstein. NOTE: The 1972 model sheet above can also been seen in the new Marvel volume The Essential Frankenstein, which is on sale right about now; that b&w book also reprints Frankenstein #1-18 and stories from Monsters Unleashed! #2-10 and Legion of Monsters #1. ItÕsa Halloween treat, not a trickÑand MarvelÕsnot paying me to say that! [Marvel version of Frankenstein TM & ©2004 Marvel Characters, Inc; Ploog sketches ©2004 Mike Ploog.]

An Informal Biography of Everybody’s Favorite Monster in Comic Books

Former comics writer and now movie writer/producer/director Don Glut, surrounded by Frankenstein images from his past. (Clockwise:) The cover of one of a multitude of amateur Frankenstein comics Don wrote and drew in his mid-teens in the late 1950s; note that he anticipated the title Web of Horror, used by a black-&-white comic in the 1960s, and had ÒheroesÓ called The Zombie and The Demon years before Marvel and DC used those names for protagonists. [©2004 Donald F. Glut.] Don made the Frankenstein Monster a semi-regular in the cast of The Occult Files of Doctor Spektor, the title he created for Gold Key in 1973. This is the cover of issue #6 (Feb. 1974). [©2004 Western Publishing, Inc.] A climactic page from DonÕsWWII opus ÒHeil Frankenstein!Ó in The Invaders #31 (Aug. 1978). Art by Chic Stone and Bill Black. [©2004 Marvel Characters, inc.] In the Oct. 2000 issue of The Journal of Frankenstein magazine, Don and artist Brian Thomas introduced their own Briefer-influenced ÒMonster of Frankenstein.Ó [©2004 Don Glut & Brian Thomas.]

Frankenstein in Four Colors

A/EÕseditor (and DonÕslongtime buddy) Roy ThomasÑseen here feeding a banana to his ÒmuseÓ Gonzo, the aracari (a kind of mini-toucan)Ñedited DonÕsInvaders #31 tale; but, from the late 1960s on, Rascally RoyÕswritten a few Frankensteinian forays of his own: (Left:) In The X-Men #40 (Jan. 1968), with pencils by Don Heck and inks by George Tuska (with cover by Tuska), the Arctic-frozen Monster turns out to be actually an android built by an alien race, which may have inspired Mary Shelley in some unrevealed way. ÒNot one of my better efforts,Ó admits Roy the Boy, Òthough I was ÔinspiredÕby that 1950s EC story by IngelsÑand the movie The Thing from Another World, which scared the hell out of me at age ten.Ó [©2004 Marvel Characters, Inc.] (Right:) In The Young All-Stars #18-19 (Nov.-Dec. 1988), the Monster is dwelling in an Arctic ice cave in 1942. Roy meant for ÒVictor Frankenstein IIÓ to become a criminal gang boss in the US, but the title was canceled before he got around to it. The art by Ron Harris and Malcolm Jones III made a real attempt to portray the Monster as Mary Shelley had described him. [©2004 DC Comics.] (Bottom left:) In 1994 Topps Comics asked Roy and artist Rafael Kayanan to adapt the Kenneth Branagh film Mary Shelley’s Frankenstein (which really wasnÕt!)in four issues. That movie was maybe the worst career choice ever made by Robert De Niro, who played the MonsterÉ but the comic book looked great, and was reprinted as a graphic novel abroad. Here, the newly-birthed creation first looms over his horrified creator. [©2004 TriStar Pictures, Inc.] (Below:) Since Roy had previously adapted the Francis Ford Coppolla film Bram Stoker’s Dracula (which likewise wasnÕt!) with artist Mike Mignola for Topps, it seemed like a natural to follow the two movie adaptations in 1995 with the threeissue Frankenstein/Dracula War. Covers were by Mignola (then launching his Hellboy hit); interiors by Claude St. Aubin & Allen NunisÑas per bottom right. [©2004 Topps Comics, Inc.] Photo of Roy & Gonzo by Dann Thomas.

An Informal Biography of Everybody’s Favorite Monster in Comic Books left him. However, the Marvel series, al least when it began, was set in 1898, while DC’s series was set in contemporary 1973. During the succeeding years, numerous Frankenstein-related stories have been published in comic books and comic magazines, some of them comprising their own series. However, of all such stories published since the first in that 1939 premier edition of Movie Comics, Dick Briefer’s efforts remain, for many aficionados, the most memorable, even though they were far from the most literary or artistic. There was something compelling in that flat head, those sunken cheeks, and that impossible nose set between the eyes in Briefer’s versions of the Frankenstein Monster. Briefer’s character, whether battling Bulldog Denny in the subway tunnels under New York City, napping in the garden outside his haunted house, or enacting some horrible vengeance upon some human being who had feigned friendship only to exploit his misplaced trust, had power—a strange charm by which the series endured in its original form until the coming of the Comics Code Authority. (Thankfully, Briefer’s stories, like the immortal Monster they featured, are, to this day, still sometimes reprinted in one format or another.) Pete Von Sholly painted one of last year's Halloween covers, so we invited him to be in this year's issue, as well. Here's a nice overhead shot of FrankensteinÑand the letter "F" from Òa project IÕmtrying to sell called ÔTheMonster Alphabet.ÕÓLast year, Pete's Crazy Hip Groovy Go-Go Way-Out Monsters parody mag was a hit for TwoMorrows, so this year we've got CHGGGWOM #32 (the second issue!)Ñon sale now wherever more discriminating monster-mag parodies are sold! [©2004 Pete Von Sholly.]

Victor (or Henry) Frankenstein had created a being charged, as the movies showed us, with eternal life. Dick Briefer’s version of the Monster, at least during his comic books’ original run, was somewhat less immortal. Still, the character had survived and thrived in those old publications for almost 15 years. When compared with other characters bearing the name of Frankenstein who lumbered through their illustrated adventures, that is quite an impressive accomplishment.

version of the Universal creature, and one given to long dissertations, like the original conception in the novel), salvaged his creator’s corpse from the icy waters of the Arctic and used his superior transplanted brain to turn Frankenstein himself into a resuscitated horror. The Monster was exhibited along with a company of human oddities in the next issue’s “Freaks of Fear!” (Sept. 1971). In Paris the Monster met Quasimodo, the famed Hunchback of Notre Dame. The third installment, “The Sewer Tomb of Le Suub!” in Psycho #5 (Nov. 1971), pitted the Monster against an octopus-like behemoth in the sewers beneath Paris. The creative effort devoted to this series was appreciated, although the long-winded dialogue of the Monster quickly became stultifying.

Make Mine Frankenstein! In 1972 Marvel Comics began publishing the excellent Monster of Frankenstein, a new comic book series adapted (in its early issues) from the Shelley novel, originally done by writer Gary Friedrich and artist Mike Ploog. The series joined Marvel’s Werewolf by Night (also drawn by Ploog) and Tomb of Dracula, werewolf and vampire comic books now being permitted again thanks to a slight relaxation in the Comics Code rules as revised the previous year. Very shortly afterward, DC introduced “The Spawn of Frankenstein,” a shorter-page-count Frankenstein series, in the pages of Phantom Stranger #23 (Jan.-Feb. 1973), written by Marv Wolfman and drawn by Mike Kaluta. [A/E EDITOR’S NOTE: See the article that begins on p. 38.] Both the Marvel and DC versions of the Frankenstein Monster represented the original character, and both series began with their respective Monster being chipped out of polar ice where Mary Shelley’s story had

COMICS’ GOLDEN AGE LIVES AGAIN!

[Continued from p. 24]

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A Not-So-Spirited “Spirit of Frankenstein” The American Comics Group Meets Mary Shelley’s Monster—or Does It? by Michelle Nolan

The American Comics GroupÕsAdventures into the Unknown was the first regularly-published ÒhorrorÓ comic. Above is the cover of issue #1 (Fall 1948); cover artist uncertain. The Spirit of Frankenstein never appeared or was even mentioned on any AITU cover. [©2004 the respective copyright holders.]

One can only shudder at the verbal horrors faced by young readers who might have tried to make sense of the “Spirit of Frankenstein” series in seven early issues of Adventures into the Unknown. This series did for logic and the English language what the original Dr. Frankenstein did for body parts while trying to stitch them together. The “Spirit of Frankenstein” debuted in AITU #5 (June-July 1949) and also ran in # 6, 8, 9, 10, and 12, before the final installment in #16 (Feb. 1951). The art is average, at best, but the stories are one of the strangest mishmashes of horror and pseudo-science in the history of comic books. The series actually had nothing to do with Frankenstein or his classic monster. Instead, the seven stories detailed the adventures of a scientist, his girlfriend, and a quasi-lifelike robot he created, as he put it, “in the spirit of Frankenstein.” The Frankenstein name, no doubt, was simply used as an evocative tag to grab the attention of the kids. Perhaps coincidentally, perhaps not, the series appeared during the time when Crestwood’s versions of Frankenstein were temporarily on hiatus. The 17th and last issue of the original series from Crestwood (Prize) was dated Jan-Feb. 1949, and artist Dick Briefer’s series did not pick up until #18 (March 1952). So the only Frankenstein in comics— aside from the occasional reference in other horror comics—was the endlessly reprinted Classics Illustrated version of Frankenstein, which had debuted in Classic Comics #26 (Dec. 1945). Perhaps, then, editor/writer Richard Hughes and his tiny American Comics Group felt they could fill a need with “Spirit of Frankenstein.” After all, Universal’s original cycle of “serious” Frankenstein films ran from 1931-45 before the monster temporarily bowed out in 1948 in the ludicrous Abbott and Costello Meet Frankenstein. Of course, Universal’s Frankenstein films were re-released and re-shown many times, first in theatres and then on television. I saw and loved them all. Even so, the character was missing from original films shown in America until returning in 1957 in the superb The Curse of

In the splash from the very first ÒSpirit of FrankensteinÓ story, in Adventures into the Unknown #5 (June-July 1949), the incurably ill Lambert Parkway fumes at being referred to in a newspaper photo caption as Òan unidentified assistant.Ó The android who harbors the ÒspiritÓ of Frankenstein stands in the foreground. Thanks to Michelle Nolan. Incidentally, researcher Jim Vadeboncoeur, Jr., informs us that Òboth Frank Belknap Long and Manly Wade Wellman [pulp writers who also scripted comics for a time] were early contributors to Adventures into the Unknown, so one of them might have written it.Ó [©2004 the respective copyright holders.]

The American Comics Group Meets Mary Shelley’s Monster––or Does It?

Boy, that robot Frankenstein sure did a lot of standing around, didnÕthe! Note these very similar splash pages from AITU #2 (Aug.-Sept. 1949, at left) and #6 (Sept.-Oct. 1950). Take it from us, thoughÑhe stomped around plenty in the stories themselves. Thanks to Michelle Nolan. [©2004 the respective copyright holders.]

Frankenstein from British film factory Hammer, with Peter Cushing playing Dr. Frankenstein and Christopher Lee portraying the Monster. That film, and Boris Karloff’s heart-rending original portrayal of the Monster in 1931, were surely the high-water marks for film versions of Mary Wollstonecraft Shelley’s creation. (There was even a 1910 silent Frankenstein from Thomas Edison’s film company!) Shelley’s 1818 novel Frankenstein, or The Modern Prometheus is considered the first “modern” science-fiction story. Frankenstein thus already had a rich tradition of literary and film horror by the time ACG’s long-forgotten “Spirit of Frankenstein” hit the stands. It’s also intriguing to note that Adventures into the Unknown, which began in 1948 as the first regularly-published horror comic, began the rush to fill a frightful pop-cultural gap. AITU was soon followed by dozens of imitators before the Comics Code Authority wiped out horror comics with issues dated early 1955. In 1948-54, though, comic books filled a big horror hole, so to speak, since there wasn’t much supernatural or scientific horror at the movies. Horror had run its course in American films after 1946 and, for the most part, did not return until the post-Comics Code era—except for occasional early science-fictional fright films such as The Thing from Another World (1951), It Came from Outer Space (1953), and Them! (1954), in which aliens and giant bugs provided the nightmares. Richard Hughes wrote much of ACG’s output, but it’s uncertain whether he wrote “The Spirit of Frankenstein.” While the series closely paralleled Hughes’ constant “boy and girl meet ghost” themes, it doesn’t

really read like a typically schmaltzy epic from the prolific Hughes. It is certain that he approved the “Spirit of Frankenstein” series for publication, however, since he edited all 167 issues of Adventures of the Unknown between 1948-67. Hughes’ own stories usually had an internal logic, but “Spirit of Frankenstein” most surely does not. It’s actually unintentionally hilarious, especially when you read all seven episodes at the same sitting, as I did. (And for which Rascally Roy ought to pay me double for unintentional torture of the most frightful sort!) In the first 10-page episode, “eminent nuclear scientist” Dr. Daniel Warren and his fiancée Marcia Duncan are the objects of envy by their bitter old assistant, the terminally ill Professor Lambert Pardway. The old goat—soon to become an old ghost—keeps his angst hidden, however, while he and Warren build a steel robot with a plastic skin that doubles as “living tissue.” Unlike the Frankenstein monster, however, this version does not have a brain. “A radio-controlled robot is our starting point, professor!” Warren exults. “Once we’ve built that, we’ll be well on our way toward the creation of a synthetic man! Something that’s really in the spirit of Frankenstein!” The monster does not have a brain, that is, until the dying Pardway talks Warren into implanting his brain into the robot. Pardway’s ghost then returns to try to control the robot, but Warren foils his plan after Marcia reveals the bizarre facts of the situation. Warren has it all figured out for his lady love: “A ghost is dependent on the atomic structure of the body it has left! By subjecting it to nuclear fission [with his

A Not-So Spirited “Spirit of Frankenstein”

At last, the reason I’ve never been able to spot any ghosts outside of comics... I’m missing a microvolt! In the fourth episode, in # 9, the robot fends off a phantom after Warren treats him with an injection. “It’s called Adenosine Triphosphate... and it’s sufficiently concentrated to enable anything with muscles to lift a thousand times its own weight! Steady, robot... here’s what you’ve been waiting for!” Better than steroids! After the robot defeats a mummy in #10, the least colorful story of the series, he beats back the threat of a 2000-year-old zombie of sorts in #12. The series ends in #16, with Warren revealing that he gives the robot “his daily dose of creatine.” And this was almost half a century before some of Major League Baseball’s home-run stars started bulking up with the real creatine! Warren explains it all to Marcia: “Creatine’s the basic chemical in human brain, blood and muscle cells... and these daily doses give the robot enough simple human characteristics to calm down those restructured rages we’ve had to contend with in the past! On the other hand, too much creatine would be worse than none at all... because it can develop the robot’s brain to such an extent that it will be able to combine craftiness with its tremendous physical strength!” The robot, meanwhile, breaks into the creatine supply and, when Marcia discovers this little theft, the combination of a broken bottle of creatine and a cyclotron produces an ugly green monster. Naturally, it’s up to the robot to deal with the green meanie.

cyclotron], we’ll destroy his ghost! Scientific ghost-breaking, get it?” By golly, you learn something new every day! The rest of the series basically involves plots by evil entities to control the robot monster, to which Warren and his fiancée are so attached that they keep it tied up around their atomic digs. In the second story, in AITU #6, Marcia introduces herself as Marcia Holmes, not Duncan, while helping foil the plans of a mad scientist. In the third episode (in #8), Warren opens a letter from one Dr. Enslow, whoever he is. “This letter from Dr. Enslow offers some hope that we can keep the robot under control, Marcia! After half a lifetime investigating the supernatural, he’s invented a device called the microvolt resister... and he’s sure it can rid the robot of the evil impulses reaching it from The Beyond!”

In the last panel, Marcia tells Warren, “I’ve never met anything as horrible as that monster, Dan... but with the robot’s help, you actually managed to use its evil powers to save lives!” To which Dan replies, “Maybe that’s what science is for, honey! But when I think of the strange beings from out of the Unknown that can burst forth any minute, just as the monster did... I realize how much of a fight the robot and I still have ahead of us!” Interestingly, in 1958, the B-film company Allied Artists made a movie titled Frankenstein 1970 in which one Baron Victor Von Frankenstein, played by Boris Karloff when he was 71 years old, tries to use atomic energy to create monsters. I remember seeing this minor monstrosity in the theatre when I was ten years old, thinking that the Frankenstein name was never more wasted. I also remember thinking how far in the future 1970 seemed!

Monthly! The Original First-Person History– published by Robin Snyder

But, of course! After Pardway’s dying ghost—that’s right, a dying ghost!—returns briefly to empower the robot, Warren is left trying to cope with the problem. Voila! As he puts it: “Dr. Enslow has spent years of research trying to learn why some people see ghosts... while a vast majority don’t! The human nervous system generates a tiny charge of electricity... and Dr. Enslow’s tests proved that people who see ghosts have a fraction of a microvolt more electricity than others! The difference is barely measurable... but it’s enough to attract spirits!”

Write to: Robin Snyder, 3745 Canterbury Lane #81, Bellingham, WA 98225-1186

Alex Toth Meets Frankenstein

“A Tip of the Topper to DICK BRIEFER” from One of His Greatest Fans [A/E EDITOR’S NOTE: A bit of a change of pace this time—as we let comics legend Alex Toth’s art pretty much speak for itself… after a few words of our usual erudite intro, at least. It seems that in the early 1990s, Toth/Briefer fan Al Dellinges intended to publish an entire special edition of his fanzine Near Mint dedicated to Dick Briefer’s art—and Alex, who had been in touch with Briefer himself through Al, agreed to do a drawing to be used on the cover. We’ve printed it below—with Toth’s salute to Briefer’s Frankenstein, and a Dellinges tracing of a head of another Briefer hero, Rex Dexter of Mars. Toth art ©2004 Alex Toth; Dellinges art ©2004 Al Dellinges. —Roy.]

Alex Toth Meets Frankenstein [ANOTHER INTRUSIVE NOTE FROM A/E’S ED: Back in the 1970s and ’80s, Alex had also done spur-of-the-moment sketches of his own rendition of the Frankenstein Monster on several postcards he sent Al. Here are four such, all of them naturally ©2004 Alex Toth. Enjoy! —Roy.]

Frankenstein: Monster in Tights When Dell Comics Stitched Together Super-Heroes and Horror by Stephan Friedt It must have been difficult working at Dell in 1962. Dell, with their partner Western Publishing, had been the epitome of niche comics publishing since 1938… with licenses to publish new and adapted stories from the stable of characters from Disney, Warner Bros., MGM, Edgar Rice Burroughs, every major newspaper comic, every cowboy you can think of, the favorite TV shows, and almost any movie you can name. In the late 1940s, Dell was the largest comic publisher in America. And they did it all without a stable of super-heroes. 24 years later, in 1962, their travel down the road of success hit a major pothole, when Western Publishing took their lucrative licenses, split off, and formed the new company of Gold Key. Donald Duck, Bugs Bunny, Woody Woodpecker, and Tarzan, along with a host of others, now had a new home. Dell stayed afloat until 1973 with a smaller dose of TV and movie adaptations. The most successful of these were a string of Universal Pictures monster movie adaptations. In 1962 they issued Dracula, The Mummy, and The Creature (as in, from the Black Lagoon). In 1963 they followed this up with Frankenstein and The Wolfman. The adaptation of Frankenstein, titled “The Monster Lives,” has been described as “loosely” based on the Universal film. That is an understatement. The Monster and his creator escape from the villagers in the Balkans. Using hypnotism to control the Monster (a technique predating Hammer’s 1964 film The Evil of Frankenstein), the good doctor puts his creation on a boat and sails to America to plead his case at a conveniently-timed medical convention. Of course, the Monster breaks free, shocks the gathering of physicians, and is chased to the harbor where, in the best Murphy’s Law tradition, he climbs on board a ship filled with explosives that catches fire. Dr. Frankenstein watches helplessly as his creation is pulled out into the harbor aboard the burning, explosive-filled ship to its inevitable end…vowing of course to one day raise him back up again. The cover of DellÕsFrankenstein #1 (1963). Evidently no great shakes as movie adaptations goÑbut the cover painting ainÕtbad.

Skip ahead three years… it’s 1966. Super-hero comics are again all the rage.

ÒThis looks like a job for… FRANKENSTEIN!Ó Our cross-genre hero goes into action in Frankenstein #3 (Dec. 1966). Just for the record, Frank had a green face and neck (plus white hair), yet his exposed arms were Caucasian-flesh pink. His blouse and tights were red, his belt blueÑwith a big blue ÒFÓ on his yellow belt buckle. No, no, donÕtthank usÑitÕs the least we could do. All art in the series is by Bill Fraccio & Tony Tallarico; all scans for this article courtesy of Stephan Friedt. [©2004 Western Publishing, Inc.]

Marvel is taking the world by storm. Batman begins his run on TV and will soon appear on the big screen in Batman: the Movie. Forrest J. Ackerman’s Famous Monsters of Filmland is on every magazine rack. And Dell is publishing Mighty Mouse, Alvin the Chipmunk, and comic versions of Bewitched and F-Troop. Somebody at Dell must have thought: “What can we do to jump on the craze? Hmmm… Monsters are popular… super-heroes are popular… What if we mix the two?” So, under the watchful eye of editor Don Arneson, out pop superhero versions of Frankenstein in September of 1966, Dracula in November, and Werewolf in December. (The film title “The Wolf Man” was a name trademarked by Universal, while the novels Frankenstein and Dracula were in the public domain. We’ll save Dracula and Werewolf for another time, though you can see covers of both magazines in Alter Ego #36.) Frankenstein #2 (#1 was a 1964 reprint of the 1963 movie “adaptation”) claimed to be introducing “The world’s greatest and strangest super hero!” with “The origin of the New Frankenstein.” We open with a splash of a European castle that somehow has existed untouched near a “great American Metropolis” (named, conveniently enough, Metropole City) for “over a hundred years.” Murphy’s Law, once again, brings a bolt of lightning into the castle to strike a cadaver

Frankenstein: Monster in Tights

(conveniently dressed in a red jumpsuit) that has also gone untouched for 100 years. And thus awakes our hero! After two months of wandering the castle, and sneaking out at night to witness “the dark world that surrounds him,” our hero dons a plastic mask and takes his new name from a chunk of stone with the letters FRANK carved on it. “Frank Stone” is born!

Rebirth of Frankenstein,” Frank dedicates himself to serving good: “The Doctor was a brilliant man. His visions of the future I can now construct. The devices will enable me to fight the evil intentions of those men who cannot learn to live peacefully in this world.” Contrary to his statement, he never does use an arsenal of devices.

Frank’s first act of heroism is most fortunate: he comes upon a car wreck, saves the wealthy financier inside (the financier's father had been the business partner of the late Doctor!), becomes his companion, and inherits his fortune. Bruce Wayne never had it so easy! Plastic-faced millionaire by day, green-faced super-hero in a red jumpsuit by night!

Over the next days Frank tests and perfects his powers. He extends his jumping power from thirty feet to fifty feet from a standing start. He lifts thirty times his own weight… and “can throw it as easily as a baseball.” He can run faster than a leopard, and his body can take “more punishment than an elephant,” he says as he smashes through a stone wall. His disguise is kept folded in a small package tucked in his belt…mask and full business suit, no less. Super-herodom’s “unstable molecules” had nothing on this guy! We’ve got a super-hero, his trusty butler, a noisy female acquaintance… all we need now is an arch-enemy!

Very little of the movie Monster’s character is retained in this story. His brainpower is now “50 times greater than the average human”… rather than the abnormal criminal brain he started with in the Universal movies, or whatever precisely Mary Shelley’s hero placed inside his skull. His countenance is striking (green skin, white hair), but hardly what you would call ugly. His size is unusual: “Get a load of that other guy… he’s bigger than both of us!” according to the first people to see him… the ambulance drivers. His talents quickly make themselves evident. His next heroic act is saving Miss Ann Thrope (great name!) and gains him the required blonde female character. He discovers his strength is “greater than fifty normal men.” In the story’s second chapter, “The

Our next introduction is to his foil…a diminutive mad scientist named Mr. Freek, who rides around on the shoulders of Brute, “the largest gorilla in the world,” and is aided by a pro-wrestling reject named Kilo. Mr. Freek’s goal is unstated… other than to get attention. Only a trip to the United States will do it!

When Dell Comics Stitched Together Super-Heroes and Horror as a new force for good in a world fraught with bad.” As a parting shot we’re told, “Now that you’ve seen the New Adventures of Frankenstein, you won’t want to miss The New Adventures of Dracula and The New Adventures of the Were-Wolf.”

The cover and splash of issue #3. A friend of ours used to say about television shows: ÒYou know a TV series is in trouble when it runs its ÔeviltwinÕepisode in the first season!Ó How about in a comic bookÕssecond issue? [©2004 Western Publishing, Inc.]

After several news-grabbing thefts and acts of vandalism, he makes the papers. Rushing in to show the headlines to his employer, William, the trusted butler. surprises our hero without his human disguise. “I, I don’t believe it. You… you are…” he stutters. “Yes, William. I am Frankenstein. But my secret must be kept at all costs. The safety of the world may depend on it!” A delusion of grandeur… but it doesn’t stop William from being a trusted aide, à la Batman’s butler Alfred.

Issue #3 is a book-length story that begins with our hero besieged by the curious Miss Thrope, hoping to catch him racing off to thwart a prison break. While avoiding Ann, Frank stops a robbery, only to be gassed and captured by a gang working for an evil computer, foreshadowing the 1970 film Colossus: The Forbin Project. Frank falls for the old hypnotism trick and becomes an evil henchman. William comes to the rescue, hits our hero over the head with a wrench, and brings him to his senses. Ann then proceeds to get captured by the computer and its gang. William, disguised as Frankenstein (!) is also captured, and the real Frank and the police swoop in for the rescue. The computer and gang have fled, but not before Frankenstein can deduce from a heavy-duty electrical cord that the computer must draw huge amounts of electricity. With the eager help of the police and the power company, they shut off power to the East Coast. They soon locate the computer, pull its evil cells, and keep the heroine in suspense. Issue #4 is a connected trio of short stories. The first showcases the return of the arch-enemy, Mr. Freek, and his gorilla ride. Using every animal in the zoo, and a giant web-spinning tarantula as well, Mr.

The pair speed off to the scene of the last reported sighting of our villain. Frank battles the gorilla to a stand-off, but allows Freek to grab William. Inexplicably, Mr. Freek changes his mind; they drop William and head for the ship that brought them. Frankenstein quietly stands by, letting them escape and “head back where they came from. Where they can do no harm.” Presumably without their ill-gotten gains. Chapter three expands the character of Miss Ann Thrope, who may or may not have been intended to develop into a love interest, but she is convinced the hero and the millionaire are one and the same… if only she can prove it! At first she is convinced that William, the valet, is the one who saved her. Then she proceeds to try to trick Frank into saving her again… by staging a fall off a building. Frank doesn’t fall for it and leaves her as suspicious as before. Our hero rededicates himself to keeping the world safe. “And so it is that after one hundred years, the tremendous power and strength of the man who calls himself Frankenstein has awakened

Frankenstein: Monster in Tights

acquired taste, not unlike that of Mike Sekowsky, Frank Robbins, or Wayne Boring. The amount of work they accomplished in the industry during their careers, both separately and together, leads one to believe they were dependable employees and capable draftsmen. Tallarico left comics, but not comic art, to build quite a following creating and illustrating educational books and drawing guides for kids of all ages. There isn’t a public library or a budding comic artist that doesn’t own a copy of one of his I Can Draw books. And he’s still at it to this day. Fraccio, for his part, has done some teaching since his days in comics, as recounted in his interview last year in Alter Ego #29.

Layout penciler Bill Fraccio (left) was interviewed in Alter Ego #29. (Right:) Finishing artist/inker Tony Tallarico will be interviewed in a near-future issue. Thanks to both artists for their photos.

Freek captures Frank, William, and Ann. Frank battles a variety of beasts in short order, and Mr. Freek is assumed to be eliminated by his own animals. Chapter two finds our trio fighting a deaf old man with a devastating sonic device. Chapter three finds them back home with Ann once again trying to uncover Frank’s secret identity. Frank ends up battling crooks as Frank Stone and Ann is once again left wondering. Unfortunately, this was long before Mini-Me, and Mr. Freek didn’t have the appeal of his television contemporary Dr. Loveless from Wild, Wild West… so even he couldn’t save our doomed hero. Dell gave it up with issue #4, and Frank Stone sank into oblivion. The scripts were all credited to Don Segall. However, according to artist Tony Tallarico, Segall was no longer working for Dell at that time. Information from the people involved has revealed that the scripts were the quick work of Dell editor Don Arneson. Arneson also is well known for a couple of alternative political comics, The Great Society Comic Book and The Adventures of Bobman and Teddy. He continued as an author after Dell’s demise, having written a variety of young adult books and adaptations of classic novels, often teamed with the illustration talents of Tony Tallarico. According to Tallarico, the art in the three super-hero issues of Frankenstein was a collaboration, with layouts by William “Bill” Fraccio, finished pencils and inks by Anthony “Tony” Tallarico, and lettering by Ray Burzon. This was one of many joint efforts by the two artists over the years. Fraccio did considerable penciling for Dell, Charlton, and other companies in the 1960s, including (with Tony Tallarico) as half of the Warren artist known as “Tony Williamsune.” In 1966 he and Tallarico drew the popular Great Society Comic Book, a parody of President Lyndon Johnson’s administration. Tallarico’s list of comic book credits fills pages in both the Who’s Who of Comics and the Grand Comic Book Database. He’s probably best known among comic fans for his work on Charlton’s books, or the Classics Illustrated version of H.G. Wells’ Food of the Gods. From the 1940s through the late 1960s there wasn’t a genre Tony couldn’t handle… or didn’t. “Idiosyncratic,” “uninspired,” “fun,” are all words that have been used to describe the Dell Frankenstein series, but it was without a doubt on a par with many of the other books and artists that graced the racks in the 1960s. Panel layout was not rubber-stamped by any means. “Camera” angles were often varied. Fraccio/Tallarico artwork is an

Dell’s Frankenstein is considered an oddity today… one of those knock-off books that you used to find in the discount bins in every local comic shop. It never caught on the way previous or future incarnations of the Monster would. But it fit right in with the experimental and offbeat books that peppered the racks in the 1960s. And today, they are a pleasant bit of nostalgia. It’s too bad copies are getting harder and harder to find.... [Stephan Friedt was born and raised in the Midwest, and has fond memories of stumbling upon X-Men #2 on the drugstore spinner rack in amongst the usual fare of Dells and Classics Illustrated. He is married to an understanding wife (Carla), who doesn’t mind working around stacks of comics, and is the father of two, ages 4 (Katie), an aspiring illustrator, and 14 (Stephanie), an aspiring writer. He was a shop owner in the late 1970s and early 1980s, and has been the administrator at the website www.comicspriceguide.com for the past two years… as one of a dedicated team of computer-literate collectors and fans striving to make comic collecting easy to keep inventoried and valued. A fanboy at heart… historian by inclination.]

BACK ISSUE OF THE ISSUE! If you dug this issue—and what Frankensteinophile wouldn’t?—you’ll wanna pick up last year’s first annual Halloween issue (#29), with covers by Pete Von Sholly and Frank Brunner—plus the horror work of Bill Everett, Joe Maneely, Ernie Schroeder, et al. See one of our inside covers for how to order this and three dozen other A/E back issues! You want us to have a merry Christmas, right?

Spawn Song Frankenstein’s Fearful Fiend at DC Comics––1948-1994 by John Wells Monsters Mundane and Mirthful Her supple body supported by her hands, Rachael arched backwards, the pink curves of her bare leg and thigh contrasted alluringly against her black dress. Leaning against the freshly-dug grave of her husband, she vowed that she’d destroy the creature who took his life. Everyone grieves in his or her own way. Okay, you have to expect some melodrama when spinning a tale of one of the classic monster icons. To be frank, though, DC’s short-lived “Spawn of Frankenstein” strip was actually pretty decent and, over-the-top characterizations notwithstanding, the company’s first attempt at playing Mary Shelley’s classic creation straight in some time. Mike KalutaÕsgorgeous cover for Phantom Stranger The purported “True Story of Frankenstein” had #25 (Aug.-Sept. 1973) featured the green-tinged been recounted in Detective Comics #135 (May Spawn of FrankensteinÑthe shadow of the Phantom Batman and Robin met a formerly-gentle 1948), part of the long-running series of adventures StrangerÑand a breathtaking blonde. Not necessarily giant in Detective Comics #135 (May 1948). in which Professor Carter Nichols drew Batman in that order. Thanks to Bob Bailey for the scan. Art by Jim Mooney? Thanks to Don Glut for and/or Robin [©2004 DC Comics.] the scan. [©2004 DC Comics.] (only as Bruce Wayne and/or arms over descriptions of Frankenstein as the “world’s scariest monster” Dick Grayson) (a footnote pointed out that “through misuse, the term ‘Frankenstein’ back in time to has grown to mean the monster itself”) and terrorized an actor playing investigate Frank along with an entire film studio before Superman convinced his historical imperfect duplicate that he had nothing to worry about (Superman mysteries. In this #143, Feb. 1961). episode, readers were informed that, in the early 19th century, an accident had left Baron Frankenstein’s hulking (but human) assistant Ivan temporarily susceptible to control by the evil Count Mettern. Horrified by his own unrestrained violence, Ivan killed himself and Mettern by destroying the Frankenstein castle. Convinced no one would believe the fantastic events she’d just witnessed, Mary Shelley decided she’d be better off identifying her inevitable book as fiction.

By the 1960s, though, the Frankenstein Monster and the other horror icons had become the fodder of humor, thanks in part to the late-late show revival of many of the classic films. On DC’s Bizarro World, where the movies were literally viewed as comedy, Bizarro #1 was up in

The 1961 ÒBizarro Meets FrankensteinÓ was reprinted in Superman: From the 30’s to the 70’s. Script by Otto Binder; art by Wayne Boring & Stan Kaye. Thanks to Carl GaffordÕswonderful resource work This Month in Comics: Jan. 1958-Dec. 1972 for the writer and artist IDs. [©2004 DC Comics.]

Spawn Song

A Monster Is “Spawned” But serious horror began making in-roads in the early 1970s as the Comics Code relaxed standards on what could appear in mainstream comics. Where Marvel quickly rolled out a burgeoning line of monster series, DC remained primarily committed to the episodic horror stories with which they’d found success beginning in the late 1960s. The most prominent supernatural series in the DC line-up was The Phantom Stranger. That title had been revised as a fusion of two 1950s series— one involving an enigmatic mystical figure, the other a professional “ghost-breaker” who debunked supposed paranormal phenomenon— but the running feud between the two men inexorably grew stale, and Dr. Thirteen was returned to his own series in the back of the book. The decision relieved Terry Thirteen of the burden of playing an often unsympathetic foil to the star of the book; but, despite a solid, often outstanding run of stories, it also made him more disposable.

And so, despite two completed episodes resting in inventory, “Dr. Thirteen” was given the boot—but in a most inspired way. The eightpage back-up in The Phantom Stranger #23 (Jan.-Feb. 1973) opened with the Arctic exhumation of “The Spawn of Frankenstein,” the subject of a five-year quest on the part of a Clairmont, Maine, college professor named Victor Adams. Unfortunately, that half-decade obsession seemed to have taken its toll on Vic, whose academic colleagues took a dim view of his plans to resurrect the creature of legend. Terrified of what her spouse might do, Rachael Adams called an old friend, Marie LeRoux, and begged for the professional services of her husband—Terry Thirteen.

And the final issues of The Adventures of Bob Hope (#95-109, 196567) included the faculty of Benedict Arnold High School, who bore an uncanny resemblance to folks like Dracula and the Wolfman. The towering green-skinned P.E. teacher was one Franklin N. Stein, who nearly popped the bolts from his temples whenever someone pointed out his similarity to you-know-who. Even Egor, the not-quite-seen companion of the Three Witches who was played for laughs in the Giordanoand early Boltinoff-edited issues of The Witching Hour (#1-11, 13-16, & 21, 1969-72), was clearly meant to evoke the monster, even being referred to as a “Frankenstein reject.”

On pp. 1-2 of the Wolfman/Kaluta story in The Phantom Stranger #23 (Jan.-Feb. 1971), the Monster was found encased in ice (just where any good fans of the Mary Shelley novel would place him) and brought to civilization. [©2004 DC Comics.]

Frankenstein’s Fearful Fiend at DC Comics––1948-1994 When Victor (Adams, not Frankenstein) resurrects the Monster, it promptly goes wildÑthen saves the lives of Dr. and Mrs. Thirteen. Script by Wolfman; art by Kaluta. [©2004 DC Comics.]

From ÒThe Spawn of Frankenstein,Ó Michael W. Kaluta moved on to the Shadow work for which he is justifiably noted. You can line up the comics and graphic novels on your ownÑbut hereÕsa Shadow sketch Mike did in 2003 at the San Diego Comic-Con for collector Mike Zeno. Oh, and in case you want to see more Kaluta magic, try his website: <www.kaluta.com>. [Art ©2004 Michael W. Kaluta; Shadow TM & ©2004 Cond” Nast.]

Spawn Song

Behind the Kaluta cover reproÕdat the start of this piece, Jim Aparo takes over the art choresÑand quite capably, tooÑwith the Phantom Stranger/Spawn of Frankenstein cross-over in The Phantom Stranger #26 (July-Aug. 1971). [©2004 DC Comics.]

Meanwhile, Victor Adams had wed Dr. Frankenstein’s age-old formula with modern technology and was actively endeavoring to revive the frozen corpse. Lasers, he found, weren’t enough to wake the dead, so he augmented their power with lightning from the requisite thunderstorm. The mad doctor was electrocuted, the weight of his corpse swinging his laser cannon towards the doorway that Marie Thirteen was just entering. And the narration switched to second-person.

Worlds of Edgar Rice Burroughs. Neither had, at that point, achieved the popularity of Wein himself—a fan-favorite for a justly-celebrated run of stories with Jim Aparo on the “Phantom Stranger” series itself and for new assignments like Justice League of America and Swamp Thing— but “Spawn” offered a small taste of the greatness each would achieve in the years ahead.

“You rise as the one in white slumps over the still-pulsating laser. His scream dies with it, but another takes his place... the shrill scream of a woman. What is wrong? The light that gave you life makes the woman cry... it hurts her... and you know you must do something. Stop the machine... smash it... end her searing pain... destroy the mechanical midwife that helped to give you life!”

Yellow Pages

The upshot? Victor was dead, Marie was comatose, and their respective spouses each blamed the long-haired green-skinned Spawn of Frankenstein—this in spite of the fact that he’d saved their lives by holding back the collapsing ceiling of the lab. “The cold air embraces you... gives you strength to dig out from the rubble of your birthplace. And the night gives you respite... darkness to hide in. Cherish that darkness, monster... for tonight it is your only friend.” “The Spawn of Frankenstein” was the product of a pair of up-andcomers—Marv Wolfman and Michael W. Kaluta. Marv had several years of experience to his credit since he had broken into the industry with pal Len Wein with a character called The Conjurer (in, of all places, a magazine called Castle of Frankenstein). And Kaluta had been building a small comics résumé of his own, with his ornate, neo-classical style finally reaching a somewhat wider audience courtesy of the Weinscripted “Carson of Venus” strip in Korak, Son of Tarzan and Weird

The second installment of the strip was a rather episodic one, wherein the nude monster (now with yellow flesh) acquired a pair of pants and a cape during a violent altercation at a surplus store and killed a pair of would-be violators of Victor Adams’ grave. And the narration had shifted to the first-person. At once resentful at the man for disturbing his rest and oddly familial for his role in same, the Spawn of Frankenstein lifted Adams’ corpse from the earth and rolled a thought through his centuries-old brain: “If he could raise me from the shadows of death, could I not do the same for him?” Meanwhile, as chapter three opened, Rachael Adams was striking the provocative pose at her husband’s grave described in the opening paragraph. Invoking the Devil in her resolve to avenge Victor’s death, the Widow Adams found herself summarily hauled to the tower of a thoroughly deranged Satan-worshipper who required her untainted soul as a sacrifice to create a gateway to Hell. It will likely come as no surprise that the once-again-green-skinned monster showed up at the same tower or that he was designated an ideal substitute for Rachael in the ceremony. But now his thoughts had given way to actual spoken words and the creature was explicitly referring to himself as the Spawn of Frankenstein.

Frankenstein’s Fearful Fiend at DC Comics––1948-1994 efforts to retain a foothold on Earth, an objective ultimately thwarted by The Phantom Stranger. In the aftermath, Marie Thirteen was still alive—if unconscious— while Victor Adams’ status remained uncertain. Whatever his fate, the Spawn of Frankenstein no longer cared, his desire for the poetic justice of restoring him to a kind of half-life having faded. As obstinate as ever, Dr. Thirteen vowed that their business wasn’t finished. “The angry voice fades into the wind, monster—and you decide you made the right decision. You could have remained—and exacted your revenge as you had planned to do—but what would that have gained you—compared to what you would have lost? For now you want only to be alone—to pause for a time and reconsider what you laughingly call—your future. The monster within you is seething in frustration and rage—but the man you once were two centuries ago can feel only sorrow—and who can say which emotion is a greater cross to bear?” With The Phantom Stranger #27, editor Joe Orlando found himself with the unusual dilemma of replacing popular creative teams on both his lead and back-up strips, the result of new commitments on the part of all involved. At the front of the book, Wein and Aparo gave way to Arnold Drake and Gerry Talaoc. And in the back, Steve Skeates and famed Golden Age artist Bernard Baily—original artist of “The Spectre” and “Hour-Man”—became the latest (and last) team to chronicle the adventures of the Spawn of Frankenstein. Under Skeates, the creature had a voice “like rusted steel scraping across concrete” and cursed his “stupid, cumbersome body.”

Amidst the burned flesh of devil-worshippers and the body of her husband directly in front of her, “Rachael Adams awakened... her senses reeling from the stench of death. She turned towards the corpse... and she screamed long through the night and into the morning.” With the fourth episode, Kaluta was gone save for the cover—which shouted, “The Phantom Stranger Meets the Spawn of Frankenstein!” Well, okay, “the Spawn of” part was actually more of a whisper, but you get the idea. Inside, Len and Marv teamed up on a 20-page Aparo-illustrated fulllengther that initially seemed to advance the plot of the Spawn’s intended resurrection of Victor Adams (while returning to the second-person narration). Breaking into the hospital where Marie Thirteen was being cared for, the creature abducted her and made off with a miniature version of the laser-cannon that had revived him—but not without attempting to kill both The Phantom Stranger and Dr. Thirteen. And suddenly the plot took a sharp turn, with the Spawn of Frankenstein revealed to have been manipulated by a millennia-old demon couple named Flagermot and Pornipus. Though he resisted the compulsion to murder the unconscious Rachael, the Spawn had still given the devilish lovers access to host bodies in the form of Victor and Marie, and the remainder of the story entailed their moon-empowered

Herein, the Spawn of Frankenstein saved a young woman from being raped, only to send her running directly into the path of a cult that tied her to a post as a sacrifice to their Snake-God (PS #27). Proceeding from bad to worse, Betty Anne was torn free by the Spawn, who, while trying to escape, proceeded to slam her head into a tree and accidentally kill her. Needless to say, the townspeople didn’t take kindly to that development (PS #28), and the Spawn ended up taking refuge with the very cult-leader who’d caused all the trouble in the first place—and who thought the green-skinned entity was a demon he’d summoned. And, to give him his due, the fanatic had reason to believe such things were possible. He was literally an extension of the Snake-God, his left hand a serpent that barked out orders (PS #29). Thrust into a snake-pit, the Spawn escaped, only to find himself accused of being a co-conspirator of the cult-leader—who was nowhere to be found (PS #30). “The woods ahead seems [sic] to beckon to me. To escape from the fear, the repulsion, the senseless attacks of humanity... to leave the horrors of mankind, never to return.” Reaction to the series (and its lead) was... not good. The meandering

Is what John Wells has called Òa Brieferesque expressionÓ on the MonsterÕsface in this sequence from Phantom Stranger #28 (Nov-Dec. 1971) a coincidenceÑor was it, perchance, an homage to the earlier Prize Comics version? [©2004 DC Comics.]

Spawn Song

The first and last pages of the final ÒSpawn of FrankensteinÓ chapter, in Phantom Stranger #31 (May-June 1972). His replacement was ÒThe Black Orchid,Ó a super-heroine drawn beautifully by Tony DeZuniga. [©2004 DC Comics.]

story did the strip no favors, and 1970s fans seem to have viewed Baily’s art as “retro,” to use a term of derision that didn’t exist at the time, despite a list of credentials that included such series as “The Spectre” and “Prince Ra-Man.” In my estimation, that actually added to the appeal of the art, though the more cartoony Dick Brieferesque look that our hero now sported was at odds with the intended atmosphere of the series. The negative feedback on the collective comic book was so intense that Joe Orlando actually took the unprecedented step of responding to the criticism in the entire letter column of Phantom Stranger #31.

Since “Spawn” Consequently, “The Black Orchid” became the new series back-up, effective that issue; guest-artists Bill Draut and Mike Grell illustrated the lead in #32 and 33; Jim Aparo returned as cover-artist from #33 on; and David Michelinie succeeded Arnold Drake as writer effective with #35. None of which prevented the series from being cancelled with #41 in 1975. As for Dr. Thirteen, his wife made a full recovery, and the remaining two solo stories bumped by “Spawn of Frankenstein” finally saw print in Adventure Comics #428 (1973) and Phantom Stranger #34 (1974). He and the Stranger crossed paths on a few more occasions in the 1970s (House of Secrets #150; DC Super-Stars #18); and, in the 1980s, he starred in a short-lived new solo series in Ghosts (#95-99, 101-102), as well as making several appearances in Gerry Conway’s run on Batman. He was last seen in 1998’s Vertigo Visions: Dr. Thirteen #1.

Superman takes on a Frankenstein type in Super Friends #10 (Feb.-March 1978), by E. Nelson Bridwell (writer) and Ramona Fradon & Bob Smith (artists)Ñbut he actually turns out to be an extraterrestrial named, er, Superior Man. [©2004 DC Comics.]

Frankenstein’s Fearful Fiend at DC Comics––1948-1994

“The Spawn of Frankenstein” was gone but not forgotten. Len Wein and Bernie Wrightson had crafted a far more successful misunderstood monster series in the form of Swamp Thing, launched in the latter half of 1972. Their own take on the Frankenstein Monster— The Patchwork Man— appeared in Swamp Thing #3 a month after Phantom Stranger #23 and was later the subject of an abortive ongoing series, whose sole installment appeared in House of Secrets #140 the same month Phantom Stranger was cancelled. The completed second installment—“Night of the Bat”—appeared only in Gigant #3, published in Finland in 1983. And a Wein-plotted, Paul Levitz-scripted story in Superman #344 (Feb. 1980) brought another version of the Frankenstein Monster and Dracula into conflict with the Man of Steel. These entities were pulled to Earth from another dimension (perhaps the one where Captain Thunder had trapped the iconic Monster League of Evil back in #266) and wound up being sent back by our old friend, The Phantom Stranger.

Marv Wolfman, of course, achieved fame as writer of one of the 1970s’ greatest horror comics, Marvel’s Tomb of Dracula, but managed a nod to one of his earliest strips not long after he began scripting the 1980s Superman series in Action Comics. In issue #531 (May 1982), the spirit of a long-dead Daily Planet typesetter brought the Spawn of Frankenstein to life as part of a ploy to scare a media mogul out of buying the newspaper. Penciled by Joe Staton, the long-haired, yellow-skinned creature bore a striking resemblance to the Kaluta-designed monster. And Kaluta, who’d moved directly from that series to the much-heralded 1973 revival of The Shadow, drew the Spawn of Frankenstein one last time for DC—as an entry in 1986’s Who’s Who #21. Coming full circle from Detective Comics #135, writer Jack C. Harris and painter Bo Hampton offered another, very different take on the Frankenstein legend in 1994’s Batman: Castle of the Bat. And somewhere along the line, a fellow named Thomas made his own contribution to the DC Comics accounts of the legend. But that’s another story. Over to you, Roy!

Behind a Ross Andru/Frank Giacoia cover, Superman didnÕthave much better luck against this yellow-skinned, very ÒSpawn of FrankensteinÓ-looking Monster in Action Comics #531 (May 1982). Art by Joe Staton (penciler) & Frank McLaughlin (inker). Script by Marv Wolfman. [©2004 DC Comics.]

[A/E EDITOR’S P.S.: ’Tis a tale already told in an art caption on p. 27, friend John—which see for the appearance of “Victor Frankenstein II” in The Young All-Stars #18-19 in the latter 1980s. —Roy.]

Frankenstein In The Funny Pages? Yep! It Could’ve Happened Back in 1970-Something—Courtesy of DICK BRIEFER! by Roy Thomas, with special thanks to Al Dellinges

Sometimes you get more than you bargained for—and this is one of those times. As a longtime fan of the several different incarnations of the Frankenstein Monster written and drawn by the late Dick Briefer for the Prize Comics Group from the early 1940s through the mid-’50s, it was with delight that I arranged to reprint Don Glut’s “Frankenstein in Four Colors” article in this issue, with its emphasis on Briefer’s work. But it’s also been known for some years—including by Don, who was in touch with the artist in the 1970s and commissioned two painted recreations by him—that Briefer didn’t write and draw the Monster only for comic books.

poster-size sheets that the printing company he worked for at that time made up for him to use as promotional guides. I still have those sheets, but I never did have Dick’s original art they were made from.

Dick Briefer circa the late 1970s (left) and Al Dellinges in 2002 (right). Briefer is holding up copies of three issues of his Prize Comics Frankenstein. (Center:) Around that same time, just for kicks, Al toyed with the notion of a knock-down drag-out fight between BrieferÕsFrankenstein and another four-color monstrosity, Solomon Grundy, who between 1944-47 appeared in four ÒGreen LanternÓ and ÒJustice Society of AmericaÓ tales. Naturally, as a fan of both Briefer and his fellow artist Irwin Hasen, Al composed this art spot, combining elements of the covers of All-Star Comics #33 (Feb.-March 1947) and Frankenstein #21 (Oct.-Nov. 1952). Maybe that battle happened on ÒEarth-FÓ before the Crisis on Infinite Earths? [Art ©2004 Al Dellinges; Solomon Grundy TM & ©2004 DC Comics.]

Back in the ’70s, comics fan/historian Al Dellinges—hardly a stranger to the pages of Alter Ego—published his own fanzine, which was titled Near Mint. And, when I started to think about having a “Frankenstein” issue of A/E, I remembered that at least one issue of Near Mint reprinted 36 never-sold humorous Frankenstein daily comic strips by Dick Briefer, who at that time was still very much alive. I even recalled that some of those strips adapted one of my favorite stories in Prize’s Frankenstein #4 (Sept.-Oct. 1947), in which Stanley the Sorcerer tries to ruin Franky’s “birthday party.” So, naturally, I contacted Al and learned that—well, I’ll let his return letter speak for itself:

Roy, There were two [comic book] versions of the Frankenstein “Birthday” story done by Dick Briefer. The one I used in Near Mint #35 was the first one, and it originally consisted of 25 daily strips, but I used only the first 15. I have, however, enclosed for you in this package all 25 daily strips that you may use as you see fit. These 25 dailies were sent to me by Dick in the form of large

Now, the second version consisted of 36 dailies of totally different artwork by Dick, but also based in part on the “Birthday” theme. Dick sent me these originals, which I used to make up a promotional booklet that could be sent to prospective clients for possible syndication. I have enclosed one of these booklets for you. The printing quality is poor, but I have much sharper copies if you ever want to use them. Anyway, nobody bought the strip, so Dick asked me to try to sell his artwork, and after several ads, not one was sold, so I returned all his

original artwork to him. Sometime later, I asked him if I could try to sell the strips again. He said fine, but a few days later he died, and it was after his passing that I began getting inquiries about his artwork. I let his wife Lee know about it, she thanked me for the info, and I never heard from her again. Al On reading this note, I was flabbergasted! Somewhere along the line, although I’d seen them, I’d forgotten that there were two sets of Dick Briefer Frankenstein dailies—apparently 61 strips in all—with some overlapping of general storyline, but no precise duplication of script or art! And, Al informed me, Briefer had given him permission to reprint the strips anytime he wanted… though of course they are still copyrighted in the name of Briefer’s estate. When I perused the earlier 25-strip version in beautiful photocopies made by Al, I discovered that roughly half of them retold the

Yep! It Could’ve Happened Back in 1970-Something––Courtesy of Dick Briefer

“Birthday” story which are also in the 36-strip version—plus an adaptation of still another favorite Briefer story of mine, a werewolf tale from that selfsame 4th issue of Frankenstein. Evidently, Briefer and Yours Truly had similar ideas about which of his “Frankenstein the Merry Monster” work was his best! Since we couldn’t squeeze all 61 strips into this issue, it was decided to run the earlier 25-strip sequence. As for the other 36 dailies—well, the last time we heard, there was gonna be a Halloween in 2005, too—so you never know! But first—before we print those dailies, we figure you should know a bit more about the guy who wrote and drew them.

As it turns out, The Menomonee Falls Gazette, Vol. 5, #213 (Jan. 12, 1976), a magazine which printed comics news and comic strips for some years, printed an article by Roy’s and Al’s old fandom associate Howard Leroy Davis which was a combination of Briefer’s own words, plus Howard’s commentary. Howard formed the article out of excerpts from Briefer’s letters, and his own remarks are rendered below in both brackets and italics [like so!] to avoid confusion with the few places where Briefer himself used italics. I’ve included (and labeled) a few pieces of info of my own, where advisable. So here is the article, which is ©2004 Howard Leroy Davis:

With Pen and Brush by Howard Leroy Davis [On initially writing Dick Briefer, I told him that my favorite work of his was the horror “Frankenstein”; second choice, “Black Bull,” with the humorous “Frankenstein” the least-liked.]

I’m more alive through my work now than I was when I was doing it. No one asked me for interviews then, and no one mentioned me in research books on comics.

BRIEFER: You shouldn’t have said it! ... that your “least-liked” work of mine was the “comic Frankenstein.” But since you see merit in other things I’ve done, all, or mostly all, is forgiven.

But to become specific about my non-specific answers to your query—“Frankenstein” in Prize #7 [1940] was the beginning. I had a hard time convincing the publisher that it was in public domain, and the only thorn in my side when it was running was their idea to include a [costumed, continuing] hero such as Bulldog Denny. I don’t remember any of the stories I did. In fact, your bringing up Bulldog Denny was a disturbing memory that escaped me all these years.

I have no recollection whatever of “Black Bull” western [stories]. But I don’t dare deny having done it, because others who delve into the nostalgic mire of comic magazines have sent me stats of work I’ve denied doing, and by gosh, there’s my name or a recognizable nom de plume that proved me wrong. Biographically, I was born in 1915, and I can’t believe I’m 60 actual years, because I don’t feel any different than when I was 20 or 30. My work and hobbies have kept me feeling young. Married way back in 1938—two children—a son and his wife and son living in Milford, New Jersey; married daughter living in Portland, Oregon.

The original serious “Frankenstein” ran until about 1945. By then, I found I had been sneaking in little comic touches, and evolved the new Chas. Addams-type monster and friends. I really enjoyed the new funny “Frankenstein.”

Born in New York City, went to NYU [New York University], also Art Students League when I left the comic field in 1954. I went into advertising art in Miami, became Art Director for small agency in Coral Gables for three years. Enough of that, I went into portrait painting, which gave me the most satisfaction in all my art endeavors. Been living here in Hollywood, Florida, since 1947. When you give me specifics like “Prize #15, Frankenstein #5, Prize Western #69,” etc., all I can do is give you unspecific answers. There’s very little of my work that I saved. For some collectors, it’s a mistake when they lose an issue—for me, it was like a mistake to save any. Like why didn’t I save those Green Lucky Strike flat fifty-cigarette tins? Or why didn’t I save my 1937 Packard? Or why didn’t I save silver dollars? Or why didn’t I buy six lots at $400 when I moved to Florida in 1947? Time does funny unanticipated things—

I wrote all my own scripts (as I did on the horror Frankenstein), and now when I look at the few magazines I have, I marvel at the good drawings and stories I came up with. Of course, it wasn’t always consistent; some art was sloppy, some plots just got by, but I had fun and pleasure even when that Debbil deadline came around. Incidentally, some of the sloppiness can be attributed to my going to same size original art! [Dick went to originals of published page size on the funny Frankenstein near the end of its run.] Filling in the actual-page-size blank bristol board was less nerve-racking than twice-up at deadline time.

Back in the 1970s, Dinosaur Don Glut (as we used to refer to him then in Marvel letters pages) commissioned two cover re-creations from Dick BrieferÉ one horror, one humor. The former re-created the scene from the cover of PrizeÕsFrankenstein #18, the comic book version of which appears on p. 16 of this issueÑthe latter, the cover scene for Frankenstein #4, the very issue from which two 1946 stories were adapted for the 25 dailies on the following pages. Thanks to Don for photographing it for us. [Art ©2004 Estate of Dick Briefer.]

Funny Frankenstein lasted till about 1950 or so, then died. A bit later, the publishers revived the horror version. I improved in drawing generally [over the years], but the attitude was different, the fun was gone. The revived Frankenstein was just a means of collecting some money, and when that folded with the arrival of anti-

Frankenstein In The Funny Pages?

And to me Degas is tops. I am in no way trying to hide my former comic magazine work, but I have no nostalgia for it.

horror groups, I gave up the comic field entirely and went into advertising art nearer home. You probably didn’t know that I did many Jughead pages! And I did a stint at romance comics; there was no resemblance to anything else I did. My different styles abound. I feel I was more successful at that [varying styles] than most artists.

When I started comics work, I was a drop-out from New York University PreMed School! Then while I was doing the first “Frankenstein” and other strips, I went back to NYU for two more years and got my B.S. in art education. If there is one regret in my life, it is that I didn’t follow up art teaching. A position in a small college would be ideal... maybe not, though. So school and comics were going on at the same time in or about 193940.

Talking about work done for people other than M.R. Reese [Maurice Rosenfeld] of Prize Comics, one interesting feature was in Crime Does Not Pay, [Lev Gleason, publisher, Biro & Wood, editors]: it was the only comic [fiction] story amongst the “true” crime ones—ran about 6 pages. I made up crazy whodunits and got my friends into them most of the time—the list is now formidable—Jimmy Durante, Gary Moore, the crew of the Durante radio show (my uncle was a writer), and one where Leonard Bernstein was the criminal!

In 1945, I went into Todd Shipyard as a sheet metal helper to avoid getting killed in the wars. It was rough on the comic work then because of having to start on it only after I got home at night after being up at 5:30 a.m. But it was only about six months, and when the bomb fell in August 1945... I ran out of the shipyard lickety-split.

I also remember “The Pirate Prince”—a swashbuckling pirate hero. I think this was in Daredevil Comics. I liked that one.

Somehow I never saved anything much. I did save all the wrong stuff. You can go through life two ways. Save nothing—or save everything! Both ways you’ll be unhappy, but in one you’ll have a clean house.

Somewhere along the line I did two issues of Andy Devine Comics for someone, from their script. And a couple of good features in Joe College Comics, published by Hillman (I think), Ed Cronin Editor. I never assisted anyone, nor did I ever have assistants. I wrote, penciled, inked, lettered, erased all my stuff. Only exception to this was with Hillman comic group, where they put in the lettering mechanically. Also, scripts were given me on the aforementioned Andy Devine comics.

Marvel wanted me to revive the old funny “Frankenstein,” but I just can’t get myself into that routine again. This development came in the past year [1974] for a new book they put out [Crazy]. Here is a Dick Briefer promotional drawing, created to be sent to newspaper syndicates along with his dailies. Reprinted from Near Mint #35. [Art ©2004 Estate of Dick Briefer.]

I sent the old samples I drew up for prospective daily syndication to three syndicates and got two rejections. Maybe one will like it if I contact others— it’s more appropriate today than it was when I first tried them 15 years ago.

I broke into comics through a want ad by Eisner & Iger. I did the cover for one of their first comic books they did, WOW Comics [NOTE: Actual title = Wow – What a Magazine! —Roy.] My first strip was a free adaptation by me of The Hunchback of Notre Dame using the old Lon Chaney character. This was back in about 1935 or 1936.

I don’t remember my kids’ attitude [toward my work when I was a comic artist]. Recently I gave my daughter on one of her infrequent visits a pile of “Frankenstein” stories to read and she split a gut. That was nice.

At the same time, I did “Rex Dexter of Mars” for Mystery Men Comics, V. Fox Publisher, Eisner & Iger studio. I never worked in a bullpen.

I am probably what you call a “sketch artist”—I am set up in [a shopping] mall, right out in the middle, doing mostly profile portraits in pastel in 20 minutes—full faces in about an hour. They’re cheap, but financially it has been good to me—except this year is running lousy. The work I do here is not like most other sketch artists—it’s good.

Bernard Baily and Bob Kane also gave them features. We got $5.00 a page if we did all the work, and all the work I was doing for E & I netted me a fat $15.00 a week. Then Bob Kane cornered me one day and said he found a place that would pay $10.00 a page!! I always played it “safe” and held on to my $15.00 while he went somewhere else and came up with “Batman.” Later I dealt with V. Fox and did other strips I can’t remember. At the same time I went over to the Prize Group, did “Biff Bannon of the Marines” under the pseudonym “Remington Brant.” Some others, then “Frankenstein” under my own name! All through my life, I have known or associated with very few of my [comic art] colleagues. I studied under Robert Brackman at the art Students League in New York (1936-37). I consider him a fine portrait painter but not truly a “fine Artist.” I wish I had thought of Thomas Hart Benton’s style before he did.

[As to what Dick Briefer is doing at age 60:]

[I saw some samples. Dick is being factual, not exaggerating.] I’m busy, I enjoy it. I don’t move around from place to place—I’ve been here going on seven years, and when this peters out and/or I get tired of it, I’ll do something else— Thank You, DICK BRIEFER [And there you have it. A self-portrait in words of a talented, quick-witted man who gave us comic enjoyment from 1936 through 1954 before going on to other things. —HLD]

Yep! It Could’ve Happened Back in 1970-Something––Courtesy of Dick Briefer

Frankenstein In The Funny Pages?

Yep! It Could’ve Happened Back in 1970-Something––Courtesy of Dick Briefer

Frankenstein In The Funny Pages?

Yep! It Could’ve Happened Back in 1970-Something––Courtesy of Dick Briefer

Now—FLIP US for FCA #100!

1994--2004

The 100 th Issue Of

No. 41 October 2004

5.95 In the In the USA USA

Vol. 3, No. 41 / October 2004

™

Editor

Roy Thomas

Associate Editors Bill Schelly Jim Amash

Design & Layout

Christopher Day

Consulting Editor John Morrow

HAPPY 100th,

FCA Editor

P.C. Hamerlinck

Comic Crypt Editor Michael T. Gilbert

Editors Emeritus

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

Production Assistant

Eric Nolen-Weathington

Cover Artists Marc Swayze Bernie Wrightson

Covers Colorist Tom Ziuko

Contents Writer/Editorial: Turning On the Fawcett!. . . . . . . . . . . . . . . 2 “Fawcett Knew How to Do It Better Than Anyone Else!” . . . . 3 Golden Age artist Emilio Squeglio tells Jim Amash about his days with Captain Marvel.

Comic Crypt: Twice Told Tales. . 11 Michael T. Gilbert says Victor Frankenstein wasn’t the only guy who made things live twice!

Rocke Speaks! . . . . . . . . . . . . . . 17 Artist Rocke Mastroserio shares art and opinions— via Bill Schelly & Gary Brown.

re: [comments, corrections, & correspondence]. . . . . . . . . . . 21 FCA (Fawcett Collectors of America ) #100 . . . . . . . . . . . . 25 P.C. Hamerlinck fields tributes to 30-plus years of FCA from Fawcett alumni Marc Swayze,

Shelly Moldoff, Virginia Provisiero, and many others.

Golden Age Section (“The Titans of Timely/Marvel,” Part II). . Flip Us! About Our Cover: When P.C. Hamerlinck took over publication of FCA with issue #54, his first and happiest addition to the “staff” was none other than Marc Swayze, who had drawn Captain Marvel, The Phantom Eagle, and other features for Fawcett from 1941 until the Superman-wielded axe fell in 1953. Marc contributed the cover of that 1996 issue, so we felt it was high time that it finally be rendered in color, with other Fawcett art added in the background by PCH. [1996 art ©2004 Marc Swayze; Captain Marvel & other characters TM & ©2004 DC Comics and the respective trademark & copyright holders.] Above: A vintage Mary Marvel from the sketchbook of her visual co-creator, Marc Swayze. [Art ©2004 Marc Swayze; Mary Marvel TM & ©2004 DC Comics.]

Alter EgoTM is published monthly by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, N C 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. Single issues: $8 ($10 Canada, $11.00 elsewhere). Twelve-issue subscriptions: $60 US, $120 Canada, $132 elsewhere. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in Canada. FIRST PRINTING.

Title writer/editorial

Turning On The Fawcett When John Morrow and Jon B. Cooke ganged up on me at the 1998 San Diego Comic-Con to convince me to take Alter Ego out of the fledgling Comic Book Artist and make it a full magazine again, I was reluctant. 80 pages plus covers to fill, four times a year—it was a tall order. So I decided up front that I’d departmentalize A/E by offering everyissue berths to contributors Bill Schelly (“Comic Fandom Archive”) and Michael T. Gilbert (“Comic Crypt”). Since I’d recently written the first two installments of an intended regular column in FCA (Fawcett Collectors of America), I also contacted its current publisher/editor, P.C. Hamerlinck, to ask if I could reprint various items from its 50-plus back issues in each edition of the new A/E.

Nyoka, and Hoppy the Marvel Bunny! And no editor of FCA ever served it up better than P.C. Hamerlinck! Congratulations on 100 issues, P.C.—more than half of which you’ve assembled and edited yourself! Bestest,

P.S.: Okay, PCH—time to stop patting yourself on the back and get to work on #101!

Paul countered by suggesting that, instead, he prepare a new FCA section for every issue. I went for that, gladly. Little did he know that 40 pages a year would soon grow to 80-plus, then to around 140! Yet neither he nor Marc Swayze has ever missed a deadline, any more than Bill or Michael has! They’re real pros, every one. It’s been an honor to feature FCA in Alter Ego these past 41 issues. To one like myself, who’s been a dyed-in-the-red-wool Captain Marvel fan since 1945 (I remember poring over the second-from-last chapter of the “Monster Society of Evil” serial at age four, and later finding in a barber shop a story with Cap trapped in an anthill, which inspired an Avengers tale I wrote more two decades later), it’s impossible to O.D. on the World’s Mightiest Mortal and his extended Family—not to mention such Fawcett mainstays as Spy Smasher, Bulletman,

Masthead for RoyÕsshort-lived (and awkwardly-named) column, which appeared in FCA #58-59Ñand the photo of R.T. at about age seven, already a Captain Marvel fan. Logo design by P.C. Hamerlinck. [Art ©2004 P.C. Hamerlinck.]

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“Fawcett Knew How To Do It Better Than Anyone Else!” A Talk with Artist/Production Man EMILIO SQUEGLIO Interview Conducted and Transcribed by Jim Amash

Emilio Squeglio, circa 1949-50, juxtaposed with a recent drawing of Captain Marvel and Billy Batson he drew especially for interviewer Jim Amash. Emilio writes: ÒThis photo is of me at my drawing table in the Advertising Dept. of Fawcett, working on ads and sometimes on unfinished comic pages and drawings for the court trial. I still have the drawing table in the photo, in my studio.Ó [Art ©2004 Emilio Squeglio; Captain Marvel & Billy Batson TM & ©2004 DC Comics.]

[INTERVIEWER’S INTRODUCTION: Emilio Squeglio may be a name unfamiliar to most of you, but you certainly won’t forget him after reading this interview! Emilio worked in the production department at Fawcett near the end of their comic book publishing days, before moving on to magazine work and then book design. However, this charming, funny man has interesting tales to tell us about his time at Fawcett. His Berndt Toast Gang buddy, the great Stan Goldberg, gets special thanks for putting me in touch with him. As payment for Stan’s generous help, we’ll start off with a few words about him, before Emilio digs into his own checkered past. Hey, Stan — that’ll teach you to be our friend!! Oh, and unless otherwise noted, all photos and art were provided by Emilio—with enough left over that one of these days he’s bound to pop up in FCA, as well! —Jim.]

”What Are You Gonna Do with That Stuff?” JA: Since Stan Goldberg was the one who alerted me about your comic book career, we ought to get a few words in here about him. EMILIO SQUEGLIO: What can I say about Stan? He’s the most wonderful man you’d ever want to know. He’s kind, he’s generous, and exceptionally talented, as you know. Above everything, he’s a good friend. I’m very proud to have him as a friend.

JA: Are there any stories we can blackmail Stan with? SQUEGLIO: Unfortunately not, but I could invent one! [mutual laughter] There is one I can tell. Every month at the Berndt Toast Gang meetings, an artist shows his work. One month, it was John Buscema’s turn. John brought in a bunch of pages and spread them out on a table. I sort-of sauntered over there, and Stan was walking over from the other side. We both stood there, looked at these great drawings, and said, “What the hell?” [laughter] Stan faked a disgusted look on his face and said, “What are you gonna do with that stuff?” And we walked away. That was such a hilarious thing to do, because John Buscema was just an amazing artist. I was proud to know him. I miss him. Stan can cut up when he wants to, but generally he’s a quiet man. Some guys make a big deal about the work they do, but not Stan. He lets his work do the talking. And that’s powerful enough. JA: Okay, Emilio—that’ll hold Stan for a while! [laughter] SQUEGLIO: It should! Seriously, there’s nothing bad that can be said about Stan Goldberg. You know, I’ve read a few of your articles lately. My friend John Romita gave me a couple of issues. JA: So you know John Romita?

A Talk With Artist/Production Man Emilio Squeglio Two recent photos of Emilio and friends. [Left:] At the October 2003 meeting of the cartoonistsÕget-together known as the Berndt Toast Gang, Emilio is flanked by veteran Archie/Millie the Model artist Stan Goldberg (left) and (right) classic DC inker (now longtime Mary Worth artist) Joe Giella. [Below:] Every June, Bunny Hoests throws a party for cartoonists at her Lloyd Harbor home. Here, from summer of 2003, we have (left to right): Al Scaduto (who succeeded Jimmy Hatlo on the famed panel They’ll Do It Every Time)Ñcartoonist Valerie ConstintinoÑSy Barry (major artist of The Phantom, who was interviewed in A/E #37)ÑJoe GiellaÑand Emilio Squeglio.

him crazy. Some of the guys trapped some pigeons and put them in his closet. He opened the closet and the pigeons flew out into the room. Now, Mr. Magon started trying to catch them. It drove him crazy! By the way, ventriloquist Paul Winchell was in our class. So was Tony Bennett. Paul drove us crazy. This was a tight building we were in. I don’t know if you knew this or not, but it once was a Civil War hospital. In fact, Mr. Rose, our anatomy teacher, found a skeleton in the cellar. It was the skeleton of a Civil War veteran. Paul would walk ahead of us as we’d go up the stairs to class and throw his voice to the girls. They’d turn around and

SQUEGLIO: Do I know John Romita? Let me tell you something: there are four people in my life whom I’ve known since high school. They are John Romita, Al Scaduto, Sy Barry, and Joe Giella. We went all the way through high school together and are still good friends. JA: That’s a good group of guys to have as friends. But let’s start at the beginning. When and where were you born?

“We Were All Clean-cut Guys” SQUEGLIO: I was born in Brooklyn, May 19, 1927. I started at a Parochial school, and in the last two years at grammar school, I was taught by Christian brothers. One of the brothers was very influential in my life. He knew I wanted to be a cartoonist. When I graduated from grammar school, he found that the only school in Brooklyn that had an art class was Grover Cleveland High School. I attended that school for one year, and one day, after school, I found this brother waiting for me at home. He had found a high school in Manhattan that taught art: The School of Industrial Arts. He had the applications all filled out and ready for me to sign. He helped me transfer to SIA, where I studied for the next three years. That’s where I met John and the gang.

get mad at us!

JA: The late Les Zakarin went to school there, too. Did you know him? SQUEGLIO: Yes. He was a wild man! Lester was crazy! JA: How was he crazy? SQUEGLIO: He was nuts! JA: [laughs] Okay. Give me an example! SQUEGLIO: When he got out of school, he got into the comic book business. He got people to draw stories for him—like John Romita—and put his own name on them. [laughs] That was Les! In my second year at the school, I met Chic Stone— right before he went into the Army. He was helping a friend of mine. I wrote to Chic while he was overseas, and made little drawings on my letters. He’d correct them and send them back to me.

JA: What were you guys like in school? SQUEGLIO: Well, we were clannish; we always had lunch together. We were all clean-cut guys. We were never rowdy. John worked on the school newspaper. Sy Barry is one of the most wonderful guys you’d ever want to know. So is Al Scaduto, who’s the wildest of the bunch. He is so witty that you can’t sit across from him when you’re eating. I tried to do that and got sprayed every time. [laughter] Al did a strip for the school paper, and you know, that guy never changed. He was always fun to be with. Joe Giella was always a very quiet, deep thinker; a generous, wonderful guy. I was recently in the hospital and they came up regularly to see me. We all get together for lunch and at cartoon meetings. We used to have snowball fights in school—and I mean inside the school. One time, we had such a big snowball fight that snow covered the ceilings and walls and floors. When the teacher came in, we just sat down like angels and acted like nothing had happened. In the meantime, these snowballs were sliding off the walls. The teacher looked around and thought we were crazy. Another time, in puppet class, our teacher, Jerome Magon... he was a short guy. He looked just like Dr. Sivana. [mutual laughter] We drove

“We Have a Problem Right Now with the Comic Department” SQUEGLIO: [cont’d] A month after I graduated from school in 1947, Chic called me up. He was home from the service by this time. Chic asked if I was interested in a job, and told me that there was an opening at Fawcett Publications. He said, “Although I’m a little teed off at them for not giving me my job back, it might be a good start for you.” Before Chic went into the Army, he was told his job would be waiting for him when he returned. But when he came back, Fawcett was mainly using freelancers. Chic demanded that they give him his job back, but it wasn’t there anymore. He was very angry about it. Anyway, I took his advice, went up there, and made an appointment to see the art director, Al Allard. He said, “We have a problem right now with the comic department. They got wind of the court case.” Fawcett was being sued by DC over Captain Marvel. Allard said, “I don’t know how long we’re going to last.” Al Allard was a wonderful man—very honest and fair. He said, “You can have a job if you’d like,” so I took the job. I’ll tell you, Jim, the

“Fawcett Knew How to Do It Better Than Anyone Else!”

A Triptych Carved in Stone (Left:) A 1944 drawing by ÒPvt. Chic StoneÓ for a service publication. The accompanying prose piece, ÒSilent Glory,Ó told of the 35th InfantryÕshard-won victories at St. Lo, France, in the weeks after D-DayÑthen in Òthe blood-red soil of MortainÓ and Òthe muddy bog of LorraineÓÑand Òin the bitter white snow of the Ardennes,Ó in the wintertime clash immortalized as the Battle of the Bulge. Thanks to Ed Fields for sending us this sombre gem. (Center:) Private Chic Stone, in uniform, with Richard Loesel, a friend who introduced Emilio to Chic. This photo was taken in Òone day [in 1944] when Chic was home on furlough from the Army. He soon left for overseas duty. It was at this time that I [Emilio] communicated with him, would send him cartoon drawings, and he would correct them and send them back for me to study.Ó (Right:) ÒA Jack Kirby pencil re-creation by Chic Stone,Ó as Chic himself signed it when he drew it in 1995. The pose is from Tales of Suspense #59 (Nov. 1964). Stone inked that issueÕsKirby-drawn ÒCaptain AmericaÓ tale, and quite probably the Cap/Iron Man cover, as well. Thanks to Michael Dunne for the copy. [Art ©2004 Estate of Chic Stone; Captain America TM & ©2004 Marvel Characters, Inc.]

place was in complete ruin—it was mayhem. There was so much work to do and that was already done, that all I did was make art corrections, clean up pages, do a little inking here and there—draw a figure here and there. I never really did a complete story or even a complete page. Things were in such a state of disarray.

them argue with each other. In fact, when C.C. Beck was on the witness stand, he really stood his ground. He wasn’t going to let Nizer get the best of him, because Beck knew that Fawcett was in the right.

I did this until 1953 and finally started getting fed up with it. Finally, one day, we were told that Fawcett was going to stop producing comic books. We hadn’t been doing any new books, and even the western comics were going down the tubes. JA: So you were in the production department? SQUEGLIO: I was in between the production department and the bullpen. I worked a lot with Wendell Crowley, Edna Hagan, and Ginny Provisiero. And Will Lieberson was wandering around in a daze, because his baby was going away. When the axe finally fell, Al Allard told us that he’d try to find other jobs for us in the company, if we wanted. He offered me a job with the advertising art department, working with Al Pauly, who was the art director of the advertising promotions department. While the lawsuit was going on, I did some artwork for the lawyers. I did life-size cut-outs of Captain Marvel and Superman to show in court. What the lawyers did with them, I’ll never know. I hand-delivered them to the lawyers in the court room, and then they told me to get lost! Jim, you have no idea of the amount of material that those lawyers asked for! DC had this lawyer—Louis Nizer—I didn’t like him. I was in court a couple of times, shuttling stuff back and forth, watching Nizer kill the thing we loved the most. He asked so many stupid questions, and I don’t think he even understood what he was asking. Lawyers do that; they ask a lot of questions, which is why I love to see

An intentionally C.C. Beckish Captain Marvel looks on as Emilio leaves the Fawcett building at 67 West 44th Street, after his first day at Fawcett Publications. ÒMy first job,Ó says Emlio. So whoÕdyou get to take the photo? No matterÑweÕre glad you did! [Art ©2004 Emilio Squeglio; Captain Marvel TM & ©2004 DC Comics.]

A Talk With Artist/Production Man Emilio Squeglio FawcettÕsand DCÕsdiffering approaches to basically the same scene. It behooves us in all fairness to point out that, in this instance, FawcettÕsSpecial Edition Comics #1 (1940) drawn by C.C. Beck came out long before Superman #18 (Sept.-Oct. 1942) rendered by Fred RayÑ not that that means anybody was copying anybody. By one of comics historyÕslittle ironies, both covers and all heroes shown are now TM & ©2004 DC Comics!

As an aside: once I was called for jury duty, which is how I met [future NYC] Mayor Guiliani, who was a prosecutor at the time. He asked, “Why do you want to be on this jury?” I told him I didn’t, and he asked why. I said, “Well, personally, I don’t like the way lawyers argue with each other.” He pointed his finger at me and said, “Okay, you’re out!” Afterwards, I ran into him on the street, and he said, “Young man, you’re all right!” Getting back to the Fawcett-DC suit: I didn’t like the way it was handled. It looked like Fawcett was being railroaded, and I really believe they were. Fawcett was a wonderful company. The Fawcett people were good to us. If any one of them saw you in a hallway, they always spoke to you and asked how you were doing. I especially liked Roger Fawcett. Roscoe was a gentleman, as was “Buzz”— William, Junior.

JA: It sounds like Fawcett wasn’t confident about winning this lawsuit. SQUEGLIO: Well, I’ll tell you this: I think they could have won it. There was a story going around that some stupid artist—in his haste to get work out— copied pages from a Superman comic, substituting Captain Marvel in his place. We never knew how true it was. They never told us who did it. I don’t know if it was a freelancer or someone in the bullpen. But there weren’t many people in the bullpen, so it might have been a freelancer. We never found out who it was, or whether it was really true. I know Roscoe Fawcett believed it was so, and he didn’t want to fight it anymore. He didn’t want to lose any more money on this suit. If they’d kept fighting, Fawcett might have been ruined. Let’s face it, Jim: Fawcett was a major competitor to DC. They were pushing DC hard in regard to sales. I think DC pulled some dirty tricks, but I don’t want to name names. My personal feeling—and I can’t prove it—is that the story about the artist copying panels from Superman was a myth. I think this myth was perpetrated in court, but I can’t prove anything. We heard about it happening during the court case, and wherever this story came from, it was somehow leaked to DC’s lawyers.

JA: You called him “Buzz”? SQUEGLIO: Not me. We always called him “Mr. Fawcett,” but his brothers called him “Buzz.” I don’t know how he got that nickname.

“It Was Like a Circus There” JA: Now, the comic book production department was separate from the magazine department. Who else worked in the comics section?

SQUEGLIO: Mac Raboy was there. He was a very nice fellow; a real artist in every respect. He felt very bad that Fawcett was going to fall apart. He was one of the last to leave. Mac was a quiet man who seldom spoke. He left soon after I started. Mac was a very slow worker; he took forever on a job. It had to be just right! All the other guys were fast. It was like a circus there. They’d come by, take something out of your hands, hand you something else, and say, “We need this right now. It’s got to be done right now!” They were trying to push out all the work they could because they wanted to have as many books done as they could before the roof caved in.

SQUEGLIO: And they didn’t. I never saw anything like that in court, and I don’t think anyone else did, either. JA: I knew C.C. Beck... SQUEGLIO: We used to call him “Charlie.” JA: Oh, I’d never have done that! Beck told me there was an artist who claimed to have copied from “Superman,” but that Beck didn’t know who that artist was and certainly knew nothing about it. And one thing I know for sure: Beck would have never let someone working for him do that. SQUEGLIO: Right. And if anyone ever knew who it was, they kept it

“Fawcett Knew How to Do It Better Than Anyone Else!” to themselves. I think this story was put out to scare Fawcett into settling the case. I don’t think DC really had that much against Fawcett. The two characters were so different that I didn’t see any similarities. JA: Because the lawsuit was hanging over everybody’s head, I assume the comic book department lived in fear of their jobs. SQUEGLIO: Everybody did feel a little shaky about their positions. We were working so fast that, today, I couldn’t even distinguish what I worked on.

“Fawcett Was Great for Parties” JA: I’d like to ask you about some of the people who worked there, starting with Roy Ald. SQUEGLIO: I didn’t get to know Roy Ald, but he worked under Wendell Crowley. Wendell was the managing editor; Will Lieberson was the executive editor. Will was a fun, nice guy. He was kind-of short and dressed up for parties, because he liked to clown around. Fawcett was great for parties. They kept the 11th floor unrented just for parties. They’d have a party at the drop of a hat. It was a fun company. Wendell was a very serious man with a dry sense of humor. He was a taskmaster when it came to getting the work out. He’d say, “Let’s get going. Let’s get the work out.” If you got behind, they’d be on your back. Wendell was almost seven foot tall. His desk rested on two-byfours, so he could get his legs under the desk. It was funny to see this big man sitting in a little, tiny desk. He was a wonderful guy. During the St. Patrick’s Day Parades, he used to make paper airplanes and throw them out the window. He could crack up when he wanted to, but was serious most of the time. He sure was heartbroken when Fawcett quit doing comics. He really loved Captain Marvel; we all did. I remember one party where he dressed up as Captain Marvel. That was funny to see! He’d sit behind that tiny desk in that uniform and we’d come in and salute him. [laughter] JA: Do you remember Ralph Daigh? SQUEGLIO: He was the editorial director of the company. He was on the same level as Al Allard. Ralph Daigh really supervised the comics. He was committed to making sure he had the best writers and that their work met up to Fawcett’s standards. His heart was in his work. Mr. Daigh was a stern, quiet man—very fastidious, but a nice guy. One time I was dating his secretary, Ann. They had a big party and she invited me to sit at her table, next to Mr. Daigh. I don’t know to this day whether he liked that or not! By the same token, she was married at the time. I don’t think he took too kindly to that, even though I was a gentleman at the time.

left. He was that kind of a man. While we were working, he’d come flying into the production room with Ralph Madison, the assistant art director. Now, Ralph was always in Al’s shadow. Wherever Al went, Ralph went with him. Ralph worked in the same office as Al. Ralph was a nice man. I believe he came from Minnesota. There was a small group of guys who made the move with Fawcett to New York, like Beck, for instance. Ralph and Al would raise hell. They’d come in the room, point at you, and say, “I caught you!” I’d say, “Caught me with what?!” Then they’d start laughing. They loved to kid around. One time, they had a big party and took over the Greenwich Country Club. They closed the offices for a day so we all could go. Al came flying by in his convertible, wearing a long white scarf that was blowing in the breeze. He was waving at everyone like he’d just come back from the moon. Gill Paust, the editor of Mechanix Illustrated, hired a Piper Cub and took us all up for a ride. We were at this party until four or five in the morning. All the Fawcetts were there and it was a big party. I’ll never forget it. JA: I don’t blame you. You folks had a lot of fun. What do you remember about Virginia Provisiero? SQUEGLIO: Oh, Ginny was a doll, a very beautiful woman. I wanted to date her, but she never gave me a tumble. She used to edit the western comics, and I remember she dressed up in a cowgirl outfit at parties. She was very nice... always bouncy! There was another woman who worked there named Kay Woods. I believe Kay did some editorial work on “Captain Marvel” and on the westerns. When the comics ended, Wendell went into his father’s lumber business, and I’m not sure, but I think that’s when he and Kay got married. Edna Hagan was also a fun person. I think she was an editor, or maybe she was in production? We used to drive Pete Costanza crazy. When we knew he was coming in, we’d take our pages and do funny things to them. We’d put mustaches on the characters, add belt buckles to Captain Marvel with funny sayings like “Big Hero.” Sometimes we’d change Cap’s boots, too—stuff like that. Now, we’d never do that when Beck was there. He was very straightlaced and wouldn’t have appreciated it at all.

I dated a couple of actresses. One of them was Colleen Gray. We dated a couple of times, and she was really nice. She moved to California to pursue her career and never came back. I dated another actress, who was in several B-westerns, but I can’t remember her name now. Getting back to Ralph Daigh, he never ventured out of his office, unless there was a particular reason. He didn’t walk up and down the halls. Now, Al Allard used to fly around the place. He’d have one pant leg inside his boot and one outside, and had long hair. He was a goodlooking man who always wore black or brown shirts— that kind of thing— the “arty” type. But inwardly, he was a very kind man. I got married in 1953. I went up to his office and said, “Al, I got to talk to you.” He said, “Come in, have a chair and sit down. Now, what can I do for you?” I said, “Al, I’ve been here for a while, and I’m planning to get married. I don’t want to get married and then find myself without a job.” He said, “C’mon, forget it! You have a job here as long as you want. Does that satisfy you?” I said “Very much so,” and

Emilio writes: ÒThis [1954] photo is one of those great parties Fawcett threw for their employees. This particular one was taken at the Greenwich [CT] Country Club. They hired the club for the whole day and brought everyone over and had a wonderful day. ÒAt left is myselfÑto my left is a young lady who was a secretary, whose name escapes me. To her left is a fellow artist friend to this day, Sal Li Puma. To his left is personnel director Helen Sales, and to her left is my supervisor in the Advertising Dept., Al Pauly.Ó This photo was taken, of course, in the year after Fawcett folded its comics division.

A Talk With Artist/Production Man Emilio Squeglio

“C.C. Beck Was a Very Striking Man” JA: What do you remember about C.C. Beck? SQUEGLIO: C.C. Beck was a very striking man. He was short with pure white hair and a mustache [in later years]; a wonderful person to be with. [NOTE: See photo of Beck and other Fawcett comics personnel in our special FCA #100 section. —Roy.] If you’d mention Captain Marvel, he’d stop and talk to you for hours. He didn’t work in the offices, but came in several times a week. He had a studio with Pete Costanza, who also came in a few times. He was strict man— everything had to be right! He’d come in and look over our work. He had a keen eye and if he saw something wrong, he’d say “Fix this.” I liked Pete. Any time we had to draw a figure, it had to be done in the Beck style. A lot of the guys got creative sometimes, and we had to correct their work to make it look like Beck’s. Beck was a serious fellow, but he was friendly. I didn’t have much contact with him, because whenever he came into the office, he dealt with the higher-ups. His time was limited, but he’d roam the halls and check out what we were doing, just as Pete Costanza did. JA: I’m sure you know Beck created Captain Marvel with writer Bill Parker. I know Parker was working for Fawcett on their magazines, but did you ever get to know him? SQUEGLIO: Bill kept to himself most of the time. He was a very quiet man. He never participated in the hilarity that went on at Fawcett. Nobody really got to know him. He was a nice man— everybody was at Fawcett. I didn’t bother with the freelancers too much. We were all too busy. I did meet people like Otto Binder, John Jordan, Carl Pfeufer, but there was no time to get to know them. Like Bud Thompson: he was a quiet guy who went in and went right back out. He was a tall man with a medium build.

“‘Captain Marvel’ Was Really the Big MoneyMaker”

drawer file cabinet. I called maintenance and asked if they could find me one. Sure enough, they found one in the basement, that had originally come from Robbinsdale, Minnesota— which was where Fawcett used to have their offices. I started cleaning out the cabinet and throwing away a lot of old manuscripts, when I got to the bottom drawer. In that drawer was a cardboard box, which was waterlogged and old. I looked at the box and saw that it was from a mortuary in Robbinsville. Like an idiot, I opened it up and there’s an urn in there. I couldn’t believe it. I very gingerly put it back in the box and took it up to show Al Allard. I said, “I found this in that filing cabinet.” He looked at it and said, “Oh, my God!” It was the remains of the editor of Startling Detective, who had died when Fawcett was in the process of moving to New York. The man apparently had no family, so the Fawcett brothers told the mortuary to cremate him and send the remains to the office. Some idiot put the urn in the bottom drawer and sent it to the Paramount building in New York. It had remained in the basement all those years. They ended up shipping it back by UPS. You know, I still own that cabinet! Boy, Al almost died when he saw that urn! I didn’t want any part of it. I put it on the floor in front of Al’s desk and said it was his. He said, “Thanks a lot!” Well, he was the boss, so it was his problem. JA: When Fawcett decided to settle the lawsuit with DC, they canceled the entire comic book line. Why did they do that? SQUEGLIO: From what Roscoe told us, “Captain Marvel” was really the big money-maker and was carrying the department. The rest of the comics couldn’t carry the department. There wouldn’t be enough money coming in to keep it profitable in terms of staff, materials, and so forth. That’s why they stopped doing comics. JA: What happened to the original art after the books were printed? SQUEGLIO: Some of the guys took pages, and the rest were thrown out. If I had known how valuable they would be, I’d have taken some. Most of the art was destroyed. Nobody wanted it. If they had, they could have taken it; nobody would have stopped them. JA: Fawcett wouldn’t let the artists sign their work. Why was that?

JA: Anything else about the Fawcett brothers that you remember?

SQUEGLIO: That was because a lot of the art was done by different people. Sometimes an artist’s work would be handed to us, and we’d tear the pages apart and do all kinds of corrections. There was no one individual person working on a page.

SQUEGLIO: I knew Roger Fawcett pretty well. A nice man. We always called the brothers “Mister.” Roscoe worked in circulation and promotion. Roger was the vice-president and oversaw most of what we did. We rarely saw “Buzz” Fawcett, and Gordon Fawcett showed up one or twice a month. Fawcett Publications had been in the Paramount building, but at some point, the Fawcetts bought a building at 67 West 44th Street. Roger’s office was way up on the executive floor. In fact, there’s a story I want to tell you. Later, when I was doing True Police Cases, I needed a four-

JA: Why didn’t you ever draw a complete story? Didn’t you ever ask them to do one?

C.C. Beck had started out in the first issue of Whiz Comics in 1939 with a simple, cartoony styleÑbut at one point editor Wendell Crowley had to shoehorn Captain Marvel and company into the Korean War, as per this splash from The Marvel Family #86 (Aug. 1953). The series ended with #89. ReproÕdfrom a b&w Australian reprint which A/EÕseditor purchased in Australia (or was it New Zealand?) in 2001. Art by Kurt Schaffenberger; script most likely by Otto Binder. [Marvel Family TM & ©2004 DC Comics.]

SQUEGLIO: I wanted to, but we had to get these stories out, and I was too busy doing that to draw a story. Every time I asked, they said, “We haven’t got the time. We have to meet our schedules.” JA: They didn’t want you to draw your own stories, because they’d have to replace you in the production room if you did.

“Fawcett Knew How to Do It Better Than Anyone Else!” SQUEGLIO: That’s right. We were always shorthanded. JA: Did Fawcett feel that their books were better than everybody else’s? SQUEGLIO: Yes! Fawcett did good books and were perfectionists when it came to making and selling comic books. Fawcett knew how to do it better than anybody else, and that’s why DC was so jealous of them. We were doing far better than they were. Captain Marvel was outselling Superman by leaps and bounds. That’s why DC sued them— they didn’t want the competition.

“This Is a Career Advancement for You” JA: Tell me what happened to you when they stopped doing comics. SQUEGLIO: I asked Al Allard to let me do magazine layouts, since I had studied design at Pratt Institute. I went to Pratt at nights for four years, 1947 until 1951. I did that because I knew I’d need more skills and I didn’t want to be out of a job. I did the layouts for True Police Cases. Then one day, Al called into his office and said, “I want you to do something. One of the layout men working on True magazine is going to be out sick for a while. Leave all your stuff where it is, go up there, and work on True until I tell you differently.” I worked with art editor Norman Kent for a couple of months and then Al told me that the layout man wasn’t coming back. Allard told me to clear out my desk downstairs, because I was going to continue working on True magazine.

leaving and I want you to come over and take over that job. Would you be willing to come?” I was stunned, but I was young, married with a baby on the way. I said I didn’t know, and he said, “There’ll be lots of opportunities for you. You’ll be able to do your own thing.” In short, I accepted. When I went back to the office, I told the new guy who came in to work on True that I was leaving. He wasn’t happy about it and told me to go tell Al Allard. I did that and Al said, “I’m sorry to hear that, but if this is a career advancement for you, then I’m very happy for you and I wish you the best.” And they threw a farewell party for me, which was fabulous. That’s something you do not see all the time. But Norman forgot to tell me that not only would I be designing the magazine, but books, as well. I said “Holy smokes! Norman, I’ve never designed books.” Norman said it was easy, and maybe it was for him, but not for me. Then I decided to go to school, studying book design for two years at NYU.

I learned so much there and met great illustrators and writers, like Norman Rockwell, Robert Fawcett, and Stan Galli. True magazine needed lots of illustrators and cartoonists, like Virgil Partch, Don Flowers, Chon Day, Willard Mullins, etc. In 1955, Norman Kent decided to leave. He was a woodcut artist, too. He got a job with Watson-Guptill. Arthur Guptill got very ill, and Ernest Watson was in his 80s at the time and was going to retire. Norman went over there to edit American Artist magazine. He left under an uneasy situation at True. He didn’t get along with the editor very well. Norman asked me to help him pack and told me he’d be in touch with me. A couple of weeks later, Norman called me and invited me to lunch. During lunch, he said, “I have a proposition for you. I’m the editor of American Artist at Watson-Guptill. The art director is

(Above left:) A recent photo of Emilio and his good friend Tony Cereso. Tony was of immeasurable help in mailing Emilio's materials for this article. (Center:) Yet another recent drawing done by Emilio (in color, like the two preceding ones) for Jim Amash. Since Emilio says thereÕsno way at this point that he could identify particular drawings he might have done in Fawcett comics, weÕreglad to have it! (Above right:) Emilio again: ÒThis is a caricature drawn by Dan Danglo of Felix the Cat fame. He is a good friend of mine from the Berndt Toast Tang.Ó [Caricature ©2004 Dan Danglo; CM art ©2004 Emilio Squeglio; Captain Marvel TM & ©2004 DC Comics.]

I met a lot of big names while designing books. I met Salvador Dali twice. I’ll tell you, it was like going into another dimension. He wore a black silk suit with a long cape that went down to his ankles, with scarlet lining on the inside, and a big black hat. I told him my name and he said, “Ahhhh... Emilio! Español?” I said, “No, maestro.” He said, “That’s okay!” I also met Gustav Borglin, the man who did the faces on Mount Rushmore. We did a piece on him and how he sculpted those four faces on Mount Rushmore. He was a short, stocky man with hands that looked like hams. He was a very nice man. I met all the best illustrators in the country. I left there in 1962, when the company was sold to Billboard magazine. I was going to stay, but they pulled the books away from me and wanted me to just do the magazine. I didn’t like that, so I left. After freelancing for a year, I went to work at Reinhold Publishing Corporation, and worked there until 1982. I decided to freelance after that, until I retired in 1990. I worked for every publisher in New York during that time. Now I paint and am with a little gallery. I do my own thing and am enjoying life. When I left Fawcett, I left comics behind me. I loved the comics, but I went on with my life. But I have all these wonderful memories of people that I liked so much. Those people were just great!

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Mr. Monster’s Comic Crypt

Twice Told Tales! By Michael T. Gilbert In any artistic field, it’s fascinating to see creative ideas recycled and reinterpreted. Sometimes just a single image or paragraph will inspire an original piece of art or writing. Sometimes the complete work is lifted wholesale to save time or money. The comic book field is notorious for such recycling of art and stories. “Back in the day” it was assumed that comics were mainly for kids, with a whole new crew of readers appearing every few years. So what was the harm of cribbing a successful story—or at least part of it? “None!” was the general consensus at the time. If the kiddies didn’t care, why should anyone else? This creative recycling often resulted in some very unusual Twice Told Tales. What’s a Twice Told Tale? For this occasional series, I’ll be using the term rather liberally. Swiped cover? Twice Told Tales! Two different artists drawing the same script? Twice Told Tales! Reused plot? Twice Told Tales! For instance, let’s look at a clever yarn Stan Lee wrote in June 1953 for the Atlas title Menace. “The Madman” featured a sweet young nurse newly-employed in an insane asylum run by decrepit old Dr. Brimm. Later, one of Brimm’s fruitcakes claims the creepy doctor is really a four-armed creature from an underground world planning to take over our world. He begs her to warn the authorities before it’s too late. Nurse Jane scoffs, but... could it be possible? Hmmm...

Wild Bill Everett illustrated both ÒThe MadmanÓ and its accompanying 1953 Menace cover. The cover blurb changed the storyÕstitle to ÒThe Four-Armed Man.Ó The Tales to Astonish remake (on facing page) changed it yet again, to the similarly-titled ÒThe Four-Armed Men!Ó [©2004 Marvel Characters, Inc.]

Twice Told Tales

It looks more than possible, when Brimm shows up gun in hand and murder in his eyes. But the resourceful nurse isn’t as helpless as she looks. In the final panels she whips out her own gun (hidden beneath her white cloak!) and kills the fiendish doctor. It looks like a happy ending. After all, the courageous nurse just saved mankind, right? Wrong! In a great switcheroo ending, Nurse Jane opens her cloak to reveal a second set of arms. It seems she, not poor Dr. Brimm, was actually the four-armed spy! Boy! What a sneak! In 1961 Jack Kirby drew both the cover and story featuring the Four-Armed Men. However, the cover title ÒThe Four-Armed ThingsÓ seems more accurate, considering that the trick ending features a four-armed gal! [©2004 Marvel Characters, Inc.]

Eight years later, Stan was equally sneaky when he recycled the same plot for Marvel’s Tales to Astonish #26, for Dec. 1961. “Four-Armed Men!,” though unsigned, was most likely plotted by Stan and given to his brother Larry Lieber to script. In “Four-Armed Men!” Nurse Anne is hired to care for famed explorer William Cartwright. Bruno, Cartwright’s sinister–looking bodyguard, explains his boss suffers from a disease contracted during a trip to the Amazon. Once Bruno exits the room, Cartwright tells Anne a Tale To Astonish! Somewhere in the jungle, Cartwright stumbled onto a subterranean race of four-armed aliens planning to enslave humanity. He escaped, but fears the four-armed creatures will hunt him down before he can warn mankind. Nurse Anne is as skeptical as Nurse Jane was in the previous story. But the plucky gal becomes suspicious of the hulking Bruno, especially when he promises to “take care of Mr. Cartwright... GOOD care of him!” Man, talk about a rotten bedside manner! Later, when confronted by a gun-wielding Bruno, the plucky nurse KO’s him with a handy vase. It looks like Nurse Anne has saved the day, until Cartwright unexpectedly locks her into a closet! Could he be part of the plot? Seconds later, furious Anne bangs on the door—revealing a spare pair of arms hidden beneath her nurse’s cloak! It seems Bruno was actually a good guy, after all, trying to protect his boss from this four-armed femme fatale. In this post-Comic Code version of the earlier Menace tale, the quadri-dexterous fiend is foiled. Except for that (and a few minor plot points), this Twice Told Tale is essentially the same story illustrated by two different artists.

Mr. Monster’s Comic Crypt

A different type of Twice Told Tale comes from publisher Harry A Chesler. His Dynamic Comics #20 (Oct. 1946) featured Flash Gordonwannabe Dan Hastings, who spent much of the story rescuing his gal Gloria from the evil Hok Sud, a third-rate Ming the Merciless. Later, I was surprised to discover the same stor—with the exact same art!—in another Golden Age comic—re-scripted, re-colored, and relettered! Re-markable! St. John’s Zip-Jet # 2 (May 1953) featured “Space Doom,” starring Flash Gordon-wannabe Frank Sterling. This time Frank spent much of the story rescuing his gal Lola from the evil Quinto, a third-rate Ming the Merciless. Or am I repeating myself? In all likelihood, the publisher acquired some original art and decided to save a few bucks by reusing a story or two. But since Archer St. John didn’t own Harry Chesler’s characters, the publisher had to order an entirely new story written around the existing art. In this case, Dan Hastings, “Super-Guardian of the Spaceways” became Frank Sterling, “Captain of the Piracy Patrol Squadron”! Likewise, gal-pal Gloria became Lola, and so forth.

(Left:) The cover to Harry A CheslerÕsDynamic Comics # 20 (Oct. 1946), featuring dashing Dan Hastings (above and below).

Twice Told Tales

In the Dynamic Comics plot, Dan Hastings battled evil Hok Sud’s test-tube creatures, robot armies, and Earth-destroying missiles. In his spare time, Dan also scuttled Sud’s attempts to wed a reluctant Gloria. Frank Sterling’s later Zip-Jet tale removed all references to robot armies and Gloria’s, er... Lola’s... proposed marriage. However, I’m happy to report both heroes slugged their respective villains with equal vigor in the final panel! Perhaps such rewriting over existing art was more common back then than I’m aware. But it was new to me, and a fascinating example of another type of Twice Told Tales.

(Right:) The cover to St. JohnÕsZip-Jet # 2 (May 1953). The publisher converted the Dan Hastings art from Dynamic #20 into an entirely a whole new story, ÒSpace DoomÓ (above and below), with a new title and new dialogue.

Mr. Monster’s Comic Crypt Our final Twice Told Tales come courtesy of British fan Frank Motler. Frank sent cover scans of War Fury # 1 and Horrific # 3, published within

months of each other by lower-end publisher Comic Media. The first issue of War Fury appeared in September 1952, sporting a gruesome Don Heck cover of an American soldier with a bullet between his eyes. Apparently deciding not to waste all that great gore on war comics, the editor came up with a brilliant idea: why not photostat the dead soldier’s head, flip it upside-down, and stick it on the cover of a horror comic? Why not, indeed! Heck’s paste-up cover for Horrific #3 appeared in January 1953 and was an instant hit. In fact, the publishers were so impressed they commissioned Heck to draw a series of Horrific covers focusing on single-head shots of various monsters. Truly an inspired idea, and a great Twice Told cover! Before signing off, I want to mention that Frank Motler first wrote about the Horrific/War Fury cover-transformation in 2001 for the 6th issue of Pete Normanton’s horror zine From the Tomb. So that makes part of this Crypt article yet another Twice Told Tale! Sneaky, huh? Sneaky, and a great ending to this article! Next month: Two remarkable Twice Told Tales from the files of Jack Kirby and Steve Ditko! Till next time...

The publishers of Comic Media copied the GIÕshead from Don HeckÕsWar Fury #1 cover (left), flipped it upside-down (right), and transformed it into this stark Horrific cover. Talk about a time-saver!

Missing a Back Issue? Got a hole in your Mr. Monster collection? We’ll gladly e-mail you a free Mr. Monster EEEK-Mail Catalog! Just Contact Michael T. Gilbert at:

mgilbert00@comcast.net

For a printed version, send one dollar to Michael T. Gilbert, P.O. Box 11421, Eugene OR 97440

Title Comic Fandom Archive

ROCKE SPEAKS! Ace Artist ROCKE MASTROSERIO (Creepy, Captain Atom) Shares a Plethora of Opinions about Comic Books and the Comics Industry by Bill Schelly Rocke MastroserioÑand the cover of CharltonÕsSpace Adventures #40 (June 1961), on which Rocke inked the ÒCaptain AtomÓ pencils of Steve Ditko. This was more than a year before the first Ditko-drawn ÒSpider-ManÓ story in MarvelÕsAmazing Fantasy #15. [Captain Atom TM & ©2004 DC Comics.]

Mastroserio Facts Rocco Mastroserio was born June 8, 1927, on Staten Island. In 1941, he began attending the School of Industrial Arts, where he became friends with another future artist, Joe Orlando. At 17, he was working in the comics industry, for All-American and others, and was later drafted into the Marine Corps. After that, Rocke studied under Burne Hogarth at the Cartoonists and Illustrators School. From there he freelanced, then joined the staff of Charlton Comics.

Dear Gary— When I interviewed Gary Brown for Alter Ego (see issues #38 & #40), he briefly mentioned that he and artist Rocke Mastroserio had corresponded with some frequency in late 1966 and much of 1967. Never letting a potential feature slip through A/E’s grasp, I inquired with alacrity whether Gary had kept Rocke’s letters. He had! Would he allow us to print excerpts from them? He would! This reminded me that Rocke had corresponded with my fanfriend Marshall Lanz at about the same time. In that case, the kindhearted artist had critiqued some of Marshall’s artwork, and demonstrated suggested inking techniques. In Gary’s case, the New Yorker’s letters seemed to comprise almost a stream-of-consciousness series of news, opinions, advice, and self-examination. There were probably others whom Rocke bequeathed a portion of his time—time that could have been spent working on artwork for pay. I never met Mr. Mastroserio, but I’ve always felt he was underrated, partly because he did the lion’s share of his work for Charlton, the lowest-paying publisher in the comics industry. Of necessity, he had to work quickly, yet I always felt that he had a confident hand, and a solid understanding of graphic story-telling. At Charlton, Rocke gained his most attention when he inked Steve Ditko’s revived “Captain Atom.” In the following excerpts, you will find out just what Rocke thought of Steve, as a person and as an artist. Even when praised for his detailed work in Creepy and Eerie, Rocke Mastroserio remained remarkably humble, always wanting to improve his work. In my book, that’s a sign of a real artist—someone who is continually striving, never fully satisfied with his art. Rocke was that, and much more, as you will see in the excerpts below. (All of what follows is Rocke “speaking” to one of his fans. The words are his; the choices of what to include are mine.)

Received your fanzine this morning and I appreciated the compliment that came with it. To you, and some other readers who have commented on my recent work I have this to say: Pat Masulli, Dick Giordano and Joe Orlando have been very instrumental in any professional headway that I’ve made: Pat, for showing me a new direction, constructive criticism and general dissatisfaction of [sic] the work I was doing. Dick, for giving me free rein, letting me try anything and everything at least once. Joe, who is a marvelous instructor, and a rotten gin rummy player. To these three, among others, I’m very grateful. However, in spite of this testimonial, I feel this line could apply to me: “He rose from relative obscurity to complete oblivion!” I’ve got a long way to go! *** With regard to a controversy at the time when it was discovered that Wally Wood was signing work that had been done with considerable help from assistants:

I got a little more info on the Wood beef, and as a pro, can readily understand using pencilers, b.g [background] men, inkers, what have you, for the variety of reasons that pop up. And then signing the whole smear. There again, for a variety of reasons. As far as I’m concerned Woody could outdo anyone on all or any of the phases of art anyway. There is no practical way for him to indicate he had help on a job … but because I’ve seen his pencils (which were terrific!) I’d cast my vote for him anyway.

Comic Fandom Archive moderation. I guess I’m not “all business” at that. ***

Witzend [is] great. Wally Wood has solicited some of my work but nothing suitable has come up yet. Steve Ditko is going to do something wild, I’m sure. Incidentally, I’m not scheduled to ink the next Captain Atom. I’m just too bogged down with work. If I were editor, I’d have Steve ink it for that ‘special look’ of his work. But he’s overloaded so that’s out. As for Ditko, I for one can’t get over his imagination. There just isn’t anyone that I can think of who can match it. His version of Blue Beetle is a sure winner! And … he’s a very nice person. A good Joe! A pair of wondrous Warren splashesÑÒMonsterwork!Ó from Eerie #3, and ÒGnawing Fear!Ó from Eerie #4, both 1966. [©2004 Warren Publishing, Inc.]

***

I hope you can use the enclosed sketch. I may be able to do a small job or two for you in the future but with an open deadline! I’m doing more work than you know about and I’m sorely tempted to do nothing at all when I do get a free moment…. ***

***

I’m on a Warren assignment now. All the mistakes will be mine—all mine! Heh heh heh! [NOTE: Rocke is referring to “The Frankenstein Tradition!” in Creepy #16, the same issue which contained a short biography on him. —Bill.] The story, or subject matter [of a comic book story], are—to me—more important than the artwork. A good artist will enhance the script, but without a good script in the first place, it’s a waste. That’s

I’m seriously considering leaving Warren for many reasons. One, for instance, is the monetary compensation that is lacking for the time and talent required. I actually make more an hour working for Charlton. I suppose there is the spiritual kick derived from the work and circumstances, but recently there’s been a drop in quality, heavy ads, reprints, etc., and I simply don’t feel the same pride I had before. *** On doing work for fanzines:

I haven’t been troubled too much. As long as the work requested is moderate, I’ll go along. Most people writing to me have been courteous and interesting. I actually enjoy making new friends, but [in]

Rocke Speaks

from the viewpoint of the reader. I myself usually am attracted by the art first. *** On the inflated egos of “the incompetents” in comics:

Take [Hal] Foster, for instance. Here’s a man who couldn’t be replaced by anyone in the comic business. He certainly doesn’t have to impress anyone. He’s turned down important assignments for time and quality reasons. He could readily be excused for not being able to correspond with [fans]. Yet he has been nice enough to contribute a few hours of his time towards a project such as yours. A great artist… A great old man! It really warmed my heart to hear about it. ***

If you wish to continue writing, do so on the premise that this business is ten percent talent and ninety percent circumstance. (You can replace the last word with any that you feel is appropriate.) By that I mean that I did the conventional things to prepare for this work and beat my head against brick walls, pounded pavements, etc. And one way or another ended up working pretty steadily. There’s so much luck involved in my story that I really don’t feel it’s a personal accomplishment. I assume you are in your early twenties, still going to college, and that some day what I just said will have more significance to you. ***

Enclosed is a rejected [Captain Atom/Space Adventures] cover that you may want. Top and bottom were penciled by Steve Ditko. Bottom inked by Steve, top inked by me. The cover was rejected by Dick Giordano on the basis of poor composition (true) and the succeeding cover has a lot more life to it.

Of this previously-unprinted Ditko/Mastroserio Captain Atom cover drawing from 1966-67, Gary Brown says: ÒWith Dick Giordano's permission, Rocke sent it to me in the late 1960s. The cover was rejected because of the compositionÑall the figures on the main part are the same size. Rocke inked Steve Ditko's pencils on the top, and the bottom panel was penciled and inked by Ditko. Glad to see Rocke getting his due!Ó So are we, Gary! [Characters TM & ©2004 DC Comics.]

***

Thank you for letting me look over [the fanzine] Fantasy Illustrated. I was really amazed at the quality of the reproduction and the contents. It frightened me tho. It’s been some time since I gave any thought to the intellectual aspects of comics. Since my last set-to

with an editor which went something like this: Editor: “Dis don’ look like a Martian! I wanna Martian that looks like a Martian!” Me: “Most comic book concepts depict other planetary inhabitants as bug-eyed or some such. I thought I’d try a humanoid concept. [pause] What would you like this Martian to look like? Any ideas?” Editor: “How would I know? Look one up in the library!” It was an idiotic conversation, but I left with the feeling that I was tampering with sacred formulas. So my villains continued to have mustaches, the heroes were blond and so on down the line. The editors do have some valid arguments. Quick identification for one thing. ***

As for Pat Boyette, I’m impressed by the personality in his work. He could do very pleasing syndicate work. I’ve seen some of his strips and they were beautiful. One of RockeÕsnicely-rendered panels from ÒThe Frankenstein Tradition!Ó in Creepy #16 in the mid-1960s. [©2004 Warren Publishing, Inc.]

Speaking of personality

Comic Fandom Archive

techniques, it took me about five issues to work out a compromise inking approach to Ditko’s work. It still wasn’t right, but at the beginning I was completely snowed. It takes a lot more than just tracing pencil lines to ink! Sadly, Rocke Mastroserio died in the early 1968. When one looks over the quality of his best work in Creepy and Eerie, it’s sadder still, because he obviously had potential that was never realized. Meanwhile, the “Captain Atom” strips by Ditko that Mastroserio inked are set to appear in the Action Hero Archives from DC Comics.

This 1967 Mastroserio sketch was drawn for fan Marshall Lanz. In 1972 it was printed in Bill SchellyÕsown fanzine Sense of Wonder (#11), and underscores BillÕspoint that Rocke was a vastly underrated talent. The guy could draw! [©2004 Estate of Rocke Mastroserio.]

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re:

excited that I planned an article about him.

I had no idea of his personal conflicts. I was a goofy geek kid, but in a naïve way I think I felt the conflicts. He was grumpy, and the house (in Levittown, NY) seemed empty of life force. He invited me to visit and then ignored me while he drew. He didn’t give me much to write about except for the “conflicts.” Bernie Bubnis We appreciated your giving us permission to use your 1964 article, Bernie, and are glad you realize we didn’t do it to make you “look bad” for some sort of youthful indiscretion. We felt your article from Rocket’s Blast #27 gave us a window on the way fans—rightly or wrongly— viewed “Big Mike’s” art at that time. But you couldn’t have gone wrong if you’d held onto either a Sekowsky JLA page or that Romita “Cap” page from the mid-1950s revival. Either would be worth its weight in gold—or at least silver—nowadays. Next, from the Netherlands comes this e-mail from Ger Apeldoorn, who supplied Michael T. Gilbert with Harvey Kurtzman cartoons from 1949-51 issues of Varsity magazine. When Ger isn’t reading American comics, he’s writing sitcoms for Dutch TV. Hi, Roy—

Well, we weren’t able to “double up” on issues covered in this month’s letters section as we’d hoped, but at least we can tread water by printing mail we received re A/E #33—even if we should be up to comments on #36 by now! We’ll try even harder next month, promise!

Just received A/E #33 and I was very pleased with it. I liked seeing my own name in print not once but twice, and was glad to see the “cleaned-up” version of the Kurtzman pages went so well. They are clearer than they were in some of those old yellowed magazines of mine! I am now chasing stuff Kurtzman did for Army papers in 1944 and 1945.

Meanwhile, in keeping with this issue’s theme, above is a Dick Briefer Frankenstein drawing from the latter 1940s, as closely traced by Briefer fan Al Dellinges. [Art ©2004 Al Dellinges; original art ©2004 the respective copyright holders.]

I am also getting to be a bigger and bigger fan of Mike Sekowsky’s work in the 1950s. Did Doc V. tell you that two of the Atlas romance stories that were always attributed to Alex Toth were pure Sekowsky, doing a spot-on imitation? Doc says he has it straight from Toth’s mouth.

We start out with a missive from Bernie Bubnis, a 1960s comics fan who (as noted in A/E V3#7) was a prime mover of the very first comics convention, held in New York in 1964—and whose article that year on his meeting with original Justice League penciler Mike Sekowsky was reprinted in issue #33:

Ger Apeldoorn That’s good enough for us, Ger. We enjoyed Michael’s presentation, two issues back, of the two added Kurtzman Varsity pages you found—and hope that still more work turns up by the genius who created Mad.

Dear Roy— Wow! A check for a poorly-written, 30-year-old article? Please use the money to sign me up for a subscription to Alter Ego. I had no idea it still existed, but I’m damn happy to see a copy. It’s great! It feels like a zine 30 years ago (except without the ditto fluid). Did I call Sekowsky’s art “chicken scratchings”? No wonder these pros hesitated to invite us into their homes! I remember Mike offering me a choice of some of his artwork, or that of John Romita (circa 1954) from “Captain America.” I chose the Romita stuff and added insult to injury. (He also gave me a piece by Bill Everett.) I think he was

Liked the “Captain Marble” pages. Good commentary. I love commentary.

Even some of the villains created by writer Gardner Fox, editor Julie Schwartz, and penciler Mike Sekowsky have endured. This summer, it was exactly four decades since Justice League of America #30 introduced the Crime Syndicate, including Ultraman with his bulky, Wayne Boring-like waist, here seen in battle with Starman. ReproÕdfrom photocopies of the original art, courtesy of Jerry G. Bails. [©2004 DC Comics.]

It seems Alter Ego has truly gone international. Ger resides in the Netherlands—two corrections further down were sent from readers in Britain— and here’s more info-laden material sent by Alberto Beccatini, Italian comics fan/historian, who’s also sent us two major articles we plan to print in the earliest available issues. Here he seeks to add to and correct the Who’s Who in 20thCentury American Comic Booksderived Mike Sekowsky Checklist in #33: Roy— Re Mike Sekowsky—Additions and Corrections to Checklist on pp. 19-20 of Alter Ego #33. NOTE: Words in bold

[comments, corrections, & correspondence]

type are additions/corrections; some of these will also be in bold italics. Birth/Death Dates: Nov. 19, 1923-March 30, 1989 Animation Credits: [Note: Sekowsky worked in animation, although he was never an animator.] Hanna-Barbera c. 1976-83 (layouts: The New Shmoo 1979; Space Ghost/Herculoids 1981-82; Character Designer: Scooby and Scrappy-Doo 1979-83; Super Friends: The Legendary Super Powers Show 1984-85)—also art director some of these dates; Tom Carter c. 1983 (layouts for unreleased cartoons); Marvel c. 1985 (layouts: Defenders of the Earth 1986). Comic Book Credits: K.K. Publications/Dell comics (to 1962): The Three Worlds of Gulliver (p) 1961; Around the World in 80 Days (p) 1957; Bob, Son of Battle (p) 1956; Buffalo Bill, Jr. (p) 1958-59; The Buffalo Hunter (p) 1958-59 [filler in Buffalo Bill, Jr.], Dodge City Days (p) 1959/1961 [filler in Gunsmoke]; Ellery Queen Detective (p) 1961; Gunslinger (p) 1961; Gunsmoke (p) 1961; Have Gun, Will Travel (p) 1958; The Horse Soldiers (p) 1959; Hotel De Paree Sundance (p) 1960 [with Frank Giacoia]; Luke Short’s Marauder’s Moon (p) 1958 [inside covers only; rest is by Mike Roy]; Moses and the Ten Commandments (p) 1957; Our Miss Brooks (p) 1956; Pepe (p) 1961; Peter Gunn (p) 1960; The Rebel (p) 1960-61; Secret Chimp (p) [no date] [Delete This Is Lancelot Link, Secret Chimp under Western Publishing/Whitman/Gold Key]; Solomon and Sheba (p) 1959; Super Circus (p) 1956 [Sekowsky only penciled Four Color #694; inks by Mike Peppe]. Western Publishing/Whitman/Gold Key: 55 Days at Peking (p) 1963; Boris Karloff Tales of Mystery (p) 1963; Boris Karloff Thriller (p) 1962; Grimm’s Ghost Stories (p) 1972; Jet Dream (p) 1966-67; Lancelot Link, Secret Chimp (p) 1972 [I doubt if Sekowsky drew this—all I’ve seen are by Mike Roy]; McLintock [note spelling] (p) 1964; Tom Morrow (p) 1966 [I doubt Sekowsky drew this—all I’ve seen are by Jack Sparling]; Track Hunter [Delete—no Sekowsky art; this was drawn by Bill Lignante or Rex Maxon]; The Twilight Zone (p) 196264/1973.

#33 of the 1954 parody story “Captain Marble Flies Again!” from the color Mad imitator Nuts #5. Mike Esposito, who inked that story over pencils by his partner Ross Andru, identified that tale—which appeared less than a year after Fawcett had dropped its comics line, including Captain Marvel Adventures—as having been scripted by one Yvonne Rae, who was editor at Premiere Publications and had written for Andru and Esposito earlier on their own fondly-remembered Mad-type comic Get Lost! However, EC fan-addict and Squa Tront publisher John Benson has other information, which may call that particular memory of Mike’s into question: Roy: It’s nice to see the entire “Captain Marble” story reprinted in Alter Ego, but I highly doubt it was written by the editor of the magazine. If I may be permitted to quote from myself, from Squa Tront 9 (1983): “Jim Steranko’s attribution to [Otto] Binder of ‘more than 25 script contributions to EC during a two-year span’ in his History of Comics was met with [initial] skepticism by both Gaines and Feldstein when it was pointed out to them, especially the patently ridiculous claim that Binder wrote for Mad comics. Efforts on a number of fronts to unearth an actual listing of Binder’s comic book scripts, known to have existed, were a failure for some time. But then comics historian Jerry Bails discovered that he indeed did have Otto Binder’s work records, sent to him many years ago by Binder before his death in 1975. The payment record clears up the mystery of Binder’s supposed contribution to Mad. Three items are listed as being sold in May 1954 to “Mad Pubs.” (all other listings are to “EC”): ‘Pandora’s Box,’ ‘Badman Hunt,’ and ‘Captain Marble Flies Again.’ Now, these bear no relationship to anything that ever appeared in Mad, but a story titled ‘Captain Marble Flies Again’ did appear in Premiere Magazines’ Nuts 5, November 1954! The other two scripts probably sold to the same publisher but never used, since 5 was the last issue of Nuts.”

Re “The Mike Sekowsky Dinner,” p. 23: Floyd Norman says that Sekowsky as supposed to work on the Who Framed Roger Rabbit? graphic novel. Correct. Yet, he was the second one to try out on that, as Disney’s first choice had been—Alex Toth! Eventually, the realistic art was done by the everreliable Dan Spiegle, whereas Daan Jippes drew the “Toons.” Norman also says that Sekowsky drew the Condorman comic book adaptation. False. The three Condorman issues were drawn by Frank Bolle. The penciled Sekowsky splash page shown on p. 23 is evidently an unused tryout page.

John Benson

Alberto Beccatini We’re printing your e-mail, Alberto, with appreciation—and now we’ll wait and see if Jerry G. Bails, who put together the Who’s Who with the help of some incredibly dedicated comics researchers, has any quibbles with it. If he or others do, you—and we—will read about it right here. Oddly, we received more mail than we’d expected about our reprinting in

You can’t tell me it’s a coincidence that Binder sold an apparent parody script titled “Captain Marble Flies Again” at the exact time a parody script with that title was being handed out for illustration. I’ll bet [inker Mike Esposito] just assumed the story was written by [Yvonne] Rae because he knew she had written that type of stuff. The story obviously must have been written by Binder.

Alter Ego #33 also contained our homage to 1960s A/E art editor Biljo White, and reprinted his sole ÒAlter and Captain EgoÓ story from 1964. Here, Òin memory and in honor of one of modern fandomÕs founding fathers,Ó ofttime A/E benefactor Jerry K. Boyd drew this portrait of Alter Albright and his otherworld partner especially for this Òre:Ó section. Thanks, Jerry. [Art ©2004 Jerry K. Boyd; Alter & Capt. Ego TM & ©2004 Roy Thomas & Bill Schelly.]

Actually, we’re thrilled and happy to hear it, John. After all, who more richly deserved to make a buck parodying Captain Marvel than the late Otto Binder, who wrote some of the Big Red Cheese’s most memorable exploits, including the entire “Monster Society of Evil” serial in 1943-45, and who was writing virtually all of the Cap/Marvel Family material when Fawcett abruptly folded its comics line in late 1953! Maybe this was Otto’s way of working off some of his frustrations at losing the Fawcett account. It’s a good parody, whoever wrote it. One anomaly, pointed out to us by longtime comics writer/editor Mike W. Barr, is something Roy missed when scribbling his comments at the bottom of the second page of “Captain Marble Flies Again!” Billy Battyson refers to

re:

23 environment?

Two likable and talented guys Roy T. ran into at recent comics conventions, when they learned Alter Ego was doing another Halloween issue, gave him artwork we wanted to use in it, even if theyÕrenot Frankenstein-oriented. At left, a venturesome corpse drawn by Loston WallaceÑand, at right, a most sinister Jack OÕLantern by Vatche Mavlian, artist of a recent Spider-Man/Wolverine miniseries! If the name ÒLoston WallaceÓ also seems familiar, it may be partly because, for the first 2-3 years of A/EÕscurrent incarnation, he was part of the ÒPizza & Mailing CrewÓ that helped the Morrows send out all TwoMorrowsÕmags! The kidÕscome a long way, and is currently drawing the creator-owned Strange Passages with writer Micah Harris! [Art ©2004 the respective artists.]

As Walter Cronkite stated, “And that’s the way it was.” I don’t doubt that. I now know that, throughout his life, Mike Sekowsky was a very troubled and sad individual. I’m just trying to understand as a fan why I, or anyone without a relationship to Mike Sekowsky, needed to know it, and what positive purpose that knowledge could possibly serve his memory and legacy within the comics industry.

Always a fan and with much respect, the “Shazam gods” as “Solomon, Hercules, Ajax, Zeus, Achilles, and Mercury”—but of course that third name should really have been “Atlas”! Did Otto forget one name in the litany he had written so often? Another (Captain) Marvel Mystery! Roy recalls noticing the “Ajax” for “Atlas” error when he was thirteen—but missed it this time around. Most of the mail received re A/E #33 naturally dealt with artist Mike Sekowsky, who was discussed by Jim Amash in interviews with Pat (the former Mrs. Mike) Sekowsky and 1940s inker Valerie Barclay and by four L.A. animation guys over a dinner for which A/E happily paid. Most readers applauded the trio of pieces, since all six people were clearly fond of Mike—in Valerie’s case, several decades after she’d last seen him. One or two readers took issue with our approach, however, including John Coates, the original editor/publisher of the fine Art of Nick Cardy hardcover of a couple of years back. Roy: This is a difficult letter to write. I’m so thankful for Alter Ego and your work as a whole, as well as those industry professionals that contributed to A/E #33. All involved have an unquestionable passion and irrefutable respect for comics history and its past creators. That having been said, I found your focus on Mike Sekowsky to read more like Hollywood Confidential than the normal Alter Ego reminiscing about the career of a comics professional. An issue dedicated to Mike Sekowsky’s work was long overdue. But to make the majority of that focus his personal and professional failings seems unnecessary. I personally didn’t find any value, nor did I gain any useful insight, in reading in-depth about the tragic personal/professional life, life-long inflicted demons, and lonely death of Mike Sekowsky. Frankly, reading it felt intrusive. Further, the portions of the Valerie Barclay interview that spoke of a young Mike Sekowsky were unfair and in poor taste. Who reading this letter would want someone to go back into their past and dredge up old girlfriends/friends/acquaintances to recount their then-foolish or broken-heart-related behavior? Also, where’s the credibility in Ms. Barclay’s remembrances? Aren’t her experiences sixty-plus years after the fact, having originally been viewed through the prism not of a mature adult but as Valerie-the-teenager, working in an adult

John Coates 4617 Dalmer Rd. NE Atlanta, GA 30342-2725 And we respect your opinion, John, as we’ve already told you privately. Matter of fact, Jim Amash and I were a bit concerned that more readers (rather than only a very few) might find the approach objectionable. However, in addition to what we said above about all six people involved being highly respectful of the memory of Mike Sekowsky, we want to assure you Jim didn’t attempt to guide his interviews in that direction, but let Pat Sekowsky and Valerie Barclay say what they wanted to say. And we gave the four animation gents the same privilege. After that, we simply let the chips fall where they may, since you know, we think, that both Jim and Roy are basically admirers of Sekowsky’s work, and had no axe to grind with him. Perhaps, when all’s said and done, the amazing thing is that, despite his inner demons, Mike managed to do so much fine work—which happily is coming back into favor, a decade and a half after his untimely passing. It’s wonderful to see his entire run of Justice League of America, for instance, back in print in DC’s hardcover Archives editions. Now, a query about something in Will Murray’s piece in #33, sent by Paul Gravett: Dear Roy: Just absorbing your latest issue [#33] and wondered if there was a small slip-up in the date in Will Murray’s excellent Writer’s Digest survey: on page 20, at the top of the second column, Will gives the issue date of July 1942 for Bradfield’s comment on the romance boom. I assume this must be later, perhaps 1948? I’d be interested in knowing the correct year. Many thanks and much support for producing such a fascinating monthly on comics history. Paul Gravett You’re right, Paul. The date should’ve been “1948.” Probably a typo made by Roy when he was retyping Will’s article. Glad you figured it out! It’s always a pleasure to hear from Ron Goulart, science-fiction and mystery writer as well as comics historian (he has another book on comics coming out very soon). This letter deals with Hames Ware and Jim

[comments, corrections, & correspondence]

Vadeboncoeur’s piece in A/E #32 on the Italian artists at 1940s Fiction House: Roy: As usual, I enjoyed the latest issue. The original artist on “Futura” [in Planet Comics] was a fellow calling himself “Chester Martin.” At that same time, he was also doing illustrations and an occasional cover for the Planet Stories pulp. If you have access to anybody who has Planet Stories from this period, you can possibly rustle up some credited samples of his work. I recall he did some covers and some interior stuff. At that time I was reading both Planet Comics and Planet Stories. Chester Martin signed his pulpmagazine work, and I recognized his style on “Futura” and wrote him a fan letter, care of Fiction House, asking if he was indeed drawing it. I received a [confirming] reply from Chester Martin in January 1947, a week or so after my 14th birthday. Some years ago, artist Murray Tinkelman told me he knew the guy, and that “Chester Martin” was a pen name. I don’t recall if he mentioned his true name. Keep up the good work. By the way, the “Human Torch” artist on page 5 of #32 is Edd Ashe. He did a very slapdash job on the feature right after Carl Burgos departed. Probably by way of Funnies, Inc. Ron Goulart Glad to have that artist ID’d, Ron, since we’ve got access to black-&white proofs of that entire “Human Torch” story, and were wearying of typing “artist unknown.” You sent us a copy of that 1947 letter from “Chester Martin”—and at least he used that name there, too! Some Short Corrections and Additions: Delmo Walters, Jr., tells us that, contrary to what was said in the Pat Sekowsky interview, the Batmen of Earth-One and Earth-Two never met, and Mike S. never drew the Earth-Two Batman. Delmo suspects Pat might’ve been referring to the Batman of EarthOne meeting the grown-up Robin of Earth-Two, who subbed for that world’s Batman in one of the final crossovers Mike drew and wore a Batman-like outfit.

Here, courtesy of Michael Dewally, is a scan of the splash page of the lead story in TobyÕs Fighting Leathernecks #1 (March 1952), with art by Alex Kotzky and Sam Burlockoff. Kotzky was a stalwart of Quality Comics during the 1940s, and later the artist of the Apartment 3-G comic strip, as related in a lengthy interview in A/E #34. [©2004 the respective copyright holders.]

Alter Ego founder Jerry G. Bails says he’s finally determined which Terry and the Pirates newspaper strips Mike Sekowsky penciled for postCaniff artist George Wunder: they were the dailies from June 5, 1961, to July 29, 1961—and the Sundays from June 25, 1961, through Aug. 13, 1961. Thanks, Jerry.

So now we know! Ron Goulart informs us that the artist of the ÒHuman TorchÓ story in Marvel Mystery Comics #42 (April 1943) was one Ed Asche. Here the Torch and Toro fight some Nazi nasties, as they did nearly every month during World War II! ReproÕdfrom photocopies of the original art. [©2004 Marvel Characters, Inc.]

Chris Green pointed out (all the way from England) that the 1980s Alex Toth “GL” page in #33 is from Green Lantern #171 (Dec. 1983), and was inked by Terry Austin. Don Ensign sent us the same info—also noting that the Gil Kane Green Lantern #29 cover shown on p. 3 is from June 1962, not June 1964. (Incidentally, The Comics! editor Robin Snyder reminded us that he scripted the 1983 GL story.) Harking back to A/E #32’s Sam Burlockoff interview, Michael Dewally informs us that the “Red, White, and Blue” feature starring Marines Quigly and Beals did indeed see print—in Toby Press’ Fighting Leathernecks #1 (March 1952—with “Quigly” changed to “Quigley,” and art by Alex Kotzky (see splash at left). From Cornwall, England, Richard Bealzley likewise informed us of same, and also that the “Plastic Man” story with the electrifying Thrilla from Police Comics #100 was later reprinted in Plastic Man #53 (April 1955). (Richard also added some facts about British reprints of U.S. material in the 1960s— we’ll have to cover this in depth one of these days.) Till next issue, send those cards and letters and e-mails to: Roy Thomas 32 Bluebird Trail St. Matthews, SC 29135

Fax: (803) 826-6501 E-mail: roydann@ntinet.com

Don’t forget—in #42, we cover Ziff-Davis and Hillman comics and some of the “forgotten” artists of 1960s Marvel, including Don Heck, Paul Reinman, and Werner Roth!

26 The drawings were of Mary Marvel. The approved original character sketch had been returned to me and was there, with the typed pages of her first story. And there were other drawings.

[FCA EDITORS NOTE: From 1941-53, Marcus D. Swayze was a top artist for Fawcett Publications. The very first Mary Marvel character sketches came from Marc’s drawing table, and he illustrated her earliest adventures, including the classic origin story, “Captain Marvel Introduces Mary Marvel (CMA #18, Dec. ’42); but he was primarily hired by Fawcett to illustrate Captain Marvel stories and covers for Whiz Comics and Captain Marvel Adventures. He also wrote many Captain Marvel scripts, and continued to do so while in the military. After leaving the service in 1944, he made an arrangement with Fawcett to produce art and stories for the company on a freelance basis out of his Louisiana home. There he created both art and story for The Phantom Eagle in Wow Comics, in addition to drawing the Flyin’ Jenny newspaper strip for Bell Syndicate (created by his friend and mentor Russell Keaton). After the cancellation of Wow, Swayze produced artwork for Fawcett’s top-selling line of romance comics, including Sweethearts and Life Story. After the company ceased publishing comics, Marc moved over to Charlton Publications, where he ended his comics career in the mid-’50s. Marc’s ongoing professional memoirs have been FCA’s most popular feature since his first column appeared in FCA No. 54, 1996. Last issue, Marc discussed some of his drawing techniques; he stays on the subject in this issue’s installment, with the focus shifting to drawing the female figure… specifically the famous heroine he originally designed, Mary Marvel. —P.C. Hamerlinck.] “Hot for the female body, are you?” I don’t remember exactly who asked the question. Might have been Pete Costanza. Wasn’t Ray or Bob (Harford or Boyajian) ... nor Chic (Stone). Wasn’t Beck ... nor Raboy (C.C. nor Mac). Could have been Harry Taskey, one of the more entertaining jesters in the art department. Or Eddie Hamilton, co-composer of “No Balls.” Eddie, whose fiendish sense of humor could heckle you insane ... if you let it. I believe it was Eddie. At Fawcett in ’42 there was no “coffee break,” as the custom is known today… where at a given moment everyone jumps up and scampers for the urn and restrooms. Anytime you wanted a cup of coffee, you got up and got it. Then, if so inclined, you visited around among the drawing tables. So it was with the questioner behind me, leaning forward now, as though for a closer look at the work on my board. “Kinda fond of the girlie torso, eh? Sketch them frequently?” Hamilton, or whoever it was, was after me ... I could see that. Kidding, of course. He was my friend. They all were.

In the first days of our acquaintance, C.C. Beck and I had laughed about how we both sought to convey an element of weight, or heaviness, in drawing the figure of Captain Marvel. I was amused when Beck described it as “like concrete in his boots.” Now, as I drew Mary, the goal was completely different. I imagined Mary Marvel as a lightweight ... light of spirit, of action ... light of heart. The sketches at hand were humble, personal efforts to convey that lightness by the way her costume reacted under various circumstances. How in the world could my visitor with the coffee cup have made anything else of them? In my modest studies of the history of art it was impossible not to become aware of the frequency with which one particular subject appeared ... the female nude. Over and over, on cave walls, on canvas, in stone or bronze, there she was ... the bare lady. And so much special emphasis on it in art training. You’d have thought that once capable of drawing that one subject, the student could draw anything. Schools where it would least be expected have for years offered classes where someone clothed in swimsuit, if anything, sweated under hot lamps for bored sketchers. When I worked in New York City, I couldn’t help but notice the number of little “art schools” up and down the Manhattan streets. They existed, I have since suspected, solely for businessmenstudents who might have thought Titanium and Permalbos White were two sisters in show business. ÒI thought of Mary as light of heartÉlight of stepÉ.Ó Sketches of the ÒShazam girl.Ó [Art ©2004 Marc Swayze; Mary Marvel TM & ©2004 DC Comics.]

“We Didn’t Know... It Was the Golden Age!”

world! Mary Marvel!

The earliest recollection I have of a practical connection between the nude figure and the work I was doing was as an assistant to Russell Keaton. “You don’t draw the dress and put the girl in it,” he had said. “You draw the girl and put the dress on her.” It was a good lesson that I never forgot. It became the basis upon which I drew feminine attire thereafter.

It is not the place of a Golden Age comic book artist to question the frequency of the female nude throughout the ages of art. Foregoing references may have led to a wrong impression ... of a lack of respect and admiration for the subject among artists. The notion might have been exaggerated by a typical traditional image insisted upon by the “pros,” those more mature male members of the profession. You’ve seen it ... in galleries everywhere ... the “real pro” standing before a nude painting, his nose in the air, his attention purposely directed to one side ... to a landscape. The appearance intended ... boredom.

I could see it also as the basis for the joking remark my friend from the coffee urn had made. I was drawing the costume to be worn by Mary Marvel ... the skirt. My procedure was first to draw that portion of her outfit as close-fitting shorts, then to convert to a skirt by adding simple flares and hem. I looked around to explain to my friend that what he saw was not what he thought he saw ... or what he thought he saw was not ... you know ... But he was gone. I considered going after him but I had a job to do ... getting a new comic book character ready for the road ... a super-girl supreme ... awaiting her introduction to the readers ... to the

ÒI had a job to doÉ a little new super-girl awaited her introduction to the world!Ó And Marc Swayze gave her the best start any dynamic debutante might want! [Art ©2004 Marc Swayze; Mary Marvel TM & ©2004 DC Comics.]

Don’t be fooled. His thoughts are very likely: “Wow! I’ve gotta get back over here for another look at that babe!” [Marc Swayze will return next issue with more of his Golden Age memories.]

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A MIDNIGHT MESSAGE FROM ROY THOMAS I couldn't let this halcyon Halloween issue go by without flapping my ribbed wings just a bit about STOKER'S DRACULA, artist Dick Giordano's and my nearly 200-page adaptation of the classic 1897 vampire novel for Marvel Comics. We started it back in 1974-75 in the pages of Dracula Lives! and The Legion of Monsters, and Marvel editor Mark Beazley recently gave us the opportunity to finish it after, lo, these many years. Issue #1 is already on sale—with #2-4 to follow over 6-week intervals. Try it—it’ll get into your blood!

HOLY MOLEY! A HUNDRED ISSUES OF FCA !

Editor P.C. HAMERLINCK Presents a Look Back at a “Century” of Fawcett-Related Wonderment

[NOTE: Since we announced that the 100th issue of FCA would appear in this edition of Alter Ego, we’ve received myriad congratulations and well-wishings… so we’d like to share a few of them with you. Accompanying these messages will be a sampling of art from the previous 99 issues along with previously unpublished art and photos— a panorama of Fawcett-related fantasy and photos—plus a few extras. And whom better to start with than the Golden Age artist who has been a part of each and every FCA since #54 back in 1996! —PCH.]

Marc Swayze [Golden Age Fawcett Artist] Before Bernie McCarty distributed the first issue of his Fawcett Collectors of America, he understood the importance of an identifying symbol, a logo, to represent his brainchild. His logo contained the major features upon which many of the world’s greatest trademarks have been based ... sincerity, clarity, brevity, and distinction. That was Bernie’s style. The distinctive characteristic was provided by three large capital letters, evidently borrowed from a type catalog. The logo remained unchanged until, after eleven issues, greater control of the publication was turned over to retired Captain Marvel artist/cocreator C.C. Beck, who had been assisting Bernie through correspondence. The three ornate caps in Bernie’s logo were combined, enlarged, across the top, followed by the wordage, then, in italicized hand letters “plus S.O.B.” The new title, Some Opinionated Bastards, was likely rushed into, as others counted on to participate were unwilling to include themselves under that classification. FCA/SOB, first issued early in 1980, went on a regular bi-monthly schedule and, for the first time, paid subscriptions were solicited. With

(Above:) P.C. HamerlinckÕspencil/watercolor portrait of Marc Swayze, a photo of MarcÑand a Swayze Phantom Eagle page from Wow Comics #67 (June 1948). [Portrait ©2004 P.C. Hamerlinck; Phantom Eagle TM & ©2004 the respective copyright holders.]

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment The front and back covers of FCA #1. The former sported two Fawcett covers and a photo of founder Bernie McCartyÑthe back featured A.J. Hanley art and an ad for the Old Comic Book Club to which McCarty belonged. [Material ©2004 the respective copyright holders; Captain Marvel TM & ©2004 DC Comics.]

Beck as editor and McCarty as publisher, distribution continued through 19 issues, ending with number 30, May-June 1983. The logo, after one or two issues, was altered to read, simply, in bold, black type, FCA/SOB. It remained unchanged until the final one or two issues where the “SOB” half appeared in gray halftone, thereby diminishing in comparison to “FCA.” There may have been a quiet phasing out of that part of the name underway.

The cover of FCA #41 (a.k.a. FCA & ME, TOO! #5), published by the Harpers, boasted a Beck caricature of founder McCarty, and added coverage of comics published by Magazine Enterprises. [Art ©2004 Estate of C.C. Beck.]

The “SOB” disappeared completely when, due to the failing health of C.C. Beck, Bill and Teresa Harper merged the publication with their own. Both title and logo became FCA & ME, Too! The logo was arranged with “FCA” above, in straight caps, followed by an accentuated ampersand, then “ME, Too!” in type, size and style same as “FCA” The logo bore slight if any change through issue number 17. There was little evidence of “takers” on the horizon when the Harpers saw the need to leave FCA. When at last a hand was raised in support of Bernie’s brainchild, it was that of a Minnesota commercial artist and advertising specialist, a resident of the homeland of Capt. Billy Fawcett, the homeland of C.C. Beck, Paul C. Hamerlinck. Paul was more than just a “Fawcett collector” and fan. He had spoken, met, and corresponded with the retired Beck and was later to meet the members of the Fawcett family. The publication today reflects the experienced Hamerlinck hand in art and writing, his selectivity with interesting material from the vast collection of the past, his interviews with contemporary Hollywood stars associated with the related subjects. And that special attention and respect paid to the FCA logo... still, as in the beginning, based upon such qualities as sincerity, clarity, brevity, and distinction... the McCarty way. The Hamerlinck way!

(Left:) A 1980 self-portrait of Captain Marvel co-creator (and longtime FCA editor) Charles Clarence BeckÑand a 1973 drawing of the Big Red Cheese done for founding FCA editor Bernie McCarty in 1973. [Art ©2004 Estate of C.C. Beck; Captain Marvel TM & ©2004 DC Comics.]

Holy Moley! A Hundred Issues!

determined that Captain Marvel had to go! It is a sad fact of history that he did go, at the end of 1953, along with every other Fawcett comic book hero. A tragic loss for Fawcett readers around the world. But consider some of the other famous Fawcett characters: Mary Marvel, Ibis the Invincible, Captain Video, Captain Midnight, Nyoka the Jungle Girl, Tom Mix, and William Boyd.

[Golden Age Comic Book Artist & Author, The Iger Comics Kingdom]

The last two, Mix and Boyd, were real personalities, of course. Tom Mix had been a genuine hero of the West (although his exploits were probably somewhat exaggerated, he did aid in tracking down outlaws, and had been involved in a number of shootouts Lance OÕCasey,drawn by with rustlers and bank robbers). All of fan-artist Ralph Muccie for this was before he became a “Wild West FCA #55, Spring 1996. rodeo star” and eventually a motion [Art ©2004 Ralph Muccie; picture actor. The 1930s introduced a Lance OÕCaseyTM & ©2004 the long-running Tom Mix radio drama that respective copyright holders.] was quite popular with the kids.

The 100th issue of FCA… This is a milestone by anyone’s reckoning. But when one considers the special nature of Fawcett Publications and its line of comic book titles, it is reasonable to understand why such loyalty exists on the part of so many fans. And that loyalty has flourished for more than half a century after the last Fawcett comic book was published. At least two additional generations of Fawcett fans have sprung up during this period.

William Boyd was the actor who portrayed Clarence Mulford’s famous “Hopalong Cassidy” in numerous films in the 1930s and ’40s. He had deep piercing eyes and a commanding voice. He became wellknown on radio in addition to the silver screen. He also became a very canny businessman who bought up the rights to all his old Hopalong Cassidy films and leased them to the television industry in 1948, thus becoming a multi-millionaire.

The late C.C. Beck fully understood that such loyalty existed, which is why he did not hesitate to assume editorial duties on FCA in 1980, relieving those duties from founder, Bernie McCarty, who remained on as publisher. As is common knowledge, Beck was the most renowned Captain Marvel artist during its thirteen years of publication. The sheer volume of the work he produced in the 1940s and early 1950s staggers the imagination. Yet, like the legendary Carl Barks, he worked in almost total anonymity for most of his career.

Republic Pictures released two different Nyoka movie serials. Fawcett gained the publishing rights of this character and soon began to chronicle her adventures in her own magazine, which ran for 77 issues.

Jay Disbrow

As indicated above, Fawcett had a unique line of comic book heroes. Captain Marvel was merely the most obvious and popular one (especially after the release of the 1941 Republic motion picture serial The Adventures of Captain Marvel). However, Spy Smasher was a close second, and he looked terrific in his Flash Gordon style of trappings. In 1942, Republic Pictures released a Spy Smasher movie serial which helped to boost the character’s popularity to great heights. The film starred the king of the “Poverty Row” productions, Kane Richmond. Fawcett had other well-known characters, such as Bulletman and Bulletgirl, Mr. Scarlet, Lance O’Casey, and Golden Arrow. And then there was the Captain Marvel Jr. feature, with the exceptional art styling of Mac Raboy, one of the most talented artists Fawcett ever employed. In truth, Fawcett owned so many comic book heroes that at one time their total annual output challenged such giants as Dell, DC, and Timely. It is a known fact that for at least one brief period in the 1940s, Captain Marvel outsold Superman by a substantial margin. Little wonder DC

Jay Disbrow todayÑand a recent drawing in which the veteran artist reflects upon the Golden Age of Fawcett Comics. [Art ©2004 Jay Disbrow; Captain Marvel Jr., Bulletman TM & ©2004 DC Comics; Nyoka the Jungle Girl TM & ©2004 AC Comics; Tom Mix TM & ©2004 the respective trademark & copyright holders.]

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment

Because of the unique nature of Fawcett comic book characters, FCA’s founder Bernie McCarty realized that a potential pool of hardcore fans did exist, and that they would welcome a newsletter concerning the comic heroes they grew up with. He was right, of course. But when C.C. Beck became editor, the nature of the newsletter underwent a not so subtle change. C.C. Beck was a controversial individual with strong opinions, especially opinions about comics. He believed that comic books should be written and drawn in a certain, specific way. He had little tolerance for comic creators who went beyond the boundaries he had proposed in his numerous published articles. Beck’s opinions were undoubtedly based upon his experience as a comic book cartoonist, grinding out a prodigious volume of work each year. Beck believed that comic books should be drawn by cartoonists, not “illustrators.” This was a position he apparently held all through his career. A mere glance at a C.C. Beck Captain Marvel page will reveal a real economy of effort on his part. He used simple outlines to ink his figures. Very little “feathering” was employed to depict contours or muscular structure. His heads were very simply constructed, with little modeling in evidence. The eyes were either mere slits (indicating anger, contentment, or pensiveness) or black dots (revealing shock or surprise). In short, C.C Beck was capable of producing vast quantities of work

(Left:) C.C. Beck had nothing against 15th-century artist Albrecht Dürer, but he had naught but scorn for any artist who lavished similar detail on a comic book pageÉas per his commentary on the cover of his FCA/SOB #7 (a.k.a. FCA #18) in 1981. (Above:) A Mac Raboy page from Master Comics #22 (Jan. 1942), recently reprinted in The Shazam! Archives, Vol. 4, which contains an introduction by P.C. Hamerlinck. ÒBulletmanÓ script by William Woolfolk. [Bulletman TM & ©2004 DC Comics.]

because his art was so lacking in detail. In this regard he had something in common with Harold Gray, creator of Little Orphan Annie. But those who did lavish detail on their work usually incurred Beck’s displeasure. A case in point: Mac Raboy, who was assigned to draw the Captain Marvel Jr. series from its inception in the early 1940s. But it so happened that Raboy was a superb illustrator. He took the time to produce highquality artwork which probably aroused the ire of C.C. Beck, who perhaps felt that Captain Marvel Jr. should retain the same simplicity of design that Captain Marvel Sr. possessed. However, had Raboy not presented such a marvelous finished quality to his Captain Marvel Jr. feature, it is doubtful he would have been chosen to illustrate the Flash Gordon newspaper strip in 1948. Many of us can remember what a Foundation and Empire! (Left:) The cover of Captain Billy’s Whiz Bang #44 (April 1923)Ñthe beginnings of a publishing empire that continues today, though minus comic books! (Right:) Two guys called Billy: ÒCaptain BillyÓÑWilford Fawcett himself in 1935, juxtaposed with a Beck-drawn Billy Batson figure. Three of the four words in the title of FawcettÕssuper-popular joke mag were utilized in the first issue of Whiz ComicsÑand the short-lived Slam Bang Comics soon followed. [©2004 the respective copyright holders.]

Holy Moley! A Hundred Issues!

splendid job he did on that strip for the last 19 years of his life. C.C. Beck’s opposition to the high-quality illustrative approach to comics manifested itself many times in his writings. Once he wrote, “High quality art in comic books reminds me of people who go to a beer party dressed for the opera.”

(Left:) Sheldon ÒShellyÓ Moldoff is most noted as the ÒHawkmanÓ artist from 1940-44, and as Bob KaneÕsÒghostÓ on ÒBatmanÓ from 1954-67. Here he and A/E editor Roy Thomas smile for the camera at the 2000 MegaCon in Orlando, Florida. RoyÕsown kudos re FCA #100 appear on our Òwriter/editorialÓ page. (Right:) Bob Powell, rather than Shelly, drew this cover for This Magazine Is Haunted! #4 (April 1952), but Shelly created the mag. See A/E #4 for an in-depth interview with the amazing Mr. Moldoff. [Art ©2004 the respective copyright holders.]

I personally could never accept his philosophy on this matter. I always believed there was room for both cartoon styling and illustration in comic books. The cartoon style should be reserved for the humorous comics stories, and the illustrative work should be set aside for the straight dramatic material. In the case of Captain Marvel, however, we are dealing with a feature that was both dramatic and humorous. That being the case, Beck’s style was ideal for the feature. I never personally met C.C. Beck, but I did correspond with him a number of times. On one occasion in 1981, I mentioned to him that I had an admiration for the work of Mac Raboy. Much to my surprise he wrote back immediately and requested me to write for FCA/SOB a tribute to Raboy, which I did (FCA 19—FCA/SOB 8, June/July 1981). Of course, were it not for the Fawcett brothers (Roger, Buzz, Gordon, and Roscoe) there would have been no Fawcett Publications… and no FCA. These men were natives of Minnesota, and were the sons of Wilford “Billy” Fawcett, publisher of the original joke magazine Captain Billy’s Whiz Bang. The four brothers followed in their father’s footsteps and ultimately founded a line of magazines that featured the popular culture of the 1930s and into the ’40s. They eventually took a good look at the fledgling comic book industry and liked what they saw. Even though the monetary returns on a ten-cent comic book were slender, the cumulative effect of millions of comic books sold was quite profitable, indeed. So they took the plunge, and a line of comic book features was created that have since made history, and are kept alive by numerous fans around the world.

and it was a great loss when he passed away much too early. I did a lot of work for Will both with Fawcett and after Fawcett closed their comics department: movie ads, Army newspaper... and a strip called Joe Worker for the American Jewish Committee. Will had two great passions: tennis and theatre. Playing at a private club in mid-Manhattan, Will had the opportunity to volley with tennis champion Chris Evert, and after leaving Fawcett he became involved with off-Broadway productions. He truly loved the theatre. As for Fawcett... wonderful comic book characters... and all the editors were terrific, such as Dick Kraus, who later wrote many stories for me when I did an animated series, Taro of the Jungle, for a Japanese studio. I started with Fawcett Publications drawing Tex Ritter Western, Captain Midnight, and several of their romance titles. And I later introduced the horror genre to Fawcett, creating the title This Magazine Is Haunted. Comic books have changed a lot over the years. But the consensus I get from fans is that they were more fun years ago... but wasn’t everything? Continued success with FCA! It has the world’s mightiest fans!

David Siegel [comics fan and Golden Age guest comicon coordinator] Congratulations on FCA’s 100th issue, P.C.! As a fan I enjoy reading and learning more about Fawcett Publications. Thank you! This is comic fandom at its best! When names like Chad Grothkopf, Kurt Schaffenberger and William Woolfolk are mentioned, they were, to me, the real heroes of Fawcett.

There can be little doubt that there is a certain mystique surrounding the characters from the Fawcett stable of comic heroes. There is an almost indefinable quality that sets them apart from the protagonists of other comic publishers. Were this not so, their fame would not have endured these many years. So, on the occasion of this 100th issue, best wishes go to FCA, and to P.C. Hamerlinck, who had the vision and the sense of dedication to carry on this worthy project.

Sheldon Moldoff [Golden & Silver Age comics artist] P.C.—I have been enjoying your work and research in FCA. Fawcett brings back many fond memories of the comic books and the editorial staff. They were a great bunch! Will Lieberson became a personal friend,

Dave Siegel has assisted many conventions, but especially the San Diego Comic-Con, in locating Golden Age comics pros and arranging for them to be guests. Here he accepts a well-deserved Inkpot Award in San Diego in 1996, flanked by veteran artists Jim Mooney (left) and Joe Giella (right). [Photo ©2004 Charlie Roberts.]

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment Jim Harmon (in photo) wrote the in-depth look at Captain Midnight in A/E #22Ñso hereÕsan art spot we couldnÕtwork into that issueÑone of the drawings by Erwin L. Darwin from the 1942 Whitman book Joyce of the Secret Squadron, which was written by Russ Winterbotham. [Captain Midnight TM & ©2004 the respective trademark & copyright holders.]

Jim Harmon [author of Radio Mystery and Adventure and other nostalgic books] Congratulations, P.C., on the 100th issue of FCA! I remember when it was only a thin fanzine, and now it is combined with Roy’s “pro-zine” Alter Ego! I miss the regular contributions from C.C. Beck, but glad his artwork and writing continue to be presented … and glad that there are still some, such as Marc Swayze, from the old days bringing us insights into the magic of Shazam! I appreciated the two appearances of my article on Fawcett’s Tom Mix Western, and my brief revival of the great cowboy as writereditor for Ralston cereals. It was nice that the second printing of the piece came in the same Alter Ego issue that ran my Captain Midnight article. A friend commented that it looked like the “Jim Harmon Memorial Issue.” Not quite yet, thank you!

Bill Harper [co-editor of FCA & M.E. Too] The 100th issue! Wow! A long time has passed since Bernie first launched the newsletter in 1973, hoping to bring Fawcett collectors together to buy, sell and swap funny books.

This original drawing by Kurt Schaffenberger, done for an early FCA contributor, first appeared in FCA #4 (Feb. 1974). ItÕsbeen reprinted a time or three sinceÉ so why not here? [Art ©2004 Dorothy Schaffenberger; Marvel Family TM & ©2004 DC Comics.]

Teresa and I came into contact with Bernie in 1980. FCA had just undergone a two-year hiatus, returning as FCA/SOB with C.C. Beck as editor. Our original contact got off to a shaky start as Bernie lived up to the SOB title. He lambasted us for not subscribing and raved on about the cost of production. Nevertheless, by 1981 Bernie had to remark: “Your sub now runs through issue #38, good for the next five years. I hope we all last that long.” Now the 100th! Now Bernie’s gone, so are C.C. Beck and Teresa Harper … but FCA continues reaching a milestone I thought impossible. The merge of FCA into the pages of Alter Ego makes the magazine a must-read each and every time I find it in the mail box. Thank you, Paul, Roy, and John Morrow for taking us this far, and I am encouraged for tomorrow. God bless.

Mark Voger [author of Hero Gets Girl: The Life and Art of Kurt Schaffenberger] Magical things happened in 1973. Captain Marvel and his friends and foes (Cap Junior, Mary Marvel, the Sivanas, et al.) had been assumed dead for twenty years. Out of the blue, in a case of what can only be called super-hero serendipity, two events occurred independently that rescued these charming characters from the depths of comic-book obscurity. (Lest we take these minor miracles for granted, keep in mind: The Golden Age of Comics is dotted with forgotten characters that will never see the light of a foil-cover four-issue miniseries.)

Bill and Teresa Harper survey Bob PowellÕscover for Major Inapak the Space Ace, a 1951 commercial comic produced by Vin SullivanÕsMagazine Enterprises to promote the (long-vanished?) Inapak. Just drop Òa packet a dayÓ into your milk, kids, to turn it into Òa swell chocolate-flavored drinkÓ with Ò11 vitamins and 9 minerals.Ó To coverage of Fawcett, the Harpers added M.E., which published such comics as U.S. Marines, The Durango Kid, Straight Arrow, The Avenger, and the original Ghost Rider, and rechristened the fanzine FCA & ME, Too! [Harpers art ©2004 Bill Harper; Major Inapak art ©2004 the respective copyright holders.]

Those two events were DC Comics’ revival of Captain Marvel, beginning with Shazam! #1, and Bernie McCarty’s founding of the Fawcett Collectors of America newsletter. The Marvels (who very well could have remained on that Golden Age slag pile forever) flew back into our lives, and 31 years later, it’s clear that they ain’t goin’ nowhere. Fans of longtime Fawcett and DC Comics artist Kurt Schaffenberger

Holy Moley! A Hundred Issues!

also had reason to rejoice that year. The artist maintained that, around this time, a period of exile from DC came to an end for him. When Captain Marvel was brought back, so was Kurt, and the sudden reunion of artist and character (to be followed shortly by fans) became a happy footnote in comics history.

“Schaff” read and contributed to FCA, and held onto many issues until his death in 2002. He appreciated the opportunity to keep tabs on old friends and communicate with old and new fans.

There should be a publication as thorough, heartfelt and influential as Fawcett Collectors of America for every fan obsession. But there’s only one FCA. Congratulations on 100 issues!

Mike Mikulovsky [comics fan and AE/FCA benefactor] Thanks, P.C., for keeping FCA going strong all these years, and to all the talented people who helped produce Cap and all the great Fawcett characters. Because of you, fans of the Big Red Cheese still have a haven for their monthly fix of Captain Marvel and family. It’s great to be able to read about past and present Cap contributors, such as Beck, Swazye, Schaffenberger, Thomas, Ordway, Ross, and others … not forgetting the cast members of The Adventures of Captain Marvel 1941 movie serial and the Shazam! and Isis television shows. Most of all, FCA/Alter Ego is a great way for old and new fans alike to learn about the Golden and Silver Ages of comics. See you in issue #200!

Frank Brunner strikes again! Because FCAficionado Mike Mikulovsky recently contributed drawings of Captain Marvel battling Dracula, The Zombie, and the Creature from the Black Lagoon, heÕllappreciate this awesome new art by Formerly Far-Out Frank Brunner, submitted as his own unique tip of the chapeau to FCAÕs100th issue. Of course, Mary Marvel couldnÕtreally be hurt by VampirellaÕsbiteÑthatÕs just ketchup and sheÕsfaking, right, Frank? Frank? [Art ©2004 Frank Brunner; Mary Marvel TM & ©2004 DC Comics; Vampirella TM & ©2004 Harris Publications, Inc.]

Mark Lewis [artist, Big Bang Comics & FCA] There are all sorts of technical elements that made the original Captain Marvel work … things that make me like the character. But none of those things fully explain his appeal. There’s something about all the character’s aspects that appeals immediately on a more instinctual level to the kid in me, and it’s been that way for me ever since the first time I saw Cap in the early ’70s. I first became aware of FCA when TwoMorrows began publishing it in Alter Ego, and it’s become something I really look forward to every month. There’s not as much info on Fawcett out there as there is on Timely/Atlas/Marvel, or DC, so FCA has been a big education for me, particularly Marc Swayze’s recollections.

Richard Langlois [retired educator, Quebec, Canada] Frank Coghlan, Jr., who played Billy Batson in the 1941 Republic movie serial The Adventures of Captain Marvel, autographed this photo of himself and the wizard Shazam for P.C. Hamerlinck, whom he called his Òfavorite graphic artist.Ó [Photo ©2004 the respective copyright holders; Billy Batson & Shazam TM & ©2004 DC Comics.]

It was an old friend from Toronto who got me addicted to Fawcett comics. His name was “Captain” George Henderson, who passed away twelve years ago. I can still remember his Memory Lane store on Markan Avenue in Toronto, where he published several fanzines on the

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment

Michael Eury, editor of TwoMorrowsÕnewest mag, Back IssueÑand a Schaffenberger panel from ÒThe Bicentennial VillainÓ in Shazam! #25 (Sept.Oct. 1976), as reproÕdfrom b&w photostats in the 1977 hardcover Shazam! from the 40’s to the 70’s. Both the art and the script by E. Nelson Bridwell reflected the successful Saturday morning TV series. [Art ©2004 DC Comics.]

continuing coverage of what were the best in Golden Age comic books. This is an occasion to compliment you on the impressive quality and quantity of the contents of your writings. To me, reading religiously each issue of FCA is like a hemophiliac receiving a transfusion. And it sure charges my old batteries… and will do so for a long time to come. FCA is the best way to age without becoming old.

Michael Eury And hereÕsanother kudoÑdone in the style of a pulp-mag cover by newcomer Kyle Henry, more of whose work can be seen at his website <www.kylehenry.com>. Nice work, buddy! [©2004 Kyle Henry; Captain Marvel TM & ©2004 DC Comics.]

Golden Age, including once reprinting Fawcett comics stories in an issue of his publication Captain George’s Whizzbang. I became an unconditional Fawcett collector, but eventually donated all of my collection to my most serious students at the university and the college of Sherbrooke, where I taught a course on Comic Art and Narrative for more than 35 years. Now retired since 1997, I can read once again—with the help of old faithful friends like P.C. Hamerlinck—copies of the greatest comic books from my childhood… and with FCA, I can learn about the history of those books. As a professor in comics, I’m convinced that by FCA’s thorough research it clearly shows us just how well-drawn, imaginative, funny, and unforgettable Fawcett’s comic book stories really were. I am confident FCA will become a unique reference for future generations to rediscover what heroes in comic books were once really all about. Thanks, Paul, for your

[editor, Back Issue magazine] Being born too late to enjoy Captain Marvel’s original run, my first exposure to the Big Red Cheese was from TV’s Gomer Pyle, whose utterance of “Shazam!” only sparked laughter, not lightning bolts. Then came DC’s 1970s Shazam! revival and the Saturday morning TV show that followed. Captain Marvel quickly became a favorite of mine, but I always felt like I came on board a little too late... until I discovered FCA. FCA’s thorough exploration of Marvel Family lore is always a treat. Congratulations on your 100th issue!

A 1953 photo of Virginia Provisiero and executive editor Will Lieberson at the Fawcett offices, celebrating GinnyÕstenth year editing comics for the companyÑincluding Nyoka the Jungle Girl, which she said back in Alter Ego #7ÕsFCA issue was her favorite. Alas, later that same year, Fawcett Comics closed its doors. The lateÕ40s/early-Õ50sÒNyokaÓ splash is from a black&-white Australian reprint, courtesy of Shane Foley. [Nyoka TM & ©2004 AC Comics.]

Holy Moley! A Hundred Issues!

Virginia (“Ginny”) Provisiero [Fawcett Comics editor, 1943-1953] I was surprised to hear that you are already at your 100th issue. That is an accomplishment to be very proud of. Fawcett comics were always my favorite comics and always will be. Our great sales proved how special and exciting they were to readers of all ages. As far as I’m concerned, they will always be tops. We had the best!

Throughout the ’40s and into the ’50s, children could depend on Cap being there, his bright red uniform and friendly smile brightening their lives. He was never scary or intimidating, not even to the youngest reader. Captain Marvel may have been more super than his readers, but he never made them feel inferior. He was a warm comforting presence –– a trusted uncle, a friendly big brother. Long before TV got its Mr. Rogers, comic books had theirs! Best wishes to FCA!

John Morrow [publisher of TwoMorrows magazines, including Alter Ego/FCA] I came in to FCA really late. I’d been producing my own fanzine, The Jack Kirby Collector, for a couple of years, and suddenly some guy named P.C. Hamerlinck mailed me a copy of this gorgeous, 16-page photocopied newsletter out of the blue. I’d never heard of it before, and it featured a great drawing of Captain Marvel jumping out of the cover, drawn by another guy I’d never heard of, Marcus Swayze. I was stunned at this simple, elegantly-designed publication, and immediately sat down and read it cover to cover. I was immediately drawn to it, because it was so much like the first issue of my own zine; you could see that the person producing it (1) knew something about graphic design, and (2) knew about the subject matter. I’m not what you’d call a huge Fawcett fan, but I’ve always had a healthy respect for the material, and after a few installments of Swayze’s “We Didn’t Know...” column, I was hooked. I had to learn more about this company and these creators! Bookseller Bud PlantÕsinitial admiration re FawcettÕscomics was mostly for Mac RaboyÕsÒCaptain Marvel Jr.,Ó seen here in a story reproÕdin b&w in Shazam! from the 40’s to the 70’s. [©2004 DC Comics.]

Bud Plant [Owner of Bud Plant Comic Art] Thanks to FCA, a behind-the-scenes look at Fawcett comics, Captain Marvel, and their creators is today available to fans. Your interviews and articles preserved information that would have otherwise been forever lost. I first discovered Fawcett comics in the mid-1960s as I added Mac Raboy to the artists I collected, such as Frazetta, Crandall, and Al Williamson. I did—and still do—think Raboy is one of the greats of the Golden Age, due to his exquisite work on Captain Marvel Jr. But as I further pursued Fawcett via FCA and collecting the comics themselves, I’ve extended my appreciation to C.C. Beck and Kurt Schaffenberger in particular for their wonderful work on The Marvel Family … and to Fawcett in general as one of the finest and most respectable companies from the early days of comics. I also find Charles Sultan to be an unsung great from the pre-war days, especially his work on Spy Smasher. Congrats on sticking to it and to an amazing 100 issues!

Michael T. Gilbert [Keeper of the Comic Crypt] Captain Marvel and crew never fail to make me smile. Their stories, more than any other, represent the innocent joy of the comics’ Golden Age. Titles like Sub-Mariner and The Black Terror may have been equally exciting, but were never as kid-friendly.

Michael T. Gilbert says kids of the Õ40sand Õ50sÒcould depend on Cap being thereÓÑin four stories, no less, as late as the 52-page Captain Marvel Adventures #83 (April 1948). In fact, of the 14 Fawcett titles listed at left, seven starred a member of The Marvel FamilyÑ eight, if you count Hoppy the Marvel Bunny over in Fawcett’s Funny Animals. [Captain Marvel TM & ©2004 DC Comics.]

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment Where have we seen this face before? Oh, yeahÑitÕs TwoMorrows co-publisher John Morrow. Not to mention the cover of FCA #5 (Oct. 1974), featuring BeckÕs Mr. Mind. [Mr. Mind TM & ©2004 DC Comics.]

Having had the privilege of sitting alongside Wendell Crowley as he wove his wonderful tales of the Fawcett years, I know he, the unique Marc Swayze, the at-long-last-appreciated Kurt Schaffenberger, and others here and gone have received the credit they so richly deserve thanks to you and Roy and all the other contributors to FCA. But for right now, you deserve a special solo bow, so step up, P.C., and take that well deserved bow!

Jackson Bostwick [TV’s Captain Marvel, first season of Shazam!]

In 1998, Roy Thomas had resurrected Alter Ego as a back-up in our second magazine, Comic Book Artist. When we decided to spin-off Alter Ego as a regular stand-alone magazine, I immediately thought that putting FCA in as its back-up would let more people experience this wonderful publication. Paul was all for it, and the rest is … well, history (which is what FCA’s all about, right?).

Hames Ware [co-editor, Who’s Who of American Comic Books] Congratulation, P.C., on your 100th issue landmark. Think of how many of our favorite comics, including those at Fawcett, that were never able to achieve the same distinction!

Comics researcher and ofttimes Alter Ego contributor Hames Ware was a good friend of longtime Captain Marvel/Whiz Comics/Marvel Family editor Wendell Crowley, as per the early-1970s photo above.

Holy Moley! Congratulations, Paul, on being around for 100 anythings, not the least of which is the 100th issue of the very well-produced and vibrantly laid-out publication: FCA! From a boy of twelve who sent a fan letter to Captain Marvel on the Shazam! TV series, I think you’ve carried the torch long and well, my friend. I always look forward to the next publication with a pleasant enthusiasm, knowing that you and the guys at Alter Ego will always deliver a slam-bam good read, and, of course, always accompany it (Above:) Actor Jackson Bostwick, TVÕsfirst Captain Marvel, signed this photo to P.C. Hamerlinck in 1996. (Below:) Gone fishinÕ!PCH and friend J.B. enjoy the great outdoors at JacksonÕsAlabama lake cabin a few years ago. Photo by Jennifer Hamerlinck.

Holy Moley! A Hundred Issues!

with a bevy of great archival photos and art. The stories on the Golden Age boys are always a favorite of mine, especially those concerning my dear friend C.C. Beck. Julie Schwartz was also a good friend, but understanding some of the behind-the-scenes hard feelings between those two boys—bubbling from the days of the DC vs. Fawcett feud until they died—I certainly would not have wanted to be alone with the two of them, stranded in a lifeboat. Again, thanks for carrying on the myth, Paul, and the best of luck always to you, FCA, and Alter Ego.

Walt Grogan [frequent FCA and Alter Ego contributor] Several years into founder Bernie McCarty’s stewardship of FCA, he turned over the editorial wheel to Captain Marvel’s co-creator C.C. Beck. Starting with #12, Beck laid out and edited each issue from his southwest Florida home. Following Beck’s stroke and subsequent handing over the editorial reigns to Bill and Teresa Harper, Beck moved to Gainesville, Florida, where he spent the remainder of his life. P.C. Hamerlinck, FCA’s current editor, graciously allowed me to read the original issues of FCA. The early issues were really not much more than a publicized want list for most fans, but McCarty soon learned that his readers wanted more substance. After starting a correspondence with Beck, McCarty essentially turned FCA over to the artist, retaining only the mailing and publication costs. One of the things that struck me while I read over the first few issues of FCA under Beck’s editorship was his openness to his fans. His home address was plainly available to anyone who wanted to write to him. Beck lived at 411 Center Street in Lake Wales, Florida. On a recent business trip to Tampa, Florida, I decided to visit both homes that Beck lived in during his FCA days. After discovering that Gainesville is well over a 5-hour drive from Tampa, I settled on Lake Wales, which is a little over an hour away. If Dr. Sivana set up a temporal loop of the drive from Tampa to Lake Wales, it would easily be one of his most nefarious torture devices. The early part of the ride follows Interstate 4 toward the home of “The Mouse” and is flat and unassuming, with only the occasional exit to break the monotony. Soon, after a quick switch to US-98, it’s onto SR-60 and the road to Lake Wales. As I drove down SR-60, it was easy to guess why Beck chose Lake Wales for his homestead. It’s filled with orange groves and horse and cattle farms and exudes that kind of down-home earthiness that even a city boy like me can appreciate. The drag through Lake Wales is pretty uninteresting; it’s the view you see almost everywhere once you get out of the big cities, a strip mall here and there, a car or truck dealership, a Denny’s or Big Boy’s or a local coffee shop or diner. I completely missed Center Street and had to turn around. Finally turning onto my destination, I almost missed Beck’s house entirely, as it sits at the corner of SR-60 and Center. Beck’s old home was a simple two-bedroom ranch with a detached garage. It sits on a small plot of land shaded by a large tree with flowing Spanish moss. I didn’t have to worry about greeting the current owners of the house, as there was a huge “For Sale” sign planted in the front yard. After pulling over into the alleyway, I had the outside of the house to myself. Walking along the backside of the house, I peered into both bedroom windows trying to decide which bedroom housed his studio and where

he painted many of his cover re-creations. Due to the age of the house, I briefly considered trying to pop the back door open—but quickly decided that it would be hard to explain my action to the Lake Wales police. After a few more circuits of the house and a silent prayer, it was time to go. It was very difficult to pull away from Beck’s home, from the aura of the man who had given me so much joy in my childhood and well into my adult life. Leaving town, I drove past the Lake Wales Museum where Beck once exhibited his work. Then, as I headed back to Tampa, I wondered how many residents knew that the older gentleman who had lived just off the highway in Lake Wales was the co-creator of the most popular hero of the Golden Age?

John G. Pierce [frequent FCA and Alter Ego contributor, and founder of The Whiz Kids fanzine] FCA: KEEPER OF THE MYTH Since 1973, in one form or another, FCA has been keeping the flame of Captain Marvel and Fawcett comics alive. Bernie McCarty likely could not have foreseen what that original four-pager would lead to. FCA has succeeded magnificently in its goal. For such a small zine (generally eight pages), FCA packed quite a punch. There were interviews, letters of comment, editorials, reproductions of artwork, articles, and ads. In short, what fanzines are supposed to contain, but compressed into a tiny space. And remember, this was at a time when Golden Age information was still relatively scarce, and reprints even scarcer. So the fan who, perhaps having read Steranko’s

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment

than I did! FCA’s next incarnation, under the editorship of Bill and Teresa Harper, expanded the coverage to include the late Magazine Enterprises line of comics as well as Fawcett. And finally, FCA passed into the capable hands of Paul C. Hamerlinck, like myself a postGolden Ager who became a Fawcett enthusiast after the fact. Paul expanded the size of the zine, and featured in its pages many fine articles, interviews, and opinion pieces. Paul’s interest in the various media incarnations of Captain Marvel also showed up, as demonstrated in his interviews with cast members from the 1941 Captain Marvel Republic serial and the Shazam! TV show from the ’70s. That particular phase of FCA was capped off by a fine color cover of Captain Marvel by Alex Ross (#59, the 25th anniversary issue). FCA continues now as part of Alter Ego, wherein Paul and editor-inchief Roy Thomas work hard to insure that the memory of the late, great Fawcett line of comics stays alive and is recorded for posterity.

A 1980 C.C. Beck caricature of John G. PierceÑplus the cover of issue #1 of his Whiz Kids fanzines, devoted primarily to The Marvel Family. [Caricature ©2004 Estate of C.C. Beck; Whiz Kids cover art ©2004 John G. Pierce; Capt. Marvel & Capt. Marvel Jr. TM & ©2004 DC Comics.]

History of Comics (especially the Fawcett chapters in Vol. 2), and wanting to know more, could turn to FCA. Particularly notable was FCA #10, with its reprinting of several pages of Fawcett’s Master Man, complete with a color-photocopy insert of the cover to Master Comics #1. Later in the 1970s, I began my own Captain Marvel/Fawcett fanzine, The Whiz Kids. At one point, Bernie and I suggested that we join forces. It was a tempting offer, but one which I rejected, as I felt that we each, in our different ways, could promote the love of Fawcett comics. As it turned out, Bernie did a far better job than I at that task, at least in terms of fanzine publishing. With #12, FCA became FCA/SOB, still published by Bernie but now edited by C. C. Beck. While there were still articles and interviews, the focus was on opinions, something Beck was noted (or notorious) for. FCA/SOB was a humorous, thought-provoking publication, one which presented views not normally found in other arenas. I probably learned more about art from reading Beck’s opinions than I ever had before. Beck also utilized my services as a sort of “head writer.” At times he would give me an assignment to write about a certain topic. And he usually left no doubt as to what he wanted to see. “You qualify your opinions too much,” he once admonished me. “Try to get people to argue with you!” In addition, he gave me the personal thrill of drawing a caricature of me for the cover of #14 (FCA/SOB #3), based on a photograph I’d sent him. How many fans can claim that they’ve been drawn by their favorite artist? He even told me that he thought that I looked like what Billy Batson might when he grows up—quite a compliment, though I’d like to think that Billy would turn out to be better-looking, and have more hair,

Holy Moley! A Hundred Issues!

The Secret Origins of FCA by P.C. Hamerlinck [editor of FCA] During the ’60s, an Illinois comic collector named Joe Sarno began organizing meetings down in the basement of his house once a month with other Chicago-area comic book fans. Local newspaper sports writer Bernie McCarty, who had grown up reading comics during its Golden Age period, learned of Sarno’s meetings after spotting an ad P.C. and Jennifer Hamerlinck. published in G.B. Love’s fanzine ÒShe supports all that I do,Ó says FCAÕshardworking editor. Rocket’s Blast-Comiccollector (RBCC). Bernie arrived at his first meeting, where he made friends with two other avid collectors, Ken Pierce and Frank Craft, who also resided in Bernie’s suburban hometown of Park Forest, Illinois. (Bernie later reflected that had meeting his new friends not happened, he never would have dreamt of one day creating FCA.) By the late ’60s, Sarno’s basement meetings had really caught on and became so overcrowded that the gatherings were moved to a north side Chicago bank. Eventually, these once-a-month Sunday meetings also got to be too large. In 1970 Sarno and friends decided to organize an actual comic convention at a large venue they located in the area. Collector trading and selling were wide open and based on wants, not on monetary value, in the pre-Price Guide era. Two years later, Bernie McCarty, with Pierce, Craft, and newcomer Chuck Agner, organized The Old Time Comic Book Club of Illinois, complete with membership cards. Craft located a large ballroom at a downtown YMCA hotel to hold their monthly conventions. Pierce (who had just become a publisher), and later Craft, were placed in charge of the YMCA minicons. (Both Craft and Sarno would eventually open up their own comic shops). In 1972, while still an active member of the Old Time Comic Book Club, Bernie met fan artist Alan “Jim” Hanley—a Captain Marvel fan who had created many of his own comic books, with characters

(Left:) P.C. Hamerlinck celebrating his 4th birthdayÑJuly 18, 1966Ñin Minnesota. (Right:) P.C.Õsson Ian Hamerlinck in 1998.

(Left:) C.C. BeckÕscaricatures of Bernie McCarty and his then-whitebearded self. (Above:) The 1978 cover of FCA #10 boasted a panel depicting Master Man, the Master Comics hero who debuted only weeks after Captain Marvel. His feature was soon discontinued, reportedly under threats of a lawsuit from DC. [Caricature ©2004 Estate of C.C. Beck; Master Man art ©2004 the respective copyright holders.]

based on old Fawcett and Golden Age heroes. Bernie got together with Hanley one Sunday afternoon at A.J.’s studio apartment in Chicago. There, at Hanley’s drawing board, the two came up with an idea to revive the old Captain Marvel Club, which both men fondly remembered from their Fawcett comic-book-reading childhood. Their revival idea quickly fizzled, but it was Hanley’s enthusiasm that afternoon that stuck with Bernie and which inspired him to launch the Fawcett Collectors of America newsletter in March 1973. Bernie originally thought that Fawcett collectors simply wanted to just buy and trade old comics, and perhaps correspond with other collectors who loved the same comics that they did. FCA subscribers were opened up to a whole new world when diligent fans such as Matt Lage and Dan Fabrizio surfaced and began contributing articles for the newsletter, including informative interviews with Fawcett artists, writers, and editors and profiling various titles released by Fawcett. Fawcett fans could now learn who actually helped produce their favorite comics: individuals such as C.C. Beck, Rod Reed, Marc Swayze, and others soon became, as Bernie once put it, “real human beings, not ‘mysterious gods’ of my childhood.” Only Steranko’s History of Comics, Vol. 2, had previously begun to shed a glimpse of light to collectors who wanted to know the story behind Fawcett Publications. FCA was infrequently published, to put it mildly. Basically, a new issue would only be published whenever Bernie had enough extra cash to do so. Due to the newsletter being essentially free (although donations were cheerfully accepted), the circulation soon climbed to over 500 copies per issue. After #11, FCA experienced a longer than usual hiatus, until C.C. Beck, who had previously just been contributing letters to the FCA, stepped forward and decided it would

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment Florida. A year later, Bill and Teresa Harper from South Carolina would take over the newsletter, re-naming it FCA & ME, Too! Even though Bill Harper had caught the tail end of the Golden Age, those years of comic book reading had affected him for life. (Bill’s wife, the late Teresa Harper, had actually cut her teeth on the likes Conan the Barbarian and Vampirella.) The couple both worked in the graphic design field as art directors and during this time had entered a pursuit to research the work of artist Carl Pfeufer. The search eventually led them to acquiring 60 pages of original art from Fawcett’s Tom Mix Western (drawn by Pfeufer and John Jordan), which in turn led them in the direction of FCA. Bernie had actually attempted to discourage the Harpers’ plans to take over the newsletter, describing to them all of the headaches involved in producing it. But the determined Harper team assumed editorial duties with issue #31, 1984, and the phasing out of SOB had begun. Their first issue featured Fawcett artist/cartoonist Bob Laughlin. Their next issue marked the end of Bernie’s involvement … with the “SOB” in the title disappearing completely … and FCA & ME, Too had begun, now including Magazine Enterprises (ME) features along with the Fawcett coverage. Over the years the frequency of the publication once again became almost non-existent; the newsletter had seemingly died an unofficial and extremely quiet death. I wondered … We didn’t know … it was the Silver Age in 1962, the year I was born in a small central Minnesota town. As a child, baseball cards were my thing. I paid only slight attention to the super-hero scene until one

This is the art used by Fawcett in an ad for the comic book that placed first in the FCA poll of readersÕfavorite issues. The actual cover of America’s Greatest Comics #1 (Fall 1941) had different lettering, but the five figures are just as Mac Raboy drew them more than sixty years ago. [Heroes TM & ©2004 DC Comics.]

be fun to get involved. Beck took over as editor, renaming the zine FCA/SOB #1 (yet retaining Bernie’s original numbering). FCA/SOB went to a regular bi-monthly schedule for the first time ever and paid subscriptions of a meager fee were solicited. Beck’s artwork shone throughout the publication, but was often overshadowed by his conservative views and his strongly-opinionated, astute essays on comics, art and cartooning. FCA’s new direction as “SOB” was perhaps predestined—from early reports in Bernie’s FCA of Beck’s involvement with DC, soon followed thereafter by such articles as “The Destruction of Creativity” and “We Were Considered a Bunch of Idiots.” While Beck’s opinions were obviously teeth-grinding and outrageous to many during his lively tenure as editor, FCA/SOB’s biggest mail response was actually received from a survey conducted by Bernie requesting subscribers’ top-ten lists of their favorite Fawcett comics (America’s Greatest Comics #1 was the top choice, followed closely by Special Edition Comics #1 and Master Comics #21). Certainly there were letters where some readers complained that Beck’s “nuts and bolts” style of editing was too high-handed when publishing letters and articles from fans. But Beck stood strong in the old belief: “Have something to say, then say it.” Beck produced FCA/SOB from his Florida home. It was perhaps the only fanzine edited by a professional artist/designer/writer; thus it retained a very professional quality and appearance … while still retaining the folksy feel of a fanzine. The Beck-McCarty era lasted 19 issues, ending with #30, May-June 1983. Beck suffered a stroke, impairing his vision and forcing him to give up editorship of the newsletter and to move from his home in Lake Wales to Gainesville,

C.C. Beck did this original drawing for the cover of FCA #23 (a.k.a. FCA/SOB #12, Feb.-March 1982), spotlighting Mr. Tawny. Note caricatures of Beck and McCarty on the candles at bottom right. [Art ©2004 Estate of C.C. Beck; Mr. Tawny TM & ©2004 DC Comics.]

Holy Moley! A Hundred Issues!

and couldn’t be all said and done … the feeling that Beck had left us too soon and wanting to say thanks again. My son Ian—at two years of age—starts asking me questions about the super-hero in the red suit. That was it. I make the call to Bernie, after having lost contact with him over the last few years. I find that he’s not in great shape, but thinks I’m the one to pick up the baton. At least he doesn’t try to talk me out of it, like he did with the Harpers. I call the Harper household, and they are delighted to make the transition happen … and it happens, in the middle of a miserable, below-zero Minnesota winter, 1996: FCA # 54—born again. I had located artist Marc Swayze and knew from that early phone conversation that it was time for this unsung hero of comics’ Golden Age to leave the land of obscurity. Since then, Marc’s “We Didn’t Know… It Was the Golden Age” column has been our glue in pasting together a great deal of Fawcett’s history … and a rock-solid, most highly anticipated feature each month. Thanks, Marc … you’re a great friend, and your contributions to comics and to our humble publication are a tremendous blessing. While an important aspect of FCA is digging up new facts (and even dispelling old false theories), researching and documenting the history, along with analyzing careers, titles, and stories … the true heart of FCA (which was even a part of Bernie’s original mission) has been all the relationships and friendships that have been formed as a result of it … while positively impacting a few lives along the way.

A.J. HanleyÕsback cover for FCA #15 (a.k.a. FCA/SOB #4, Oct.-Nov. 1980) was a clever homage to CapÕspopularity. [Art ©2004 Estate of A.J. Hanley; characters TM & ©2004 the respective copyright holders.]

Saturday in 1973 while I was picking up a prescription for my mom at the Rexall Drug Store. There, I happened to catch in the corner of my eye a colorful C.C. Beck cover for a new comic book called Shazam! A minute later, I sat myself next to the store’s spin-rack, while Mom wondered why a simple errand was taking me so long.

There have been many memorable moments over the years … working and hanging out with television’s Captain Marvel, Jackson Bostwick, whose portrayal of Cap I enjoyed so much as a youngster … the day I spent with Roscoe and Eileen Fawcett at their lake home in northern Minnesota, soaking in all the Fawcett history thrown at me that afternoon … my fun get-togethers with Willis Beck, C.C.’s little brother, whom I got to know as well as his cartoonist brother … leaving my days as a self-publisher and agonizing interaction with untrained Kinko’s workers behind due to the “merger” with TwoMorrows, giving

The rest of the story of the foundation which formed my connection with all things Big, Red, and Fawcett can be found in the book Fawcett Companion … such as my eleven-year friendship with Captain Marvel’s chief artist/co-creator C.C. Beck, including collaborations and a crash correspondence course on the principles and fundamentals of illustration, (and even being referred by him to others as his “assistant” during the day we met in 1980) …and my conversations over the years with FCA founding father Bernie McCarty, his support in my art career, interests in research, and personal life … Whiz Kid John G. Pierce, who introduced me to fandom as we knew it, and—perhaps unknowingly—a caring person who planted some spiritual seeds …. Bill and Teresa Harper and their kindness ... Rod Reed ... A.J. Hanley ... Sam George ... G.B. Love ... Jerry DeFuccio ... … so I wondered…. After Beck died in 1989, my interest in comics took a hit, but I still wondered about certain things that had had such an impact on me, and a feeling that research regarding the World’s Mightiest Mortal and related subjects was not

(Left:) A Captain Marvel sketch done by C.C. Beck for P.C. Hamerlinck in 1978, at the beginning of their 11-year friendship. (Right:) Beck strums a tune on his guitar at the 1977 San Diego Comic-Con. Photo from the PCH Collection. [Art ©2004 Estate of C.C. Beck; Captain Marvel TM & ©2004 DC Comics.]

Editor P.C. Hamerlinck Looks Back at a “Century” of Fawcett-Related Wonderment

A pair of talented cartoonists congratulate FCA on its 100th issue! (Top left:) Oftimes FCA cover artist Mark Lewis of Big Bang Comics (self-caricatured) depicts Mary Marvel giving Nyoka the Jungle Girl free flying lessons. (Top right:) Howard Bender has drawn such comics as America vs. the Justice Society, The Young All-Stars, et al. [Art ©2004 the respective artists; Captain Marvel TM & ©2004 DC Comics; Nyoka TM & ©2004 AC Comics.]

In 2001, behind a superb painted cover by 1990s Shazam! artist Jerry Ordway, P.C. Hamerlinck edited Fawcett Companion: The Best of FCA. The name says it allÑand its 160 pages are still available from TwoMorrows; see ad in this issue. [Art ©2004 Jerry Ordway; heroes TM & ©2004 DC Comics.]

Holy Moley! A Hundred Issues!

45 Jerry de Fuccio, longtime associate editor of Mad magazineÑÒone of far too many supporters whom weÕvelost in the last few years,Ó as PCH laments. As a comic book fan and historian, Jerry wouldÕve appreciated the copy of America’s Greatest #2 (Winter 1941-42) autographed to P.C. by Roscoe Fawcett, one of the comics companyÕsowners. Art by Mac Raboy. [Heroes TM & ©2004 DC Comics.]

Cap/Fawcett history a wider audience, and of course developing awesome friendships with fandom’s finest publisher, John Morrow, and family and with Alter Ego’s “all-star” editor and comics legend, Roy Thomas … encouraging William Woolfolk to write his memoirs of the Golden Age. One of comics’ greatest writers obliged, even though he believed that he was forgotten about, and that no one would care (I’m happy to say you were wrong, Bill!)… the opportunity to write the introduction to DC’s Shazam! Archives, Vol. 4 … and knowing that Captain Marvel’s future as a cultural icon is secured, and that the character’s legacy will be further cemented into the pages of history with an upcoming major motion picture, and knowing that it is in good hands. One hundred issues blasted down a lot lightning bolts of information regarding the history of Cap and Fawcett. The great thing is the storm has just begun.

(Left:) Fawcett Publications Vice President/Circulation Manager (and the youngest son of Capt. Billy Fawcett, who started it all) Roscoe Fawcett, on left, with P.C. Hamerlinck on RoscoeÕsbackyard deck, Nisswa, Minnesota, Oct. 1997. PCHÕsinterview with Mr. Fawcett appeared in FCA #59 and was later reprinted in the still-on-sale Fawcett Companion volume. Photo by Eileen Fawcett. (Above:) Bill and Joanne Martine Woolfolk. Bill, who recently passed away, was one of the great scripters of comicsÕGolden Age, who went on to write TV and several best-selling novels.