Alter Ego #8 by TwoMorrows Publishing

Roy T Thomas homas’ Legendary Legendary Roy Comics F F anzine Comics anzine

Dan Adkins Michael T. Gilbert Roger Hill Bill Pearson & Bill Schelly

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No. 8 SPRING 2001

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“Gods!” Takes an in-depth look at WALTER SIMONSON’s Thor, the Thunder God in the Bronze Age, “Pro2Pro” interview with TOM DeFALCO and RON FRENZ, Hercules: Prince of Power, Moondragon, Three Ways to End the New Gods Saga, exclusive interview with fantasy writer MICHAEL MOORCOCK, art and commentary by GERRY CONWAY, JACK KIRBY, BOB LAYTON, and more, with a swingin’ Thor cover by SIMONSON!

“Liberated Ladies” eyeing female characters that broke barriers in the Bronze Age: Big Barda, Valkyrie, Ms. Marvel, Phoenix, Savage She-Hulk, and the sword-wielding Starfire. Plus a “Pro2Pro” interview with JILL THOMPSON, GAIL SIMONE, and BARBARA KESEL, art and commentary by JOHN BYRNE, GEORGE PEREZ, JACK KIRBY, MIKE VOSBURG, and more, with a new cover by BRUCE TIMM!

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THE BEST IN COMICS AND LEGO MAGAZINES!

ALTER EGO #105

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See comic art and script BEFORE and AFTER the Comics Code changes, with art by SIMON & KIRBY, DITKO, BUSCEMA, SINNOTT, GOULD, COLE, STERANKO, KRIGSTEIN, O’NEIL, GLANZMAN, ORLANDO, WILLIAMSON, HEATH, and others! Plus: FCA, Mr. Monster’s Comic Crypt, BILL SCHELLY, JIM AMASH interviews Timely/Atlas artist CAL MASSEY, and a new cover by JOSH MEDORS!

DICK GIORDANO through the 1960s—from freelance years and Charlton “Action-Heroes” to his first stint at DC! Art by DITKO, APARO, BOYETTE, MORISI, McLAUGHLIN, GIL KANE, and others, Dick’s final convention panel with STEVE SKEATES and ROY THOMAS, JIM AMASH interviews Charlton artist TONY TALLARICO, FCA with MARC SWAYZE and ROY ALD, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY, GIORDANO cover, and more!

Big BATMAN issue, with an unused Golden Age cover by DICK SPRANG! SHEL DORF interviews SPRANG and JIM MOONEY, with rare and unseen Batman art by BOB KANE, JERRY ROBINSON, WIN MORTIMER, SHELLY MOLDOFF, CHARLES PARIS, and others! Part II of the TONY TALLARICO interview by JIM AMASH! Plus FCA, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY, and more!

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

Interview with inker SCOTT WILLIAMS from his days at Marvel and Image to his work with JIM LEE, and PATRICK OLIFFE demos how he produces Spider-Girl, Mighty Samson, and digital comics. Also, MIKE MANLEY and BRET BLEVINS’ “Comic Art Bootcamp”, a “Rough Critique” of a newcomer’s work by BOB McLEOD, art supply reviews by “Crusty Critic” JAMAR NICHOLAS, and more!

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Special double-size book examines the first decade of the FANTASTIC FOUR, and the events that put into motion the Marvel Age of Comics! New interviews with STAN LEE, FLO STEINBERG, MARK EVANIER, JOE SINNOTT, and others, with a wealth of historical information and Kirby artwork!

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“Kirby Vault!” Rarities from the “King” of comics: Personal correspondence, private photos, collages, rare Marvelmania art, bootleg album covers, sketches, transcript of a 1969 VISIT TO THE KIRBY HOME (where Jack answers the questions YOU’D ask in ‘69), MARK EVANIER, pencil art from the FOURTH WORLD, CAPTAIN AMERICA, MACHINE MAN, SILVER SURFER GRAPHIC NOVEL, and more!

LEGO SPACE WAR issue! A STARFIGHTER BUILDING LESSON by Peter Reid, WHY SPACE MARINES ARE SO POPULAR by Mark Stafford, a trip behind the scenes of LEGO’S NEW ALIEN CONQUEST SETS that hit store shelves earlier this year, plus JARED K. BURKS’ column on MINIFIGURE CUSTOMIZATION, building tips, event reports, our step-by-step “YOU CAN BUILD IT” INSTRUCTIONS, and more!

Go to Japan with articles on two JAPANESE LEGO FAN EVENTS, plus take a look at JAPAN’S SACRED LEGO LAND, Nasu Highland Park—the site of the BrickFan events and a pilgrimage site for many Japanese LEGO fans. Also, a feature on JAPAN’S TV CHAMPIONSHIP OF LEGO, a look at the CLICKBRICK LEGO SHOPS in Japan, plus how to get into TECHNIC BUILDING, LEGO EDUCATION, and more!

LEGO EVENTS ISSUE covering our own BRICKMAGIC FESTIVAL, BRICKWORLD, BRICKFAIR, BRICKCON, plus other events outside the US. There’s full event details, plus interviews with the winners of the BRICKMAGIC CHALLENGE competition, complete with instructions to build award winning models. Also JARED K. BURKS’ regular column on minifigure customizing, building tips, and more!

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Vol. 3, No. 8 / Spring 2001

™

Editor Roy Thomas

Associate Editor Bill Schelly

Design & Layout Christopher Day

Consulting Editors John Morrow Jon B. Cooke

Production Assist Eric Nolen-Weathington

FCA Editor P.C. Hamerlinck

Hooray for Wally Wood! Section

Comics Crypt Editor Michael T. Gilbert

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

Cover Artists Dan Adkins & Wally Wood Joe Kubert

Cover Color Tom Ziuko, with special thanks to Scott Lemien

Mailing Crew Russ Garwood, D. Hambone, Glen Musial, Ed Stelli, Pat Varker

And Special Thanks to: Dan Adkins Jim Amash David L. Applegate John Austin Mike W. Barr Rich Buckler Bill Cain Pete Carlsson James D. Clark Dale Crain Les Daniels Glen Echelberger Chris Foss Jerry de Fuccio Al Dellinges Roger Dicken & Wendy Hunt Jeff Gelb Sam George Janet Gilbert Jennifer T. Go David G. Hamilton Ron Harris John Harrison R.C. Harvey Roger Hill Dave Holman Carmine Infantino Larry Ivie Russ Jones Gary Kato Gene Kehoe

Jon B. Knutson David A. Kraft Peter Krause Joe Kubert Jim Lawless Dan Makara Jean-Francoise Masse Kevin McDonnell Shelly Moldoff Rich Morrissey Kevin O’Neill Jerry Ordway Bill Pearson John G. Pierce Eric Predoehl Virginia Provisiero Richard Pryor Charlie Roberts Gary Robinson Tim Scotty John Severin Marie Severin Robin Snyder J. David Spurlock Flo Steinberg Jim Steranko Marc Swayze Greg Theakston Alan Waite Bill Woolfolk Link Yaco Mike Zeck

Contents Writer/Editorial: Half a Page Is Better Than One!. . . . . . . . . . . 2 Total Control: A Brief Biography of Wally Wood . . . . . . . . . . . 4 Michael T. Gilbert on the life and times of a gifted—and tormented—artist. Avon Calling! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Roger Hill on Wood's early-1950s non-EC science-fiction work from Avon to Ziff-Davis. “A Dream Come True!” A Candid Conversation with Dan Adkins . . 29 Wood's most famous assistant tells Roy Thomas about life with Wally... and afterward. Bill Pearson: The witzend Interview . . . . . . . . . . . . . . . . . . . . . . 37 Bill Schelly talks with Wood’s friend and executor about the first “pro-zine.” Mr. Monster’s Comic Crypt! . . . . . . . . . . . . . . . . . . . . . . . . 46 Michael T. Gilbert bookends the issue with two of Wally Wood's last public statements. Kubert's Tor, Hamerlinck’s FCA, & Other Good Stuff . . . Flip Us! About Our Cover: Ain’t it a beauty? Dan Adkins has created a lifelike portrait of his mentor Wally Wood, surrounded by a few of his most memorable characters, including Dynamo, two of his major nemeses, and Marvel’s Man Without Fear as redesigned by Wood. [Art ©2001 Dan Adkins; Daredevil ©2001 Marvel Characters, Inc.; Dynamo, Dynavac, and Iron Maiden ©2001 John Carbonaro; New Art ©2001 Dan Adkins] Above: At one point Wally was toying around with a hero called Andor the Humanoid; Bill Pearson tells us “this ‘Andor’ page (the main figure) was made into a Dynamo or T.H.U.N.D.E.R. Agents cover.” Courtesy of Bill Pearson. [©2001 estate of Wally Wood.] Alter EgoTM is published quarterly by TwoMorrows, 1812 Park Drive, Raleigh, NC 27605, USA. Phone: (919) 833-8092. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: Rt. 3, Box 468, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: roydann@oburg.net. Send subscription funds to TwoMorrows, NOT to the editorial offices. Single issues: $8 Postpaid ($10 Canada, $11.00 elsewhere). Four-issue subscriptions: $20 US, $40 Canada, $44 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.

writer/editorial

Half A Page Is Better Than One!

ep, that’s right—just a half-page writer/editorial this time. Turns out Michael T. Gilbert, Dan Adkins, Roger Hill, and Bill Pearson (as interviewed by Bill Schelly) had so much to say about the late, great Wally Wood—and what’s more, had lots of rare art to underscore their points—that this issue of Alter Ego is full to the brim! So I’ll make a few comments and get out of the way.

I never got to know Wally well. He was leaving Daredevil around the time I arrived at Marvel in summer of 1965; in fact, I met him and Dan Adkins the same late-June night in Wally’s walk-up, prepping T.H.U.N.D.E.R. Agents #2. I remember arguing with him on a late-’60s convention panel about two statements he made: “The editor is best who edits least” (I’m coming around to his way of thinking on that) and “Never draw anything if you can swipe it” (sorry, Wally, we’re still far apart on that one—unless you count adaptations!). And I recall being sorry when, after scripting the “Dr. Doom” stories he drew for Astonishing Tales #1-2 in 1970, I had to turn the dialoguing chores over to other hands. As Marvel’s associate editor, though, I was still the guy who had to talk to him about too much obviously-assisted art turning up in #3-4, which of course just led to his quitting “Doom” entirely. But I did get him to ink Ross Andru on Kull the Conqueror #1, not long afterward. If, as I’ve long assumed, I was always down in Wally’s books as just a flunky for Stan Lee—not one of his favorite people—at least I’m glad to say he and I were always cordial to each other over the years. I liked the guy... and I loved his art.

Tor Archives - Vol. 1, which goes on sale any minute now, had to include much of the art and info I’d intended to feature. However, as a rabid fan of Tor ever since that first issue back in 1953, I want to see as much as possible of it in print between hard covers. I’ve filled in the empty spaces with some other scarce Kubert work... In closing, I’ve gotta say that recent months have been a great era for vintage super-heroines. Les Daniels’ Wonder Woman: The Complete History from Chronicle Books is an achievement beyond even his recent volumes on Superman and Batman. Much as in his first giant coffee-table tome (Marvel: Five Fabulous Decades of the World’s Greatest Comics), Les has been allowed to tell the story of the Amazon and her major creator, Dr. William Moulton Marston, warts and all. None of the prettifying or over-emphasis on non-comics media that got in the way of even Les’ still-fine DC: Sixty Years of the World’s Favorite Comic Book Heroes. Now if only they’ll let him write books about Captain Marvel, Plastic Man, et al. (But not All-Star Comics, Les—somebody did that already.) Also welcome is DC’s Black Canary Archives - Vol. 1, which reprints all the Golden Age “BC” stories by Kanigher and Infantino, and even two leftover stories first published years after Flash Comics folded. It even includes the sole “Johnny Thunder” tale of that period in which, by some fluke, she didn’t appear! Despite a few errors in the always-vexing area of credits, Dale Crain and crew are doing these Archives volumes right—and I don’t just say that because he’s had me write intros to All Star and Tor volumes! But now, you’ve got a big fat fanzine to read, so...

A word about our Kubert section: I’d hoped to present a lot more rare material on Joe’s classic caveman Tor; but, at the last moment, DC’s

Submit Something To Alter Ego! Alter Ego is on the lookout for items that can be utilized in upcoming issues: • Convention Sketches and Program Books • Unpublished Artwork • Original Scripts (the older the better!) • Photos • Unpublished Interviews • Little-seen Fanzine Material We’re also interested in articles, article ideas, or any other suggestions... and we pay off in FREE COPIES of A/E. (If you’re already an A/E subscriber, we’ll extend your subscription.) Contact: Roy Thomas, Editor Rt. 3, Box 468 St. Matthews, SC 29135 Fax: (803)826-6501 • E-mail: roydann@oburg.net

Submission Guidelines Submit artwork in one of these forms (in order of preference): 1) Clear color or black-&-white photocopies. 2) Scanned images—300ppi TIF (preferred) or JPEG (on Zip or floppy disk). 3) Originals (carefully packed and insured). Submit text in one of these forms: 1) E-mail (ASCII text attachments preferred) to: roydann@oburg.net 2) An ASCII or “plain text” file, supplied on floppy disk. 3) Typed, xeroxed, or laser printed pages.

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NEXT ISSUE: A JOHN ROMITA EXTRAVAGANZA! • Two cataclysmic full-color covers—by JOHN ROMITA and DICK GIORDANO! 2001 lains © c. and Vil Heroes Characters, In Marvel

• A humongous, half-issue interview with JOHN ROMITA—with more rare art than you ever dreamed existed! SPIDER-MAN... X-MEN... CAPTAIN AMERICA... you name it—the Jazzy One’s drawn it! • Special Self-Indulgence Section! WHAT IF... ROY THOMAS got to write all his Dream Projects starring JSA/ALL-STAR SQUADRON, THE INVADERS, THE AVENGERS, SHAZAM!, and more—from 1965 to the 21st century— • —with rare and/or unpublished art by DICK GIORDANO, JACK KIRBY, SAL

BUSCEMA, GIL KANE, JOHN ROMITA JR., HERB TRIMPE, RAFAEL KAYANAN, ADAM HUGHES, DAVE HOOVER, MARK BEACHUM, GENE COLAN, MARIE SEVERIN, RAMONA FRADON, RICK HOBERG, STEVEN BUTLER, and others! • FCA with MARC SWAYZE, C.C. BECK, GEORGE TUSKA, and other Fawcett greats, MICHAEL T. GILBERT on WAYNE BORING, BILL SCHELLY on early fandom, & more!

[Actual cover will be BRAND NEW John Romita art!!]

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THE COLLECTION ALTER EGO READERS! See the material that heralded the return of Roy Thomas’ legendary comics fanzine! • Reprinting the contents of the Roy Thomas-edited ALTER EGO flip-sides from the out-of-print, Eisner Award-winning COMIC BOOK ARTIST #1-5! • Over 30 PAGES of ALL-NEW FEATURES, and a special color cover by JOE KUBERT! • Rare and previously-unpublished art by JACK KIRBY, GIL KANE, JOE KUBERT, WALLY WOOD, FRANK ROBBINS, NEAL ADAMS, and others! • STEVE DITKO on the creation of SPIDER-MAN, plus a rare DITKO INTERVIEW! • ROY THOMAS on the birth of THE INVADERS, his work with NEAL ADAMS on the KREE-SKRULL WAR, and more!

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Total Control

Total Control A Brief Biography of WALLY WOOD by Michael T. Gilbert

Wally Wood—in a photo taken Oct. 21, 1977, by artist Mike Zeck, in Derby, Connecticut—plus two of his best-known super-hero features: his cover rough for Daredevil #7, and the printed cover of T.H.U.N.D.E.R. Agents #1 (both 1965). Thanks to Richard Pryor for the photo, and to David Applegate for the DD sketch. [DD and Sub-Mariner ©2001 Marvel Characters, Inc.; T.H.U.N.D.E.R. Agents ©2001 John Carbonaro.]

Wally Wood’s entire life was an endless struggle for control. His obsession with mastering every aspect of his chosen profession enabled him to reach heights few in the comics field have ever achieved. But his tragic inability to control his personal demons contributed to his death in 1981 at the age of 54—an age when many cartoonists are just reaching their artistic peak.

I. “Wally Wood Loved To Draw” Wallace Wood was born June 17, 1927, in Menahga, Minnesota. According to comics historian Jim Steranko, Wood and his father Max, a lumberjack, often fought bitterly. In The Wally Wood Sketchbook Steranko notes that “both had strong egos, took criticism poorly, were self-centered and tenaciously stubborn.” The father disapproved of his son’s artistic leanings. Why couldn’t young Wally be more like his older brother Glenn, a strapping man like Max? Wally had other ideas. Wally Wood loved to draw. His art must have been a source of

comfort and stability to the shy and introverted boy during his chaotic childhood. The Wood family continually moved from town to town, always in a state of upheaval. Nonetheless, his mother Alma encouraged the boy, and even sewed together pages of his cartoons into little “comic” books. She was the creative half of the marriage: a teacher who loved to write stories and songs. It was probably inevitable that this oiland-water combination would clash. While Wally was still a teenager, his parents separated. Amid this strife, drawing was the one thing that he could control. He could create order out of the chaos surrounding him. And he could do it with pen and ink. Wood was extremely talented, even as a teenager. Some of his early cartoons show great imagination and power. The raw ability was there, but it wasn’t enough for him. He studied and copied his cartoonist idols—Roy Crane, Hal Foster, Will Eisner, Milton Caniff, and Alex Raymond among them—as he worked tirelessly to learn the craft of cartooning from the bottom up.

A Short Biography of Wally Wood

Comics. With that, Wally Wood was on his way! If he assumed that talent and hard work would automatically be rewarded, he was in for a rude awakening. One of his first employers was Victor Fox, already legendary as a rat’s rat. A loud, obnoxious little man with a big cigar, Fox had a reputation as the quintessential sleazy publisher. Wood felt he and Harrison were cheated out of thousands of dollars by Fox. Wood learned early on not to trust publishers. Fortunately, there were good publishers, too. He enjoyed working for Avon on such titles as Strange Worlds, Space Detective, and The Mask of Fu Manchu with another friend, Joe Orlando. The two met in 1950 and produced hundreds of pages together. Wood and his partners did fine work for Fox and Avon, but it was at EC—Entertaining Comics—that he finally found a company worthy of his talents.

A hot time at the ol’ WW spread! Wood (possibly assisted by Harry Harrison) drew this story for Trojan Magazines’ Western Crime Busters (!!!) #9, Feb. 1952. Harrison and Wood also churned out pages for Fox’s many love titles, including My Confessions, My Desire, My Experience, My Love Affair, My Love Memoirs, My Love Secret, My Past Confessions, My Secret Affair, My Secret Life, My Secret Romance, and My True Love. My, oh, my! [©2001 the respective copyright holder.]

Shortly after his parents’ separation, Wood joined the Merchant Marine and embraced the discipline and order that came with it. Discharged in 1946, he joined the Paratroopers for two years, then returned to Minneapolis to live with his mother and brother. After a short stint at the Minneapolis School of Art and a series of odd jobs, he moved to New York. At last he was free to control his destiny!

II. “On His Way!”

Both publisher Bill Gaines and editor Al Feldstein were fans as well as professionals. They loved Wood’s work and let him know it. EC treated their artists with respect, which was almost unique in the industry. The page rate was among the best in the business, and the editors encouraged artistic individuality.

He soon got work lettering The Spirit for his idol, Will Eisner. The young man performed similar chores for George Wunder’s Terry and the Pirates, a strip created by Milt Caniff, another of his idols. But Wood could never be happy for long as anyone’s assistant. He had to be in control. He quickly graduated from lettering to drawing his own comic book stories. At first he collaborated with another cartoonist, Harry Harrison. Initially, Harrison inked Wood’s pencils, but as Wood grew more confident in his inking skills, they reversed roles. Then, in 1949, his first solo story appeared in True Crime

Wood’s classic cover for Avon’s Eerie #2 on the left (Aug.-Sept. 1951)—and a censored “IW” (Irving Waldman) reprint version a decade later. Note the removal of the skeleton—and Wood’s signature—at the lower left! And see Roger Hill’s article, following, for more on the Avon Age of Wood! [©2001 the respective copyright holder.]

Harrison and Wood were still a matched set during Wood’s earliest EC days, but at his editors urging Wood struck out on his own. Harrison later became a successful science-fiction writer, while Orlando enjoyed a solo career at EC. Surrounded and challenged by the greatest writers and cartoonists in the comics industry, Wood thrived.

III. “In A Class By Itself” Alone now, Wood was finally in total control of his art. And, working alone at EC, the young artist quickly built a reputation for excellence. In the early 1950s he created page after page of exquisite, intricate artwork for Mad, Weird Science, Weird Fantasy, Shock SuspenStories, Frontline Combat, and the like. Wood fearlessly tackled every genre in comics—whether sciencefiction, war, or historical—and mastered them all. In 1950 Wood married Tatjana Weintraub. In love, and fast becoming a superstar at EC, the young artist had never been happier. A drawing from Wood’s early teen years. From Bill Pearson and Bill Crouch’s The Wallace Wood Sketchbook. [©2001 estate of Wally Wood.]

That joy showed in his work. Almost from the start, Wood’s sciencefiction art was in a class by itself. His gleaming rockets, intricate

Total Control machinery, heroic men, lush women, and gooey monsters redefined the genre. He experimented with a wide variety of art techniques, all of which he quickly mastered. He often used craftint, rossboard, scratchboard— sometimes all in the same story! Wood was always pushing his art to new levels. Always striving for control.

Many still consider his EC work—drawn while he was still in his early twenties—to be the best of his amazing career. The sheer brilliance of his EC art makes it easy to forget that Wood was simultaneously producing reams of beautiful pages for Avon titles in his spare time. Somehow he even managed to illustrate eight classic Spirit episodes for his former boss, Will Eisner.

That control was evident in all aspects of his art. His pen and brush lines were always crisp, clean, and perfect. He knew just when and where to place black shadows and white highlights for maximum effect. Zip-a-tone was plentiful, and always perfectly placed to add clarity to the panels. It was as if his art reflected an inner desire for order and reason.

The fans went wild over his work. Gaines and Feldstein were two of his biggest boosters. In fact, writer/editor Feldstein himself wrote one of Wood’s most famous stories. “My World,” in Weird Science #22 (Nov.-Dec. 1953), was a sixpage tribute to science-fiction artists—and to Wood in particular. Wood lovingly rendered each panel, and “My World” became an instant classic. A far cry indeed from his early days at Fox!

When cartoonist/editor Harvey Kurtzman launched Mad as a fourcolor comic book in 1952, he tapped Wood as one of his top artists. The combination of Kurtzman’s dynamic illustrated scripts and Woody’s impeccable finishes was magic. Kurtzman’s layouts loosened Wally’s art, while Wood’s finishes gave Kurtzman’s layouts a polish and power that transformed them. Wood’s ability to mimic other cartoonists was perfect for illustrating Kurtzman’s hilarious parodies of comic books and strips. The Kurtzman/Wood send-ups of Superman, Batman, Blackhawk, Terry and the Pirates, Flash Gordon, and Prince Valiant were wildly popular, and helped make Mad a runaway success. More often than not, Woody’s Mad satires looked more exciting than the comics they were imitating!

In reality, Wood was now in such total control of his art that he could finally loosen up!

Wood drew the EC gang in “EC Confidential” in Weird Science #21 (Sept.-Oct. 1953). That’s Wally wearing the plaid jacket; publisher Bill Gaines has his hands on the shoulders of Wood and editor Al Feldstein, who scripted the story. [©2001 EC Publications, Inc.]

There was a downside to all this, of course. Wood’s backbreaking schedule came with a price. He was legendary for working days on end, often falling asleep at his drawing board. And, like many cartoonists, he used alcohol to fuel these marathon work sessions. Still, he had youth on his side, and an iron will. It was “pedal to the metal” for Wally Wood—and he was loving every minute of it! This is not to say that everything was perfect. Even at EC, Wood sometimes felt unappreciated. Decades later, he expressed resentment that Harvey Kurtzman—his exacting editor on EC’s Frontline Combat and TwoFisted Tales as well as on Mad—would criticize some minor historical detail he’d gotten wrong. The unspoken message seemed to be, “Hey, Harvey—didn’t you notice how hard I worked to get everything else right?” Wood described his feelings about Kurtzman in an interview for EC Lives!, a magazine produced for the 1972 EC Convention:

In 1955 the Mad comic book was upgraded to the “I quit working for slicker Mad magazine. Wood Harvey twice... Harvey had a Wood’s sophisticated work for Mad magazine, reprinted in the Mad About the Fifties once again met the challenge. collection. [©2001 EC Publications, Inc.] very annoying way of critiHis art became even more cizing your work... He’s sophisticated, and the “wash” toning effects he mastered gave the entire never easy to work for... I like Harvey and I respect him, but he’s a hard magazine a more adult look. Kurtzman would soon leave Mad, but man... he’s a tyrant! He’s gotta have everything his way, which I suppose Wood’s art retained all the looseness and spontaneity that had made I admire in a way, too.” their early collaborations so wonderful. It was as if the artist had In Kurtzman, Wood finally met a greater perfectionist than himself. absorbed Kurtzman’s rough visual energy.

A Short Biography of Wally Wood

challenges the upscale format afforded. Wood’s art reached new heights when he illustrated Kurtzman’s “Hansel and Gretel,” a brutal parody of Disney’s sanitized fairytale adaptations. Woody painted the story in a dead-on imitation of a Disney cartoon. Amazingly, each “frame” looked like a beautiful cel painting, filled with exquisite detail. How did he do it? By painstakingly drawing the main characters for the entire three-page story on cel acetate, with the backgrounds painted on a separate board—just like the real thing! It was an incredible amount of work, but the finished story was funny, lively, and, well... perfect! Total control. Just when you thought Wood couldn’t get any better... he did.

As much as he respected him, Wood hated having someone else in control. Still, these conflicts were the exception to the rule at EC. Wood often described this period as the happiest in his life.

IV. “New Heights”

Then it was back to comics again. In the late ’50s he did some spectacular inking over Jack Kirby in DC’s Challengers of the Unknown series and on the syndicated Sky Masters newspaper strip. Wood clearly loved Kirby’s art, and the pairing brought out the very best in both artists. Kirby’s raw power and imagination were further refined and polished by Wood’s masterful spotting of blacks and his precise, controlled line. Many consider Wood’s rendering during this period the finest in Kirby’s long career. Yet another triumph for Wood! The “cherries on top” were two “Best Comic Book Artist” awards from the prestigious National Cartoonists society in 1957 and 1959. By any measure, the ’50s were Wood’s decade.

It didn’t last long. By 1956 EC was essentially out of business, a victim of Dr. Fredric Wertham’s industry-wide witch hunt and the restrictive Comics Code that followed. Only Mad remained. But Wood kept busy anyway. Mad remained a steady and exceptionally high-paying client, and he never missed an issue for twelve years. Wood also did minor work for Timely/Atlas (the past and future Marvel Comics) under Stan Lee in the ’50s, and the occasional DC war story. Still, his comic book output dropped dramatically. The pay was lower than it had been before the comics purge, and there was far less work. Invariably, scripts he was given were far inferior to EC’s. But, like a relentless machine, Wood rolled on. Even in this bleak period, the artist thrived.

Jeez, Harv, give the guy a break! Wood felt that editor/writer Harvey Kurtzman didn’t appreciate the hours of work he put into his art. When Woody handed in “Custer’s Last Stand” for Two-Fisted Tales #27 (1953), Kurtzman—ever the perfectionist—complained that his trees weren’t appropriate for the locale! [©2001 EC Publications, Inc.]

Wood expanded into commercial art and continued to develop his already breathtaking drawing abilities. In 1956 Harvey Kurtzman left Mad to start his own humor magazine for Playboy publisher Hugh Hefner. Trump only lasted two glorious issues, but it had a huge budget, slick paper, magazine-style color, and production values far greater than any comic before it. Even the revamped Mad paled by comparison. Helping out in the first issue, Wood took full advantage of the artistic opportunities and the

V. “Little Choice” But behind the scenes, Wood’s life wasn’t rolling along quite so smoothly. By the ’60s, the artist was feeling restless and ill-used. His drinking was getting worse, and his marriage to Tatjana was in trouble. Sky Masters had run its course and was terminated in 1961. Wood had already left the strip months earlier, as declining circulation forced pay reductions. He grew frustrated. He was starting to lose control. Adding to his troubles, Wood suffered from terrible headaches. One assistant remembered him calling it his “never-ending headache.” He began drinking even more to dull the pain—but that just made things worse. Eventually, it began to affect his art. In 1964, Mad’s editor rejected one of his stories—Wood’s first rejection since he had helped launch the Mad comic book in 1952. Angry and humiliated, Wood quit. In an ironic twist, the editor who rejected the story was Al Feldstein, the very man who,

Total Control

eleven years earlier, had written “My World” as a loving tribute to Wood! Russ Jones, an artist who worked with Wood at the time, recently described that period: “Mad sent Woody a rejection slip on a comic strip lampoon, and it about killed him. Yes, the job was covered in liquid paper, but it was great compared to what Bob Clarke produced. I think the guys at Mad were just kidding around, but it backfired! I stood rooted when Wally called Bill Gaines and quit. Poor Bill... he called many times to try and talk Woody back... but Stan Lee was so delighted to have Wood working for Marvel that he no go. Poor Wally... he threw out splashed the artist’s full name (plus Don Heck’s first, though not his last) his biggest client. The whole affair on the cover of The Avengers #20 (Sept. 1965), and followed this up three was sad. No winners.” With Sky Masters and Mad both gone, Wood had little choice

but to return to the struggling comic book field. Even before then, he had started picking up some comic book work from cartoonist Vince Colletta, who was packaging stories for Charlton, the industry’s lowestpaying publisher. Russ Jones continues: “So, you can imagine where he was at in ’62, ’63, etc., when he was forced to do inks for Vince Colletta for ten bucks a page. We had a ton of stuff to do... but mostly Charlton war books.”

Turning Colletta’s layouts into finished art for $10 a page was a major comedown for Wood. Ten years earlier, EC had paid him $50 a page plus bonuses—but those happy days were months later with an even bigger credit for Wood on Daredevil #5—this, in gone. His career had reached its lowest a day before Stan’s and Jack Kirby’s monickers had appeared on a cover! point. According to Jones, Wood and [©2001 Marvel Characters, Inc.] his assistants “cranked out endless pages for Vince. As Woody and I ground out the pages, Tatjana, his wife, made us gallons of coffee and served Canadian bacon sandwiches... We’d eat, drink coffee, and smoke tons of cigarettes. Pages would be inked, erased, and cleaned, and stacked into the ‘finished’ pile. It was a factory... pages would literally fly from one board to the next, nothing in any real sequence. Gallons of Higgins Extra-Dense India Ink and Windsor/Newton Series #7 & #3 brushes were devoured. We’d work all night, deliver the goods to Vinnie’s studio in the west 40s, go home, collapse, sleep, then begin again. It was wild.”

VI. “Second Coming” Happily, Charlton was just a brief rest-stop. By the end of 1964 Wood returned to Marvel, where he had illustrated a few mystery stories after EC’s collapse. The company, now in the midst of a creative rebirth, was looking for someone with Wood’s abilities. Wood was sober now, and ready to make his mark in comics yet again. Editor Stan Lee heralded his arrival as if it were the Second Coming. “Under the brilliant artistic craftsmanship of famous illustrator Wally Wood, Daredevil reaches new heights of glory!” screamed a blurb on the cover of Wood’s first Daredevil issue. For once, Lee’s comments weren’t mere hyperbole. Wood took over Marvel’s newest title, Daredevil, replacing his old friend and fellow EC alumnus Joe Orlando. Though he’d done few super-hero comics before this, Wood easily mastered this popular genre. Wood’s layouts for a page of Daredevil #7, the landmark issue in which the Man Without Fear battled Sub-Mariner. Compare with the page as printed. Wonder if it was Wally or Stan who decided to alter the layout. Courtesy of Bill Pearson. [©2001 Marvel Characters, Inc.]

By now Wood had further refined his art, eliminating what he considered “unnecessary clutter.” This new approach gave the book a sleek, elegant look,

A Short Biography of Wally Wood

For a while it seemed the restless Wally Wood had found a home at Marvel. But there was trouble brewing. And once again it came down to a matter of control. By 1964 Marvel had three superstar artists: Jack Kirby, Steve Ditko, and Wally Wood. Editor/writer Stan Lee ran the show. Besides editing the Marvel line, he wrote most of the titles. In a time-saving move, the overextended Lee passed on more and more writing responsibilities to the artists. Instead of full scripts, he would give the artists a plot idea and tell them to draw the story. He then added dialogue to the finished product. The plan worked well at first. Lee could write far more pages, and the artists enjoyed the greater creative freedom. But, over time, the three artists grew dissatisfied. Eventually they realized they were effectively co-writing the comics, but without extra credit or extra pay. Wood addressed this very topic in a bitter 1977 article for his Woodwork Gazette newsletter. He described an editor “Stanley” who “came up with two surefire ideas... the first one was ‘Why not let the artists WRITE the stories as well as draw them?’... And the second was... ALWAYS SIGN YOUR NAME ON TOP... BIG.” Wood and his fellow artists were master storytellers, quite capable of writing their own plots and finished dialogue. In time the artists grew to believe Lee was taking credit for their work—and they resented it. But most of all, Kirby, Ditko, and Wood were finally at a stage in their careers where they wanted to tell their stories without interference. They demanded greater control over the stories they drew, and full writing credit. Understandably, Lee wasn’t about to give up that degree of authority. Frustrated, Ditko abandoned The Amazing Spider-Man in 1966 to concentrate on Mr. A, a strip he created and owned. Kirby followed three years later, leaving Marvel to write and draw his famous “Fourth World” line of comics for DC. Bill Pearson provided these early “doodles” of Wood’s, doubtless done at the time he was drawing Daredevil #5. [Daredevil, Matt Murdock, Matador ©2001 Marvel Characters, Inc.]

perfect for the character. By issue #7 Wood asserted himself further, completely redesigning cartoonist Bill Everett’s original yellow-and-red costume. In an inspired move, Wood made the uniform devil-red with striking black highlights, further emphasizing the “devil” part of “Daredevil.” Fans loved the results. In fact, Wood’s design was so successful that it’s still in use today, 35 years later.

VI. “A Dream Set-Up” Wood beat them all. In 1965 Harry Shorten at Tower Publishing invited Wood to create and edit a new line of super-hero comics. The 37-year-old artist jumped at the chance. Wood himself called the Tower assignment “a dream setup. I created all the characters, wrote most of the stories, and drew most of the covers. I did as much of the art as I could... But it was fun.” Woody was ready to plunge into his next artistic challenge—creating

Total Control would team with Wood on a cover; the next might feature Wood inking Crandall or Ditko. It was a fan’s dream come true! Format and distribution problems eventually killed Tower, but Wood had proved himself once again. He could edit comics as well as write and draw them. Only one challenge remained: publishing. And he’d already taken the first step. In 1965 one of Wood’s admirers, Dan Adkins, who drew science-fiction art for the professional magazines, asked him to contribute to his upcoming prozine, called Outlet. (It was soon renamed Et Cetera, and finally witzend!) Wood immediately realized such a magazine could be the ideal venue for him to publish and own his strips without editorial interference. Wood, who was knee-deep in the first issue of T.H.U.N.D.E.R. Agents at the time, told Adkins he’d gladly contribute something— but only if he could publish it himself. As always, Wood’s natural

his own line of comics. This would mean more control over his art, something he always craved. He’d mastered every genre of cartoon art; he’d won numerous awards. Having proven himself over and over, Wood now wanted to call the shots. From 1965 to 1969, Wood and his talented crew produced T.H.U.N.D.E.R. Agents, Dynamo, and a handful of other titles. Woody drew most of the lead stories and the classic covers. He wrote, plotted, or rewrote stories and hired his old EC buddies Al Williamson and Reed Crandall to help with the art. Steve Ditko and Gil Kane also contributed stories. Wood was in his glory! In a strange way, Wood became Tower’s Stan Lee, as he guided and controlled every aspect of an entire comics line. T.H.U.N.D.E.R. Agents quickly became a fan favorite and may have contributed to his third “Best Comic Book Artist” award from the National Cartoonists Society in 1965. The stories were slight, but refreshingly clean and clear. Art and scripts reflected Wood’s sensibilities and some found them a welcome relief from increasingly copy-heavy Marvel comics. Wood’s covers were elegant and powerful. Enhanced by the subdued coloring of his talented wife Tatjana, he produced some of the most striking covers of his career. Every issue was like a box of Crackerjacks—with a delicious surprise in each. In one issue Al Williamson Around the time he re-designed Daredevil’s costume into the red-and-black version that’s been used ever since, Wood also worked up these ideas for augmenting DD’s powers, some of which were utilized. Courtesy of Bill Pearson. [Art © estate of Wally Wood; Daredevil ©2001 Marvel Characters, Inc.]

A Short Biography of Wally Wood

Freedom from publishers and editors. Other cartoonists griped about how they were treated. Wood put his money where his mouth was. witzend was a watershed for creator ownership. How many budding creators and established pros in the late ’60s realized for the first time that it was possible to own their own creations? Such artistic freedom was inspiring, and undoubtedly encouraged the early underground comics movement, whose main superstars—Bob Crumb, Gilbert Shelton, Spain Rodriguez, and art spiegelman—were already fans of Wood’s early Mad work. If witzend was inspiring, it was not particularly profitable. In the days before comics shops and the direct market, most sales were mail order, which translated to poor numbers. Much as he loved the work and the freedom, it just wasn’t paying the bills. Wood eventually handed the editorial reins to his friend Bill Pearson, though he continued to contribute to the magazine.

VII. “Unmistakably Wood” Wood now drew fewer pages for witzend, but his fans were not deprived of his art. More than ever, Wally Wood seemed to be an indestructible comic book machine, cranking out page after page of wonderful comics at an inhuman pace.

instinct was to take control. To soften the blow, he invited Adkins to join his studio. The younger man agreed, and soon quit his job at an advertising agency to join his idol. Wood had already mastered drawing, writing, and editing. Now he was a publisher, too! There had been other creator-owned comics in the past: Simon and Kirby’s Fighting American, Will Eisner’s The Spirit, Joe Kubert’s Tor, and Harvey Kurtzman’s Humbug among them. Only The Spirit had long-term success, but it had not been published regularly since Wood himself had assisted Eisner in 1952. Now, at last, it was Wood’s turn to try. Wood wrote and illustrated a number of new characters for witzend. Some, like Animan and Wizard King, employed concepts he’d created as a youngster. These were his babies, not to be desecrated by ham-handed editors or greedy, philistine publishers. At long last he could finally write and draw his creations his way. By the time the first issue appeared in 1966, Wood had already enlisted other like-minded artist/writers to contribute their own creator-owned projects. Steve Ditko’s “Mr. A” and Gray Morrow’s “Orion” were two exceptional efforts that debuted in witzend. Wood, greatly aided behind the scenes by Dan Adkins and Bill Pearson, produced one of the all-time classy prozines. It’s worth noting that Wood was doing this labor of love while simultaneously establishing his entire Tower line. Though Wood had often complained of low pay in the comics field, he happily worked countless unpaid hours putting out witzend. Wood’s primary motivation was never money, but rather what money represented. Money meant respect—and freedom!

Roughs by Wood for what Bill Pearson, who provided it, says “must be one of the first ‘fight’ choreographed pages, to get [Wally] back into the super-hero genre”— meaning for T.H.U.N.D.E.R. Agents #1. The hero’s original code name was to be Thunderbolt; and his enemy’s, Dynamo. In the printed comic Thunderbolt became Dynamo—Dynamo became Dynavac—and Wally gave the hero’s alter ego the name “Len Brown,” after the young Topps Chewing Gum executive who scripted his first two adventures. [©2001 John Carbonaro.]

Total Control Throughout Wood’s life, order and chaos always battled for control. But for this period, at least, order ruled. Woody produced pages at a breakneck pace. Undoubtedly, some of his incredible productivity during this period was due to a desire to provide his assistants with work. That, and the fact that he was doing what he loved.

The lucky fan of the ’60s stumbled upon new Wood work everywhere, from Dell’s M.A.R.S. Patrol to stories in Warren’s Creepy and Eerie. Pick up Harvey’s Three Rocketeers, or one of their short-lived anthology titles, and you might stumble on Wood’s Earthman or Miracles, Inc. His backups, hidden away like perfect jewels, would often outshine the cover feature. Classic Wood art also popped up in Ballantine’s EC paperbacks.

VIII. “To Light Down Briefly...”

Tales of the Incredible reprinted some of Wood’s best science-fiction and horror work from the ’50s, while his early Mad stories filled numerous paperback collections. Then there was Gold Key’s Fantastic Voyage movie adaptation, illustrations for Galaxy magazine (Wood drew 160 of them between 1957 and 1967!), designs for the deliciously gruesome Mars Attacks! cards, record covers, and a famous series of Alka-Seltzer ads. Amazing! How could one man do it all?

But his grueling schedule began taking its toll. As the ’60s grew to a close, Wood continued to work for the mainstream, but couldn’t stick to anything for long.

Wood returned to Marvel in 1969, having left the company for Tower in 1965 after a stunning seven-issue run on Daredevil. It didn’t last long. Within a year, Wood had another falling-out with Stan Lee. After the freedom he’d enjoyed at Tower, it must have been difficult for Wood to take orders again. Nonetheless, in 1970 Actually, one man didn’t. he returned to illustrate four “Dr. Doom” Wood had a stable of collaborators and episodes in Astonishing Tales, scripted by assistants over the years. In the ’50s he Roy Thomas and Larry Lieber. He also Wood’s rough for the cover of T.H.U.N.D.E.R. Agents #17 mainly worked with Joe Orlando, Harry wrote and drew a few short stories for (Dec. 1967), featuring NoMan. [©2001 John Carbonaro.] Harrison, and Sid Check. In later decades he Marvel’s Tower of Shadows comic— was assisted by Dan Adkins, Ralph Reese, sword-and-sorcery stories in the same Wayne Howard, Larry Hama, and Bill Pearson, to name a few. No Tolkienesque vein as his earlier “Wizard King” stories. matter. The end result was unmistakably Wood. Helpers or not, the And inking always paid the bills. In 1971, Wood teamed with Ross quantity and consistent high quality of the pages were unbelievable. He Andru on the first issue of Kull the Conqueror. A year later he was always in control of the final product. provided beautiful finishes on the first issue of a new character, The Even Wood’s studio reflected his need for control. Dozens of files Claws of the Cat, over his old EC colorist, Marie Severin. One were filled with clippings used for reference and beautiful issue each—and out! Again and again, “swiping,” all perfectly arranged. His assistants he seemed to light down briefly, then disappear. were all young, impressionable cartoonists, some It was a pattern not limited to Marvel. It was still in their teens, who worshiped Wood. There hit and run at DC, too. was never any question who was in charge. In 1969, Wood inked a series of Superboy stories over Bob Brown. That same year his brushwork also graced Bob Oksner’s pencils on the humor title Angel and the Ape, and tightened Howie Post’s scratchy pencils on Anthro.

But it was a mutually beneficial arrangement. Though Wood was quite capable of working without assistants—and often did so—the shy, reclusive artist enjoyed the companionship and energy of others. They could do the grunt work: erasing pencil smudges, penciling or inking backgrounds, and such. Wood, for his part, happily shared tricks of the trade he’d learned through decades of trial and error. A young cartoonist couldn’t ask for a better teacher. Former assistant Ralph Reese once described working in Wood’s studio in the mid-’60s: “After a while I got to keeping his files in order. His file was astounding! He must have had thirty file drawers of clippings and I kept them in order. I also kept the place in order. When I first met Wally he had been working in the same room for twelve years, so there was a lot of clutter. The first time I saw his studio I couldn’t figure out what was hanging from the ceiling. There were all these things with grey felt on them. They turned out to be hundreds of model airplanes on strings, covered with dust.”

This 1968 Wood cover for Rocket’s Blast/Comicollector #56 may reveal the way the artist felt when Tower Comics folded, while Marvel went rolling right along, utilizing the Daredevil costume he had designed. [Daredevil ©2001 Marvel Characters, Inc.; Dynamo ©2001 John Carbonaro; RB/CC has recently been revived by James van Hise.]

Jerry Grandenetti, another Spirit alumnus, also got the Wood treatment. Woody inked a number of his stories in the early ’70s for House of Mystery, House of Secrets, Tales of the Unexpected, and The Witching Hour. There were other odd pairings at DC, such as an issue of Wonder Woman in 1971 which matched him with Mike Sekowsky. He also teamed up with artist Gil Kane on a lone issue of Green Lantern and some Captain Action stories, as well as stories for DC’s mystery titles in 1969 and 1970. Additionally, the black-&-white Warren magazines Creepy, Eerie, and Vampirella provided another showcase for the artist’s clean, solid art. Wood was working steadily, but there seemed to be no focus to his career, no long-

A Short Biography of Wally Wood

them, he distilled his art to a series of formulas and mannerisms— gimmicks that could be easily imitated by his students. He further increased production by having helpers trace work from his earlier comics. A Superman figure in All-Star Comics might be swiped from Wood’s Earthman or Dynamo. Eventually, everything started to look the same. Occasionally the real Wally Wood would come out of hibernation. Wood sometimes tackled a story without help, just to show he still could. Two such stories from this period, “Sno’ Fun!” for DC’s House of Mystery in 1972, and 1971’s “To Kill a God!” recall his glory days at EC. Both were exceptionally beautiful. Those stories and a handful of others displayed the artist’s impeccable layouts, detailed art, lush shading, and luscious women. To his fans, stories like these were both exhilarating and frustrating. Why wasn’t Wood doing this level of work on a regular basis? The problem went beyond his use of assistants. To some, it seemed the years had taken away his passion, leaving behind only craft. More and more, Woody seemed to be coasting. He needed a new artistic challenge. At EC he had competed against the very best artists ever in the field, for an appreciative publisher. Back then, Wood had illustrated superb

term goal. Wood’s professional life was drifting. His terrible migraines continued and he was drinking again. Years of overwork and alcohol were slowly killing him. As Wood’s health declined, his art suffered. More and more, Wood’s vivid visual imagination was replaced by formula. There had always been some of that, even in Wood’s earliest work. But in his prime there was also startling originality and inventiveness. By the time he was in his 40s, his art was as slick as ever, but there were fewer and fewer surprises. Professionally, Wood was fearless, even reckless. But artistically, he seemed to be playing it safe.

IX. “Coasting” As the ’60s rolled on into the ’70s, the patented Wood formula became more pronounced. Though still beautiful, his art seemed increasingly stiff and homogenized; his heroes were often interchangeable. Switch costumes and you could barely tell Dynamo from Radian—or Radian from Earthman. They were perfect—template perfect. Too much control was sucking the life out of his art. Wood’s drinking undoubtedly contributed to this, but his increasing reliance on his studio added to the problem. In an effort to churn out more pages, Wood encouraged his assistants to draw like him. To help

Total Control admit they have a problem, or they think they can “handle it” themselves. Most can’t. Only those who are willing to accept help have a real chance of beating it. Wood refused to give up control. Instead, he tried to do it himself, with limited success. In 1964 his drinking had caused his painful break with Mad magazine, but the lesson didn’t stick. He would dry out for periods, but could never completely stop.

X. “Spinning Downhill” In 1969, Wood’s life took a drastic downturn when he divorced Tatjana, his wife since 1950. From then on, his drinking got worse. His good friend and studio mate, Bill Pearson, recently described the situation:

Two pairs of matched panels. Animan prototypes (first and third panels) drawn by a teenage Wally in the early ’40s; and versions (second and fourth panels) by a 38-year-old Wood for 1966’s witzend #1. [©2001 estate of Wally Wood.]

stories by Al Feldstein, Ray Bradbury, and Harvey Kurtzman, and had risen to the challenge. As EC’s young golden boy, he had seemed in control of his destiny. At DC and Marvel, it was a far different story. By the mid-’70s both companies were in a deep creative slump. Scripts were largely bland and derivative, and morale was low. Vince Colletta, Wood’s old packager at Charlton, was now art director at DC, and the comics looked it. Cluttered, copy-heavy covers were everywhere! Story count was lowered to make room for cheesy ads. Plastic printing plates made the shoddy comics of old look positively glorious by comparison. Any artist who truly cared about his work had to be discouraged. Wood’s problem drinking only made it worse. Wood struggled with alcoholism all his life.

Early on, the shy and emotionally repressed young man discovered that a few drinks could “cure” those traits, temporarily. Drinking enabled Wood to open up and relax with people. Better yet, it kept him going during long, grueling hours at the drawing board. And Wood wasn’t alone. Many cartoonists of his generation and beyond were also alcoholics, including fellow EC artists Graham Ingels and Reed Crandall. Some beat the problem, others died from it. Alcoholism is a disease of control. Hardcore drunks either refuse to

“His marriage... ended sometime in the late Sixties. He didn’t drink at all from 1965 until then, that I know of, and it was primarily due to her, of course. Over the years, in my opinion, she became more of a mother than a wife to him, and that was a natural evolution. He needed someone to tell him when to eat, when to go to bed, when to change his socks. He grew tired of her running his schedule, and divorced her. She still loved him and welcomed him anytime he showed up to visit in later years.” Wood, the ultimate control freak, finally rebelled against the one person he’d allowed to control him. Predictably, the results were disastrous. He started spinning downhill again and sought help from a psychiatrist. Even here, Wood took control, eventually marrying his therapist. Bill Pearson described Wood’s second marriage, to Marilyn Glass, this way: “I didn’t know his second wife well. She was very pretty and intelligent... with three young children. She lived out in the suburbs of Long Island somewhere. I went to their wedding reception... That marriage was probably around 1970... because I remember moving back to Arizona in the early ’70s, never visited Wood in that house on Long Island, only got sporadic phone calls from Wood complaining about the three children and his inability to cope with his wife’s lifestyle and her inability to cope with his. Marriage lasted two or three years, no more.” In J. David Spurlock’s The Wally Wood Sketchbook,

A Short Biography of Wally Wood

Steranko states that Wood’s second marriage began in 1970 and ended in 1973. With his personal life again in shambles, he faced some rough times. He was well into his forties now, and feeling it. Decades of smoking, drinking, and “all-nighters” were finally catching up with him. He suffered dangerously high blood pressure, failing eyesight, and worse. As his health faded, Wood became acutely aware he was still just a hired hand in an industry he no longer respected. In a 1978 editorial he described his situation:

In 1997 J. David Spurlock’s’ Vanguard Productions announced a continuation of Wood’s hero Radian from the 1967 Wham-o Giant Comics. It hasn’t appeared to date, but Vanguard has published the excellent Wally Wood Sketchbook; see ad in this issue. [©2001 J. David Spurlock.]

“I’m through with comics—for other people, anyway... All I know is comic artists have been ripped off for so long they don’t even know they HAVE rights. No medical care, no retirement benefits, no reprint money... I think everyone gets into the business because they love it, and somewhere along the line, when they’ve wised up, find themselves trapped in it, too old to start a new career...”

By now, he’d seen how the industry used and discarded people just like him. Reed Crandall, Bill Finger, Bill Everett—the list was endless. His friend and collaborator Jack Kirby had co-created many of Marvel’s most popular characters. By the late ’70s Kirby was out of fashion, scrambling for work and being treated as a joke by some of the younger Marvel editors.

and saw nothing but dead ends. Sure, he’d created T.H.U.N.D.E.R. Agents—but didn’t own it. His Mad work was constantly being reprinted—but he didn’t own that, either. For all his talent, he was just a hired hand. Wood put it this way: “Everyone in the business has given away ideas for page rates, which then become the property of the company. And no one has anything to look forward to except being poor in their old age.”

DC’s similarly shoddy treatment of Jerry Siegel and Joe Shuster was common knowledge. The company’s owners grew rich off Superman, while their creators lived in virtual poverty. Wood looked around

As MTG writes, Wood’s super-heroes after T.H.U.N.D.E.R. Agents “were often interchangeable.” Bill Pearson, who supplied the art for this montage, asks if White Knight or Space Ghost (Wally Wood version) ever appeared. Bill says Earthman “was to be a series for Harvey Comics... but it got only a try-out appearance”; Roger Hill informs us this rough was for its splash page. Of the two rough-penciled tiers featuring a hero named “Gil” (after Gil Kane?), Pearson says, “I don’t know who this character is!” Radian, perhaps? [Art ©2001 estate of Wally Wood; Radian ©2001 J. David Spurlock.]

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XI. “Sick Of The Industry” Wood knew the score. If he was sick of the comics industry, who could blame him? But, to be fair, he had burned many bridges in his career. He was inclined to take artistic disagreements personally and to hold grudges, severely limiting his options in the field. It was a decadesold problem. Harvey Kurtzman, commenting on this in 1972, stated that Wood “had this enormous talent, and his curse was that he was introverted... everything was bottled up. The dominating thing in Wally’s life was this bottled-up quality which eventually did great harm to him and destroyed much of him.”

vulnerable. He felt more comfortable sharing them in his art. Fellow Mad artist Will Elder hit the nail on the head when he observed: “There was a need of showing his sensitivity through his work, since I don’t think Wally had the personality to show it any other way.” Art is a reflection of life. If Wood’s drawings grew cold and sterile over the years, was it any wonder? He was a passionate man, but afraid to show it. In time, it even became hard to display his emotions on the page. Too much control had drained the life from Wood’s work, and there was nothing in mainstream comics to recharge his spirit. By the mid-’70s his frustrations were reaching a boiling point. Between his

Kurtzman’s assessment was harsh but incisive. Wood buried his emotions his entire life, and his career suffered for it. If he had a disagreement with Kurtzman or another editor, he silently stewed about it until his anger and resentment reached a boiling point. Then he’d explode. It happened with Al Feldstein at Mad, with Stan Lee at Marvel, and countless other times. Eventually this impulsive, selfdestructive behavior became a pattern and served to further isolate the artist. Wood’s reclusive nature affected his personal life, too, and was noticeable even during his EC days. In 1972, Bill Gaines remembered Wood fondly, but described him as “moody on occasion and... difficult to get close to.”

A trio of Wood’s luscious women: “Lois HAH Pain” from “Superduperman” in Mad #5 (April-May 1953)... a Little Egypt type from Vampirella #12 (July 1971)... and Sally Forth—plus the layouts for a “Sally Forth” page courtesy of Bill Pearson. [Mad art ©2001 E.C. Publications, Inc.; Vampirella art ©2001 Warren Publishing Co.; and Sally Forth ©2001 estate of Wally Wood.]

Al Feldstein recalled him as shy, uncommunicative, and “very careful about letting people come close to him as an individual.” Throughout his career Wood seemed drawn to characters who were outsiders. Cannon, Andor, Dollar Bill Cash, Weed, and The SubMariner were all outcasts—people who never fit in. He related to characters who were misunderstood—noble heroes who hid deep emotions under a stoic facade. Like them, Wood kept his emotions close to the vest, fearful that exposing his feelings would make him

stalled career, broken marriages, and all the rest, nothing seemed to be working anymore. Wood’s whole life was spinning out of control, and there seemed no way out.

XII “Naked Glory”

During this period, Wood began producing hardcore strips and covers for the notorious sex paper Screw and its various spinoffs. By now, he was so disgusted with mainstream comics that drawing X-rated comics for porno publishers like Al Goldstein seemed like a step up. Wood enjoyed it, and they let him keep his copyrights.

Actually, Wood’s move toward X-rated material wasn’t a huge surprise. Even back in the ’50s his lush women were a favorite element of his science-fiction art. His sensuous Mad comics parodies of Lois Lane and the Dragon Lady were the stuff of adolescent wet dreams. A decade later, Wood still made male hearts beat faster with a handful

A Short Biography of Wally Wood of softcore sex cartoons drawn for Playboy, Cavalcade, Dude, and Gent. He also featured plenty of tasteful sex in witzend. In 1967 he created a strip called “Pipsqueak Papers” for the magazine, featuring a sexy elf named Nudine. Wood obviously enjoyed rendering her in all her naked glory! A year later, he created a sexy humor strip for the publisher of Overseas Weekly, an Army paper. Sally Forth was a sweet innocent in the classic Little Annie Fanny mold— always vainly trying to protect her long-lost “virtue” from legions of horny admirers. Sally was silly fluff, but essentially good-natured fun.

17 Jack Kirby. Six issues inking Ric Estrada on Richard Dragon, Kung-fu Fighter followed, then nine of Hercules Unbound over young Walt Simonson and others. The work was slick and handsome, but empty. In that same period he drew covers and stories for DC’s humor comic, Plop!, as well as some very handsome issues of All-Star Comics over Ric Estrada and Keith Giffen. Now in his fifties, it looked as if Wood would spend the rest of his life as a hired hand, never again in control of his own destiny. There seemed no way out.

XIV. “Life Is Too Short!”

Wood’s work for Screw was different. Still One day, Wood had finally had enough. impeccably drawn, his new work had acquired Decades of pent-up frustration finally came to a mean, misogynist edge. The story “Malice in Cynical “Dollar Bill” Ca$h, with a heart of gold, from a head, and he decided to take action. He Wonderland” was particularly disturbing. Warfront #37 (Sept. 1966). wrote about it in the first issue of his selfAppearing in 1976 in the first issue of The [©2001 Harvey Publications, Inc.] published newsletter, The Woodwork National Screw, his story was an X-rated Gazette: parody of Alice in Wonderland. One scene gleefully depicts a female cartoon character being violently battered and sexually violated. Clearly, “It was just a couple of weeks ago, when I was preparing to go out Wood was acting out his personal frustrations on the page. and try to line up some work from Marvel or DC, that I suddenly realized LIFE IS TOO SHORT! I have better things to do than another He and his second wife had recently divorced. It doesn’t take a dumb comic book for the kind of money they pay.” psychiatrist to guess what was going on in his head. Yet another failure, another loss of control. Throughout his life, Wood was always a dreamer. He dreamed of creating perfect comics for a perfect, appreciative audience. He also dreamed of finding the perfect woman, and was inevitably disappointed by reality. Wood had always idealized women, but they could never live up to his impossible standards. A third marriage would follow in 1977, but it too would end. The “Malice” story was just an ugly symptom of his frustration. If he couldn’t control women in real life, at least he could on paper.

In a bold, impulsive move, Wood took control once more. Using his own money, he started his own comics company. Years earlier, he’d dabbled in self-publishing with witzend. He had done it mainly as a hobby, and to secure copyrights for himself and his friends. This time he’d approach it as a fulltime job, with Wally Wood as the company’s product.

His anger spilled out in another X-rated story he wrote and drew in 1975 for the underground Big Apple Comix. His three-page story “My Word” was a bitter and surprisingly funny parody of “My World,” Feldstein’s 1953 love letter to Wood. In “My Word” he depicts his fans as disloyal and fawning, his publishers as mafia thugs. The story ends with the artist in a grave. Carved on his tombstone are the words: “Do me now, c—s!” Wally Wood—defiant to the end! Wood drew this himself and it clearly came directly from his heart. The story was as emotionally revealing as any he’d ever done, and the art was some of his best ever. It was as if the old Wally Wood had briefly resurfaced.

XIII. “Marking Time” And then it was back to DC and marking time. His frustrations were killing him, but what could he do? He had to make a living. He continued working for DC, but his heart wasn’t in it. It was just another job. In 1975 and ’76 he inked his old friend Steve Ditko in four issues of The Stalker, and a single issue of Sandman over

Total Control

In these times before the direct market made self-publishing feasible, it was a daring move, bordering on foolhardy. But Wood had made up his mind. With stubborn determination he set to work. Original art sales and foreign reprint money helped finance his dream. On the side, he drew X-rated comics and forced himself to ink for DC. But the bulk of his efforts were directed at his new company. He planned to start small, with two different reprint titles, and build from there. First came Sally Forth in 1976, followed by Cannon, a cynical, emotionally-repressed military operative. Wood had created both features in the late ’60s for the Overseas Weekly and its companion comic, Heroes, Inc. Since the work was already done, it was a smart, cost-effective first step. But Wood had bigger ideas.

the form is too good, too vital, to die out altogether.”

XV. “Full Of Plans” By 1978 things looked bleak for the comics industry. But, rather than giving up on the medium, Wood did what he could to fix it. Making his new company a success was the first order of business. He was full of plans. He started Foo (Friends of Odkin), a Wally Wood fan club, and its companion newsletter, The Woodwork Gazette. He hoped to sell Sally Forth and Cannon directly to his hardcore fans, and use the profits to fund other projects.

Behind Wood’s cover for Flo Steinberg’s Big Apple Comix in 1975, the classic 1953 EC story “My World” was parodied by him as “My Word.” EC panels are on the left, Big Apple panels on the right. [EC art ©2001 EC Publications, Inc.; “My Word” & Big Apple cover ©2001 estate of Wally Wood.]

He planned to issue the comics in a deluxe, 36-page, 10”x12” oversized format— four issues each, on slick paper. These comics would sell for $3.50 at a time when most comics sold for 35 cents. Wood realized he couldn’t sell huge numbers, but he hoped that a small select group of his fans would pay top dollar for a high-quality product. Wood addressed this in his Woodwork Gazette: “No one is killing comics. They seem to be committing suicide. I think the only hope for the form is to go the way of European comics... hardcover books, in limited editions that don’t have to sell millions of copies, and that aren’t tied to two weeks’ exposure on the newsstand. There will be fewer of them and they’ll be more expensive, but I think

And what projects they were!

Wood had plans for a Heavy Metal-type magazine called Warp. It would be a Wally Wood anthology, devoted to whatever type of story he felt like telling. Knotty Woodwork would be a collection of his sex comics. Then he wanted to do a series of Wizard King books featuring Odkin and a crew of elves and wizards he’d created as a kid. He had dreamed of doing this Tolkienesque fantasy for decades and had previewed the series years earlier in witzend. Woodworks was another dream: a collection of ten hardcover books featuring all the work to which he held copyrights. Later it was to be a thick 500-page hardcover book. He planned prose novels and graphic novels and records and movies. He was giddy with the possibilities of his newfound freedom. Remarkably, in spite of all the disappointments and setbacks he’d suffered in the field, Wood still loved comics. He explained it this way: “I may as well admit it... I’M A FAN. Why else am I publishing fanzines? I have a theory that all pros are composed of part fan and part hack. And somehow, the fan part is the GOOD part. It’s the part that cares, that wants to do something good, better than anyone’s ever done it before.” Wood still cared. And he worked his heart out to make his new venture a success. In the first issue of his Gazette he explained: “This is a one-man operation so far. I’m typing the membership list, addressing envelopes and stuffing them, carrying them to the post office... and trying to write and put together the Gazette at the same time. So be patient, friends...”

A Short Biography of Wally Wood

Wood was totally in control now— and loving it! He felt that 5000 hardcover readers could support him, but he was willing to start with 1000 hardcover fans. In an inspired bit of insanity, he agreed to do personalized sketches for each and every fan who paid $10 to join his fan club. He lived to regret the offer, as he and his studio eventually penciled and inked over 800 pictures. Wood’s dream was a glorious one, but doomed to failure. A decade earlier, he might have pulled it off. But alcoholism had ruined his health, and he simply couldn’t carry on alone anymore. He gave the story in the fifth and final issue of his Gazette: “The reasons I had to call it quits In the late 1970s Wood published his own were (1) I had no help. I was doing newsletter—and collections of Sally Forth and EVERYTHING myself and (2) I’ve Cannon. [©2001 estate of Wally Wood.] had some bad luck... my kidneys are failing, my blood pressure is up, I’ve had 3 minor strokes so my left eye and left hand are fairly useless.” my left eye... things began to vibrate, then I couldn’t see clearly enough to drive at night... By the time I went to an eye doctor, I couldn’t read... Wood’s brave venture was coming to an end. It hadn’t made him rich, OR DRAW... it was so bad I couldn’t use my left eye at all. I had to put but on its own level it was a qualified success. He managed to publish a piece of tape over the left lens of my glasses. My left eye was still four beautiful issues each of Cannon and Sally Forth. Though they strong, but the image was so distorted I couldn’t bring them together. weren’t printed by Wood himself, he and studio produced two volumes The eye doctor took my blood pressure and put me right in the of his beloved Wizard King trilogy—The King of the World and hospital. My BP at the time was 210...” Odkin, Son of Odkin. And, despite failing eyesight and a series of strokes, he proved There’s nothing more terrifying to an artist than losing his sight. But once again how much he could accomthings got even worse for Wood: plish through sheer will power. “This was in Jan. 1978. The next thing that happened was that I had a ‘small’ stroke. I found I couldn’t type with a manual typewriter any more... or play the guitar. And then I noticed that I was limping, and then I fell down the first time. I’ve fallen 100 times at least in the past 2 The last years of Wood’s life were years... And then I had another stroke... I’ve had at least 4 so far.” the worst. He described his health Wood didn’t have long to live. problems graphically in the final issue of The Woodwork Gazette: At the end, his friends rallied around to help and protect him. One of those friends, Bill Pearson, described those final days: “The first thing I noticed was

XVI. “Final Days”

“I started with him as a ghost writer, assistant editor, became his friend, then his letterer and general assistant. Ended up his parent... telling him ‘no’ more often than ‘yes’ when he wanted to do something selfdestructive. It’s odd how relationships change over time.

Were you a card-carrying Friend of Odkin? If you were, you might have received a personalized Wally Wood sketch like the one above left. And it’s a shame his dream of making a record has never materialized—yet! But there was that cover rough... [©2001 estate of Wally Wood.]

“For the last few years of his life, I wrote his letters, screened his calls when possible, talked to publishers and tried to make them believe he was still a functioning artist when he was close to complete disability. For several years after his death, I tried to protect so many secrets... It’s not easy to be a genius, and he was a genius. For all his faults, I loved the man.”

Total Control unable even to control his own body any longer. He was terrified of dialysis, and hated the idea of being hooked up to the machine. Despondent, and no longer able to draw, he refused to surrender to this final indignity. Though he’d courageously struggled on for years, Woody finally had enough. He was last seen alive on October 31, 1981. Sometime between then and November 3, when his body was discovered, the artist took a .44 caliber pistol from his collection, placed it to his right temple, and squeezed the trigger. For a single, final moment, Wally Wood was once again in control. And then he was gone.

Postscript: Toward the end of his life, Wood was asked if he regretted his career. His reply is particularly poignant in hindsight: “If I had it all to do over again, I wouldn’t do it... and yet, I’m not sorry I am where I am. I guess it all depends on how this works out. If I make it, it was all worth it. If I don’t, it wasn’t.” The final issue of The Woodwork Gazette, published during the last year of Wood’s life, had a very low distribution—possibly only 200 copies. And thanks to Richard Pryor for the latter-days photo of Wally Wood. [Art ©2001 estate of Wally Wood.]

In his final days Wood once more relied on hardcore sex comics to pay his bills. One of these, Gang Bang!, was one of the last things he worked on. In reality, others illustrated the lion’s share of these final stories, as Wood could hardly draw anymore. His friends did their best, but Wood was no longer capable of controlling the quality of the finished product. These stories were a sad finale for one of the field’s finest artists. But, as Bill Pearson put it, “At least it paid his bills for the last year of his life.” In the end, Wood was in and out of veterans’ hospitals and looked like the walking dead. He shared his health problems with his fans in the final issue of the Gazette: “Now I find that my kidneys are failing... A doctor in New Haven told me that they’re only operating at about 10% of capacity. And that I’ll need dialysis or a kidney transplant soon.” In a final, terrible irony, Wally Wood, the ultimate control freak, was

A panel from “The Precious Years” in Weird Science #19 (May 1953)—and the splash page of his two-page “Encounter.” Done shortly before his death, the latter may be Wood’s final science-fiction story. It appeared in The Cosmic Comic Book, colored by his friend Pat Boyette; it was reprinted in black-&-white in 1992’s Tales from the Edge, with tones by J. David Spurlock. [EC art ©2001 EC Publications, Inc; “Encounter” ©2001 estate of Wally Wood.]

A Short Biography of Wally Wood

still in print, and deservedly so. His artistic legacy is secure, and on that level, at least, Wood’s sacrifices were worth it.

In the twenty years since Wally Wood’s death, the jury is still out. From a fan’s point of view, his sacrifices were certainly worth it. He produced some of the most beautiful, beloved comics ever done. His readers continue to remember and treasure his legacy. Numerous articles have been written on the man, including an ambitious seven-part series by David Hogan for Outre magazine. Foreign reprints abound, and an extensive Wood biography is in the works. His friend and collaborator, Bill Pearson, has been unwavering in his efforts to perpetuate Wood’s artistic legacy. In addition to continuing witzend after Wood’s departure, he and Bill Crouch produced two volumes of The Wallace Wood Sketchbook in the early 1980s, preserving the artist’s earliest drawings and preliminary sketches. More recently, Pearson and publisher J. David Spurlock collaborated on the lovely Wally Wood Sketchbook.

But, on a more human note, the answers are less cut and dried. Woody’s whole life was contradictory. His work was the apex of what a comic book artist can strive for, but he suffered the terrible effects of a life without balance. By devoting himself almost completely to his art, he produced works of genius. But he did it by drinking his way through deadlines and by sacrificing years of his life. His final years are a chilling cautionary tale. If Wood had listened to those who loved him and had taken better care of himself, he might still be with us. But he was too stubborn. Wood signed this convention book illo when Michael met him at the 1972 “EC Lives!” comicon. The Wood caricature is by EC veteran Marie Severin. [©2001 Marie Severin.]

In the last few years, Pearson and Fantagraphics have produced a number of superb Wally Wood books, reprint collections Wood himself planned years earlier. To date, both Naughty Knotty Wood (collecting his X-rated material) and The Complete Sally Forth have seen print. A third book, The Complete Cannon, should be out by the time this article appears. In 1991, Marvel Comics devoted an entire volume of its Marvel Masterworks series to Wood’s seminal Daredevil run. Additionally, the 1982 book The Marvel Comics Art of Wally Wood reprinted the artist’s short-lived “Dr. Doom” series, as well as a handful of swordand-sorcery stories he had written and illustrated. No extensive book collection of his Tower work exists to date, but such a collection is inevitable. Though his T.H.U.N.D.E.R. Agents ended over thirty years ago, it is still remembered and is periodically revived. No revivals have been as successful as Wood’s original version. Publisher and longtime EC fanatic Russ Cochran deserves special praise. Over a period of twenty years his Complete EC Library reprinted virtually the entire EC Comics line in a series of beautiful black-&-white hardcover books, as well as inexpensive color reprints of the comics themselves. Thanks to him, every page of Wood’s EC output has been preserved for future ages. The late Bill Gaines deserves much credit, too. As EC’s publisher, he saved all the artwork Wood and other artists did for the company. His foresight preserved much of Wood’s finest art. Gaines and his successors have also kept Wood’s Mad artwork available to the public through various reprintings. In short, much of Wood’s best work is

The grounding of a real home life, separate from his work, could have given his life a much happier ending. Everyone needs times away from his or her job to rest and rejuvenate. Wally Wood thought he could keep going by sheer force of will. He couldn’t.

Wood never understood that one doesn’t have to be self-destructive to be a great artist. Many of our greatest cartoonists have lived happy lives and created brilliant work, Will Eisner and Joe Kubert being prime examples. Each has produced volumes of incredible comic art; but they also had a stable home life, and didn’t abuse their bodies. As a result, their lives have been longer and happier. To date, both have had an additional two decades to create wonderful comics. As a fan, I’m thankful for all the amazing things Wally Wood did accomplish in his short life. But I can’t help wonder what a sober, happy Wood could have produced in those two decades and beyond. Sadly, we’ll never know. Working yourself to death for your art may seem romantic when you’re a teenager—but Woody was old enough to know better. And he should have known that nobody can control everything all the time. Sometimes you just have to let go. [The author is extremely grateful to Bill Pearson for sharing his memories about Wally Wood, and for his invaluable help. I’d like to thank the members of the Wood List, as well as Russ Jones and others who worked for the Wood Studio, for their insights. Additional Wood info can be found on Russ Jones’ entertaining and informative website, Monster Mania 2000. Russ discusses working with Wood in the early ’60s and the creation of Creepy and Eerie. Check it out at: http://WWW.HOTAD.COM/monstermania/creepy/index.html [Jim Steranko’s insightful article in J. David Spurlock’s Wally Wood Sketchbook provided valuable information on Wood, as did Greg Theakston’s excellent Wally Wood Treasury. My sincere thanks to all three. And a tip of the hat to Jean-Francoise Masse for supplying copies of The Woodwork Gazette, and to R.C. Harvey and my wife, Janet Gilbert, for reading and commenting on my essay. [Thanks, too, to editor Roy Thomas and publisher John Morrow for giving us this forum. [And, most of all, thanks to Wally Wood—for creating worlds of wonder and sharing them with us.]

Avon Calling!

Avon Calling! A Fond Look at

Wally Wood’s 1950s Non-EC Science-fiction Work by Roger Hill

Wood would have if Wood could have—so he did! Two years before drawing himself in “My World” for EC (left), he was already producing dynamic science-fiction art for Avon and other comics publishers—in this case, a preliminary brush-andink wash drawing created as a cover idea for Space Detective! [EC art from Weird Science #22 (Nov.-Dec. 1953) ©2001 EC Publications, Inc.; sketch ©2001 estate of Wally Wood.]

I. The Origins Of Avon Even though Wally Wood’s name is most closely associated with the EC (Entertaining Comics) group, this talented artist—along with several assistants—actually turned out a wide variety of artwork for other comics publishers, as well, between 1949 and 1951. One of these was the Avon Publishing Company, then located at 119 West 57th Street in New York City. Avon was founded by pulp publisher Joseph Meyers in 1941 at the

request of the American News Company, which had lost one of its major paperback accounts to another distributor. Meyers, who had only a fifth-grade education, had an astute understanding of business practices and was the driving force behind the company during the early years. In February of 1945 he decided to enter the lucrative field of comic book publishing with the release of Molly O’Day - Super Sleuth. For whatever reason, this title didn’t fare well on the post-World War II comic racks of America, and no other issues ever appeared. This comic book became the first in a series of many one-shot productions released by Avon over the next fifteen years. Avon published no additional comics during 1946; but in 1947 it returned to the market with several new titles, including a western title called Cow Puncher Comics; a one-shot venture titled Eerie #1 (now recognized as America’s first horror comic book); and Peter Rabbit Comics. The funny-animal title turned out to be Avon’s longest-running comic, lasting from 1947 to 1956, some 34 issues in all.

Molly O’Day is on view in Jerry de Fuccio’s column in our flip section—but the next three comics published by Avon (all in 1947) were Cow Puncher Comics, Peter Rabbit Comics #1, and the original landmark Eerie #1. [©2001 the respective copyright holder.]

Although many of the Avon comics titles were short-lived, the company certainly attracted some of the better artists working in the field at that time, including Tex Blaisdell, Sid Check, Gene

A Fond Look At Wally Wood’s 1950s Non-EC Science-fiction Work Fawcette, Al Feldstein, Al Hollingsworth, Graham Ingels, Jack Karen, H.C. Kiefer, Everett Raymond Kinstler, Joe Kubert, Gerald McCann, Gus Ricca, John Rosenberger, and many others... including Wally Wood.

II. Wood Arrives Wally Wood came to Avon in 1950 after producing a lot of romance art for Fox Publications and not getting paid very much for it—or not getting paid at all. In 1949 he had connected with an art Circa 1950, Harry Harrison was a agent named Renaldo Epworth, comic book artist, but a decade who supplied art to Fox. Epworth later he was writing science-fiction would pay cash money for for Astounding, including his completed pages, but only at about famous “Stainless Steel Rat” series. half the rate Fox paid him. Apparently Epworth, as an agent, had a better chance of getting money out of publisher Victor Fox than did the artists themselves. Since Fox’s rate was only $5 a page, Wood pocketed only $2.50 a page when he sold art to Epworth. Out of that he had to pay anyone who had assisted him. This seems pretty minimal until you realize that, at the time, Wood shared an apartment with another artist for $3 a week. By this stage he had already worked with several other assistants or artists, including Marty Rosenthal, Moe Marcus, Maurice Gutworth, Ernie Bache, Jerry Kolden, and Harry Harrison. As Harrison recalled in a 1973 (#15) issue of Bill Spicer’s Graphic Story Magazine: “We were a complete team; we did everything together. In the beginning I think he penciled and I inked. Then he got very good with inking and did heads and hands. He’d break down the pages very tight with the figures, and we’d pass the pages back and forth, each handling certain kinds of swipes. We were illustrating a lot of romance titles which were big then.”

genre ever since childhood, when he had doodled and created his own science-fiction worlds with a fountain pen. Although Harrison wasn’t destined to work with Wood on Avon sf projects that lay ahead, he and Woody together were instrumental in getting Bill Gaines interested in doing science-fiction comics. Harrison spoke about it briefly in Graphic Story Magazine, saying, “Somewhere along the line we talked Bill into trying to start a science-fiction comic, only instead of doing real sciencefiction, he copped out and called it Weird Science. I gave Gaines a lot of it to read. He was always open to suggestions, so Wally and I kept pushing and pushing. I’m sure Weird Science and Weird Fantasy didn’t do very well.” Harrison may have forgotten that EC actually did present some fairly sophisticated plots in their two science-fiction titles, opting to stay away from the typical shoot-’em-up “raygun”-type stories regularly featured in Buck Rogers and Planet Comics during the 1940s. EC science-fiction stories, for the most part, were intelligent and wellplotted. After all, it was Gaines and EC who first brought the stories of Ray Bradbury to the comics.

III. A Guy Named Joe In late 1949 Wood met another young artist who would become a close friend and major collaborator for the next two years—Joe Orlando. Years later, Orlando described his initial encounter with Wood in an interview in Greg Theakston’s The Wally Wood Treasury (1980): “I met Wally in Epworth’s office one day, and we got to be pals. I didn’t know it, but my work was being sold to Fox Comics. Wally was a step ahead of the game; he knew where our stuff was being sold and suggested we get a studio together. Wally was fascinated with how fast I could pencil something he could ink.” Still in late ’49, Wood leased studio space on the second floor at West 64th Street and Columbus Avenue. Joining Wood there at periodic intervals were Orlando, Harry Harrison, Marty Rosenthal, Sid Check, Roy Krenkel, and a salesman by the name of Ed McLean. It was at this studio that the young artists juggled several accounts, including Avon, EC, Fawcett, Fox, Master, Quality, and Youthful. As Wood and Orlando formed a closer working alliance at

Working together as “Harrison and Wood,” the pair began to establish a track record of sorts, doing mostly romance comics. It was this work, and the frustration of low pay coming from Fox or Epworth, that eventually led the two men to the business offices located at 225 La Fayette Street, the home of good old EC Comics. In mid-1949 they met with publisher Bill Gaines and showed their samples to editor Al Feldstein, who hired them at $26 a page. Their work began to appear during the winter of 1949-50, mostly in EC’s romance titles. As Harrison remembered: “We had a carload of romance credits in those days at Fox. It was about all you could get: some crime, but Feldstein and Craig had the crime sewed up, doing most of it themselves.” Harrison loved science-fiction and had been an active member in the New York Queens Science Fiction League since 1938. Wood had also had a strong interest in the

Avon Calling! For reasons that are still unclear, 1950-51 were Avon’s most productive years in terms of publishing output, both in paperbacks and in comic books. In 1950 seventeen comics titles were produced, and in 1951 a total of thirty new titles were released. All genres were represented, including crime, funny-animal, horror, romance, war, western—and science-fiction.

the studio, temperamental friction eventually developed between Wood and Harrison, who soon severed their relationship. Orlando and Wood continued cranking out work for such Fox titles as Judy Canova, Pedro, Dorothy Lamour, Martin Kane, and Frank Buck.

When Fox went bankrupt in early 1950, owing Wood and his assistants a lot of money, Orlando became disillusioned and decided to end his career as an artist. He took a stockroom job for a With Sol Cohen at the helm, Wally Long Island handbag manufacturer that Wood was soon immersed in more Avon paid him $37.50 a week. Orlando was work than he alone could handle. His miserable at the new job, but only for a Space opera comics of the ’40s: Buck Rogers #4 (1941) and first complete book for the company was few months. Wood soon began calling Planet Comics #45 (1946). Hey, if it was good enough to inspire the one-shot Captain Steve Savage him, asking him to help out on jobs on George Lucas...! [Buck Rogers and Planet Comics art ©2001 over Korea!, dated 1950. Wood turned which he was late. At first Orlando the respective copyright holders.] in 22 pages of beautifully detailed work refused, citing all the bad experiences he’d depicting a jet ace fighting the air war in Asia. The cover was rendered had in the comics field thus far. But Wood was persistent in a gentle by veteran Fiction House and Quality Comics artist Gene Fawcette. way, and Joe reluctantly began helping out a couple of hours a night. Fawcette had a good eye for compositional cover designs, which is what This soon turned into four or five hours a night, and by the end of a Cohen wanted. Cohen was also very fond of Everett Raymond month he was making fifty or sixty dollars a week doing comics. Kinstler’s work on covers; Kinstler was extremely fast and always turned in top-notch work. By this time Wood was already buried in Avon work, having been Next for Wood came a special one-shot called Flying Saucers, which hired by the company’s new comics editor Sol Cohen during the was Avon’s first science-fiction comic book. It debuted in late 1950 and summer of 1950. Max C. Gaines, founding publisher of EC Comics, had sold well enough to warrant a reprint edition two years later. Here are hired Cohen as his circulation manager in 1946, and Cohen had served 21 pages of pure Wally Wood art and lettering, in one of the first jobs in that position through 1949. From this experience, and from serving as where he actually credited himself with a small banner on the splash secretary-treasurer of the Association of Comics Magazine Publishers, page that said “Art by Wood.” Inc., from 1948 to 1950, Cohen had

IV. From Korea To Venus

learned a great deal about the comic book industry, and about circulation. (The ACMP [1948-52] was the first organization sponsored by the comics industry to help regulate the contents of comic books.) Cohen was a tall, thin, spectacled man who was always on the go and could get things done quickly. He was also a fast talker with a gift of gab, which is probably one of the reasons he got hired as head editor of Avon’s comics titles. He had met Wood while working at EC and liked his work very much.

Flying Saucers is the story of explorer Ross Lanning, who while on expedition in a South American jungle is captured by a band of headhunters and thrown into a volcanic crater. While struggling to find a way out, he discovers a vast underground cavern filled with strange machines and transparent caskets inside which repose the figures of an alien race. Lanning releases one of the creatures from suspended animation, which leads to the quick release of all the other aliens. They soon reveal their hidden flying saucer spacecraft and depart into the open skies, seemingly on a mission to invade Earth. The plot eventually reveals that the aliens are not from another planet but are the last survivors of a race that was destroyed millions of years ago right here on Earth. This resulted from their development of atomic energy and bombs that eventually destroyed most life forms on the planet. The story concludes as Ross Lanning joins forces with the aliens to ward off the current civilization of humans who are now developing the same atomic weapons, which are once again leading scientists toward the path of total destruction. Gene Fawcette did this cover, too; but from this inside front cover on, An Earth Man on Venus (1951) was a Wood-and-Orlando triumph. [©2001 the respective copyright holder.]

Flying Saucers is a great comic book, and one of the first to publicize the

A Fond Look At Wally Wood’s 1950s Non-EC Science-fiction Work

the young Wally Wood and Joe Orlando. Gene Fawcette turned in another outstanding cover for Earth Man, making it one of the best over-all Avon science-fiction one-shots ever produced.

possible hazards of developing atomic energy and weapons. Orlando’s earliest effort upon returning to Wood’s studio was laying out pages and doing backgrounds for another Avon one-shot, An Earth Man on Venus. This 26-page science-fantasy story was based on Ralph Milne Farley’s original 1924 story “The Radio Man”, featuring the Edgar Rice Burroughs-influenced exploits of scientist Myles Cabot, whose experiments accidentally transport him to the planet Venus. Here he falls in love with Princess Lilla and fights the horrible ant-people to free the enslaved “Cupian” civilization. It is high adventure and strange romance on a world of mystery, perfectly suited to the imaginations of

An Earth Man on Venus also introduced something new and different for the selective comic book buyer of the 1950s: a black&-white preview page on the inside cover, depicting highlight scenes from the story about to unfold. Avon was one of the few comics companies From A to Z—from Avon to Ziff-Davis—Wally Wood seemed during the ’50s to to be everywhere in the early 1950s! The splash page of a utilize this method story he did for Z-D’s Amazing Adventures #1 of introducing a (Jan-Feb. 1951). [©2001 the respective copyright holder.] potential reader quickly to the contents of its comics, the minute he/she opened the cover. Usually the cover art alone was enough to grab a kid’s attention during the 1950s, and most publishers reserved the inside front and back covers for paid advertising. Not Avon. Since these inside cover pages were run without color, they afforded Wood and Orlando the opportunity for further delineation through the use of lots of Zip-a-Tone and Craftint art paper for grey-tone shading effects. During the next year or so, Wood and Orlando would produce over a dozen of these inside preview pages, most of which were spectacular! Without the added color, one can more clearly see and study the detail of these artists’ fine line work. Wally loved Joe’s layouts and could ink them even better than Joe himself. He also had huge files of work by other artists and taught Orlando how to adapt various aspects of other styles into his own art. Their major influences were the big four of comic art illustration: Foster, Raymond, Caniff, and Crane, with a lot of Will Eisner thrown in for good measure.

Wood was always busy, and sometimes on his own would squeeze in science-fiction jobs for other companies. One of his finest efforts for Youthful Publications was a seven-page story entitled “The Monster God of Rogor” that appeared in the first issue of Captain Science (cover-

Avon Calling! table and from having Joe Orlando as an assistant. Orlando recalled those days in a 1980 interview: “It was a team effort. When I brought in Captain Science, Wally went through the roof. We really wanted to do the book, but our backlog was staggering.” Captain Science ran for seven issues between November 1950 and December 1951 before succumbing to poor sales. The four stories produced by Wood and Orlando depicted the adventures of Gordon Dane (better known as Captain Science, Master of Knowledge) working out of his secret laboratory with his devoted assistants, a teenage boy named Rip and a typically vivacious female called Luana. Jetting through space via their “flying saucer” and following the alert messages of the “robot brain” in Captain Science’s lab, the threesome set off on numerous missions to combat the forces of evil threatening the universe.

date Nov. 1950). He also drew a beautiful nine-page job called “Winged Death on Venus” for the first issue of Amazing Adventures, also dated Nov. 1950, published by Ziff-Davis.

V. Heroes Of Science During 1950-51 Wood became fully entrenched in EC’s “New Trend” comics titles, producing quality work for all genres: crime, horror, war, and science-fiction. By this time he had gained considerable recognition as a new leading talent in the comics field and was pacing himself at the rate of three finished pages a day. Years later he was quoted as saying, “My Avon period... I was working for EC at the time and Captain Science and one other company, and I did a page a day for each of them.” This amazing display of prolific output resulted from Wood’s selfdiscipline of spending Captain Science #5 featured their second twelve to fourteen hours a cover for the series, signed “OW.” day sitting behind a drawing [©2001 the respective copyright holder.]

Avon had its own equivalent of Captain Science, which, oddly enough, had debuted at exactly the same time. “Kenton of the Star Patrol” had begun in Strange Worlds #1 (Nov. 1950), illustrated by Joe Kubert. Wood and Orlando picked up the art chores with the third issue. This new space hero was Captain David Kenton, who wore space boots almost up to his hips and fought a constant war against the oppressive forces trying to control the universe. Kenton stories by Wood and Orlando ran in Strange Worlds #3, 4, and 5, between June and November of 1951.

Avon’s other two-fisted spaceman came in the form of Space Detective, for whose debut issue (dated July-August 1951) Wood and Orlando drew the cover and provided 23 interior pages of art. Wealthy young philanthropist Rod Hathway and his beautiful secretary Dot Kenny, at a moment’s notice, would change into costumes and become “Space Detective - The Avenger” and “Teena.” Feared by the

A Fond Look At Wally Wood’s 1950s Non-EC Science-fiction Work criminals of three worlds (Earth, Venus, and Mars), the interplanetary sleuths battled a host of corrupt space pirates, smugglers, and bandits who threatened the spaceways. Space Detective was as well drawn as any of the space heroes that Wood and Orlando visualized for Avon or Youthful during 1950-51. What is amusing to note is that The Avenger (as he was usually called inside) and Teena maintained secret identities, The inside front cover of Space Detective #1. even though they [©2001 the respective copyright holder.] never wore masks! Teena’s “costume” consisted of nothing more than a skimpy halter-top blouse with sleevelets of a see-through chiffon-type material. Not exactly something to keep a gal warm while floating through space, but certainly appropriate for the way Wood and Orlando enjoyed drawing women: sexy and wearing seductive clothing! The Avenger and Teena also employed, on occasion, space helmetry different from that of Captain Science or Kenton. Instead of the usual round helmets, they wore what appears to be a flexible “glassine”-type, pointed, bubble-shaped helmet, very similar in design to what Alex Raymond had created for Flash Gordon in the late ’30s. Wally and Joe provided beautiful covers for Space Detective #1 and #2, and from this point on were allowed to draw the covers for virtually every Avon comic in which their work appeared.

VI. Horror And Crime In 1951 Wood, Orlando, and Sid Check turned in the 25-page masterpiece Avon one-shot titled The Mask of Dr. Fu Manchu. Wood drew most of the book on his own, which included the cover and inside cover preface page. Several different cover sketches had been submitted and rejected by Sol Cohen before the design was finalized. Years later, Orlando described one of these unused cover ideas: “It was really nice. I remember it had a large face and big hands with claws. Really nice. Most covers were submitted in same-size color sketch for prior to our doing them.” At about the time Avon decided to re-enter the horror comics market with a new incarnation of Eerie (this #1 was cover-dated May-June 1951), the team of Wood and Orlando had just completed a horror cover and interior story for Dark Mysteries #1 (June-July 1951), published by Master Comics, Inc. The cover, depicting the hero and a sexy Wood heroine discovering the skeletal remains of a winged creature, is a great example of these artists’ combined talents. It is also one of the first covers to bear the initialed credit “OW” in the

background, for Orlando and Wood. An added bonus was that the comic sported a horrific logo designed by Wood himself. Wood had developed a form of lettering that was unmistakably his, adapted from his experience lettering the Spirit newspaper strip for Eisner in 1949. He continued using this lettering style on many different projects throughout his career. One month later, Avon released the second issue of Eerie (cover-dated Aug.-Sept. 1951), also featuring a fantastic cover by Wood—the first of his career ever signed with the name Wood & Orlando’s initialed cover for Dark “Wood.” This cover signature Mysteries #1 (June-July 1951). actually predates his first signed [©2001 the respective copyright holder.] EC cover (Weird Science #9, Sept-Oct. 1951) by one month, and occurs before he adopted the oldEnglish font for his signature. For the next few issues, the covers for Eerie were dominated by Wood, Orlando, and Sid Check. Other Avon titles to which Wood and Orlando contributed were Gangsters and Gun Molls, All True Detective Cases, Famous Gangsters, Murderous Gangsters, Police Line-up, Prison Break, US Paratroops, and Witchcraft. Sid Check helped out on some of these projects. Because he was capable of simulating Wood’s style so well, it can be quite difficult now to determine where one artist’s work ends and the other’s begins. Check, who had worked off and on with Wood since around 1949, was a huge fan of comic books and had collected them while

Avon Calling!

growing up in the 1930s and ’40s. He held Wood, Frank Frazetta, Al Williamson, and Roy Krenkel in high regard and eventually became friends with all these talented giants. Check developed into what some fans might call “a poor man’s Wally Wood.” That is, while he could emulate most of the technique or characteristics that made Wood’s work so identifiable, he couldn’t draw as well as Wood. His early efforts for Avon appear to show an artist struggling to draw human anatomy better than his ability allows.

VII. Farewell To Avon By early 1952 Wood and Orlando had basically decided to work fulltime for EC. Wood had already been a steady EC contributor since the summer of 1950, providing stories for nearly all of EC’s “New Trend” titles. Orlando followed suit during the fall of 1950, doing stories strictly for EC’s horror and science-fiction books. Sid Check stayed with Avon a little longer and eventually freelanced all over the field. During the summer of 1952, probably through Wood’s introduction, he was given the chance to draw two horror stories and two sciencefiction stories for EC. Probably because his style was so close to Wood’s, and due to EC’s taste for diversity among its ranks, he did not secure fulltime work there. He went on to become a major contributor to Stan Lee’s Atlas comics and did some wonderful stories for the Harvey horror line in 1953-54. Check eventually faded totally out of comics and during the 1970s disappeared completely. Harry Harrison graduated to a celebrated career as a sciencefiction writer, while Wood and Orlando went on to become two of EC’s brightest stars. They continued to work in the comics field for many years. Avon closed out its comics branch in 1956 but continued publishing paperbacks.

The sciencefiction and horror art that Wood and

A Wood gal (in a scarlet blouse, so she’s probably supposed to be “The Lady in Red”) nurtures Dillinger on the cover of Famous Gangsters #2 (Dec. 1951)—not that you could tell that was the mag’s real title from the logo! On Sid Check and Wally Wood’s inside front cover, three gangsters were featured—including Dillinger again with “The Lady in Red,” the most famous “finger man” since Judas! [©2001 the respective copyright holder.]

Orlando did for Avon and other small comic book companies during the 1950-51 time frame remains today some of their most-collected work. While some of it may appear crude and amateurish in comparison to their later efforts, it does represent a unique period of growth and development for both men. Wally Wood and Joe Orlando were destined to go on to greater achievements in the history of comics. Their names shall be with us for a very long time. [Roger Hill has been a life-long fan and collector of Wally Wood artwork and memorabilia. He is currently wrapping up his job as art director on a forthcoming book about Wood edited by Bhob Stewart. Contributing writers for this book are: Dan Adkins, Len Brown, Diane Dillon, Clark Dimond, Larry Hama, Russ Jones, J.D. King, Paul Kirchner, Paul Krassner, Bill Pearson, Trina Robbins, A.L. Sirois, Flo Steinberg, Tom Sutton, Al Williamson, and John Workman.] We opened with a preliminary drawing of Space Detective—and we’ll close with one. Or is that Captain Science—or Captain Dave Kenton—or...? [Art ©2001 estate of Wally Wood.]

“A Dream Come True!”

“A Dream Come True!” A Candid Conversation with DAN ADKINS about WALLY WOOD and Other Phenomena Conducted by Roy Thomas

[DAN ADKINS, who was born in 1937, has been a comic book artist since 1965, when he began working for Wally Wood on the first issue of Tower Comics’ T.H.U.N.D.E.R. Agents. We used his interview last year in our TwoMorrows sister publication Comic Book Artist (#7) as a getting-on point for this one. Our avowed purpose this time around was to concentrate on Dan’s work with Wood and his early career after he struck out on his own.] ROY THOMAS: I believe you’ve said it was EC Comics, including Wood’s work, that first got you really interested in comics as a teenager.

Transcribed by Jon B. Knutson

ADKINS: That was just a made-up word. I was a draftsman in the Air Force at the time I met Bill. If a change was made to a building on the base, we’d have to update the blueprints. I also drew a lot of electronics stuff, engine corrections, etc. After I got a second stripe as Airman Second Class, I became an illustrator—from about eight months after basic training, for the remaining three years I was in the service. When I got out I was the equivalent of a staff sergeant. As an illustrator, I had a whole room to myself with equipment to turn out posters to put in front of the base library or movie theatre. We also did a magazine where we’d list all the happenings. We had to spend a certain amount of money per month in order to get the same amount the next month. And I couldn’t come up with enough things to spend the money on, so I started a fanzine! [laughs] The Air Force paid for Sata.

DAN ADKINS: Yeah, the whole EC line, but especially the sciencefiction. We’d be looking for Wally Wood covers at the drugstore in our Dan Adkins (in ’95) and Wally Wood (in ’53) flank Dan’s recent re-creation of home town every Tuesday and the cover of T.H.U.N.D.E.R. Agents #2 (Jan. 1966), repro’d from the original Thursday; that’s when the comics art. Boy, Wally sure loved smashing through brick walls! used to come in. I got in around [Art ©2001 Dan Adkins; Dynamo & Dynavac ©2001 John Carbonaro; Weird Fantasy #11 or 12, just when Wood Photo ©2001 EC Publications, Inc.] RT: Did they know they paid for it? they really started getting good. I ADKINS: I had a civilian boss, and he knew it, yeah. It didn’t cost a don’t get that thrill no more! You can’t get back that enthusiasm you heck of a lot to put out a little dittoed fanzine. had when you were fifteen. I liked Williamson and Davis and Crandall and Evans... all the top guys were my top guys. I wasn’t into DC RT: When were you art director of the Robert E. Howard fanzine Comics or super-heroes at that time. Later on, I got into Kirby. Amra? RT: In this same issue of A/E, Bill Pearson talks about your joint fanzine Sata...

ADKINS: That was very early. We got drawings from Frazetta and Krenkel because I knew Roy Krenkel. That’s one reason they made me art editor! It wasn’t for my abilities; it was for who I knew!

“A Dream Come True!” RT: I met you in either the last week of June or the first week of July, very soon after I arrived in New York myself. You were already working for Wally—on the second issue, I recall.

RT: How much professional artwork did you do for the pro science-fiction magazines before you went to work for Wally? ADKINS: I started doing that at nineteen; I was 28 when I started working for Wally. Besides the sf art, when I was about 24 I was an art director for American Druggist and New Medical Material, magazines put out by Hearst. We turned out 92-page biweekly medical journals. We had this big dummy room with all these shelves where we laid out every sheet; you had to order the galleys—what they called thumbnails, which is a block of print that’s a photograph. I learned a lot there. I quit after about three months and went into advertising, working for Advertising Super Mart, where I did paste-up mechanicals—then Le Wahl Studios. That’s the last place I worked before I went to work for Wally. RT: How did you meet Wally Wood?

ADKINS: Wally’s studio was around West 76th Street, about a block off Central Park. We had to walk up five flights of stairs. The first four pages of that first “Iron Maiden” story had to be done over. Wally didn’t like the artwork, which had been done by somebody else. He said, “Adkins, I’ll do a thing for your fanzine, but I’m really jammed up right now; I’ve got to do this last story over because it’s no good. If you’ll help me repencil and ink this story, I’ll do your drawing.” Of course, it was a year later before he did that drawing! RT: And by then he’d taken over your magazine, which had become witzend. Wally became identified with Iron Maiden, Dynamo’s sexy arch-enemy, and yet at the time he might not have even wound up doing her initial story!

Dan during basic training, US Air Force, 1955... and with Jeanette Strouse in 1956, at age nineteen. [Photos courtesy of Dan & Jeanette Adkins.]

ADKINS: I met him through Bill Pearson. I saw a letter of Pearson’s in Amazing Stories [sf magazine]. His address was Phoenix, Arizona, and I was stationed at Luke Field outside Phoenix, so I thought he might know some girls there! I was nineteen at the time. He didn’t really want to meet anybody; he was sort of a shy guy. But I went out and talked to him that night, and showed him my collection of fanzines. Later, up in New York, I was doing art for the science-fiction magazines, but I couldn’t make enough money at it, so I worked in advertising while I was also drawing for Amazing and Fantastic and Infinity and Science-Fiction Adventures. Half of these were put out by Larry Shaw, who also published one of the first monster magazines, Monster Parade, ’way before Famous Monsters of Filmland. Part of Monster Parade was stories, for which we did illustrations. While I was doing all this, Pearson had moved to New York, too, and I guess he wanted to get into writing. He had this big apartment in the ’70s over near the river, and he got to meet Wally through Krenkel or somebody. I went up to Wally’s with Pearson to get a full-page drawing from Wally for my fanzine Outlet. But Wally was too busy to do a drawing for me, unless—[laughs] Well, he offered me work to help him out! I had drawn nine pages of a war story, but I didn’t show him my science-fiction illustrations. Later on, I showed him my sf drawings, and he said that if I’d shown him those, he wouldn’t have hired me, because they weren’t as good as the war story, which was my latest work! [laughs] So anyway, I started working as Wally’s assistant, helping him on the first “Iron Maiden” story in the first issue of T.H.U.N.D.E.R. Agents. That was around June or July of 1965.

ADKINS: He might’ve laid it out, might have done the breakdowns. I repenciled it at home, almost overnight, and then we inked it together at the studio. That’s why it’s a little awkward, because I don’t think I had the style or consistency with it yet. Meanwhile, Wally was repenciling the first story in T.H.U.N.D.E.R. Agents #1. Do you remember the first four pages of the issue, that were like an introduction? These Agents are breaking into a building. Sam Schwartz [editor at Tower Comics] had recommended Larry Ivie to Wally, and Larry had penciled that story, but somehow Wally wasn’t satisfied with it, so he did it over while I did the back story. Wally penciled and inked four pages while I did ten or fifteen. [Note: See page 33.—R.T.] RT: Some time back, Larry sent me a copy of Scary Monsters magazine in which he mentions the cover of Daredevil #10—I think it’s the one you talked about in CBA #7—which had these beast-men and DD on a ledge. Someone asked you if you drew it, because the Daredevil figure was a bit unusual for Wally. Larry says he did that cover, or nearly all of it. ADKINS: I know Wally was finishing up his last Daredevil when I came to work for him. But I don’t know anything about Larry doing it. My assumption was that Bob Powell did it. RT: A lot of people worked on the early Daredevil. [laughs] Stan must’ve been at his own wits’ end. Wally was just leaving Daredevil when I came to work at Marvel in early July of ’65. John Romita walked in two weeks after I did and immediately got the Daredevil assignment. The book had sold well under Wally, and sold even better under Romita. So, was your early work with Wally mostly on T.H.U.N.D.E.R. Agents? ADKINS: No, there was a lot of stuff. We did Total War [also called M.A.R.S. Patrol] for Western or Dell; so we had to keep the word balloons an eighth of an inch from all the borders. [laughs]

RT: They did that at DC a couple of years later, too. It was a really bad idea.

A Candid Conversation With Dan Adkins

ADKINS: The balloons take up more space that way, and the drawing is affected by it. We also did Fantastic Voyage for them, which was mostly inked by Tony Coleman. RT: You and Wally must’ve done a good Raquel Welch. ADKINS: Oh, yeah, we got some stills from the movie. We got a full script, too, and I think somebody got to see the movie. [laughs] RT: It’s kind of ironic that the first story on which you received a credit for your work with Wally was called “Overworked!” ADKINS: Yeah, that was around Creepy #11, I guess. Wally was working for Warren while he was also working for Tower and Harvey, as well as for Western. RT: No wonder he needed a lot of help! Who were the other people working with him then? Was Ralph Reese there yet? ADKINS: Yeah, Ralph was there a couple of months before me. He was only sixteen. And of course Wally’s wife Tatjana was a great inker, and a good colorist, too. RT: You mentioned a name I didn’t recognize—Tony Coleman. ADKINS: He was there about six months. He also worked on T.H.U.N.D.E.R. Agents #2 or Dynamo #2, the one where he’s beating up a bunch of guys in army uniforms on a beach. Coleman was English; he came to Canada and couldn’t find work there, came down to America. Joe Orlando sent him up from DC to Wally. He’d lost his portfolio somewhere between Canada and here, also his money, so he was working for freight money to get back to England. He was 34—Wally was 38. After Coleman left, it was just me and Wally and Tatjana. Ralph didn’t do too much except on the Topps Bubble Gum stuff. A lot of those were Ralph’s ideas, and Wally and I were just polishing them up. We did some creatures called “The Uglies,” people twisted into shapes. Wally and I did six record album covers—War of the Worlds, Invisible Man— remember those things advertised in the back of the Warren books? We did The Munsters for Western, too. I did maybe eighteen or twenty “T.H.U.N.D.E.R. Agents” stories for Wally, including the “Dynamo” ones. He usually broke them down on typing paper, and I’d take it from there and do tight pencils. There were four stories for which I did the layouts myself, even the little breakdowns. The penciling on those was all mine, and those are the ones I got credit for.

I showed Wally where Steranko was doing “S.H.I.E.L.D.” over at Marvel, and he was getting credit. Wally could see I was a little jealous [laughs] and he gave me credit that day! It said, “Adkins and Wood.” Which led most people to think it

Dan informs us he penciled this page from T.H.U.N.D.E.R. Agents #5 (June 1966), including what he calls its “terrible machinery.” It’s “all Wally inks,” he says, “except NoMan’s back in Panels 1 & 2—that was inked by Tony Coleman.” Ye Editor still thinks the agent called Weed looks a lot like Wally! Repro’d from photocopy of the original art, in the collection of John Harrison. [©2001 John Carbonaro.]

was penciling by Adkins and inking by Wood, but it was actually the other way around. RT: Basically, your job was to make it look as if Wally had done it all, right? ADKINS: Yeah. There was one story, “The Black Box of Doom,” which I penciled with no breakdowns from Wally. And Wally didn’t like it too well. [laughs] So it was inked by Chic Stone! If Wally and I had done it, it would’ve looked a helluva lot different. You’ve got to remember that Wally was still the lead character there; his style was on everything. The jobs looked great mainly because of Wally, not because of me. There’s just that little extra bit that’s better. When I went off and did my own stuff, like “Day after Doomsday” and other things I did for Creepy, then you get an idea what my talent was, but I don’t think anyone comes up to Wally. RT: He was certainly a major talent. Was the Weed character in T.H.U.N.D.E.R. Agents based on him? ADKINS: It looks like Wally, but that character’s based on Ralph, I

“A Dream Come True!” guess. Dollar Bill Cash was supposed to have been Wally, too. RT: I know Wally smoked all the time. Flo Steinberg, Stan Lee’s secretary back in the ’60s, says her job when he had story conferences with Wally was to try to keep the ashes from Wally’s cigarettes from dropping on the floor. ADKINS: Yeah. I was just thinking—I don’t think we ever had the radio on, though I do remember a few times hearing talk shows. We mainly just worked—no music, no TV, nothing. There was one drawing board, and I had a lap table. Tatjana used to sit in one of those ill-fitting beanbag chairs with one of those lap boards. There was a board where you’d cut things—and that was it!

RT: I’ve heard it said Wally was slated to go from Daredevil onto the then-upcoming “Sub-Mariner” solo series in Tales to Astonish, but that he had a falling-out with Stan. Did you ever hear anything about that? I never heard about any fight, though I know Wally’s thoughts about Stan were never too kind, to say the least. [laughs] And that last Wood DD cover [#12] was just a stat, so maybe Wally refused to do a cover for his last issue!

ADKINS: One of the reasons Wally left Marvel was that he wanted a percentage, and I don’t think anybody was getting percentages. RT: [laughs] I don’t, either—including Stan! ADKINS: They might’ve been getting bonuses. But Wally had this ideal of his work, and he would ask me occasionally, “How many people do you think know who I am?” And I’d say, “I don’t know... one million? Two Million? Ten million?” [laughs] Then he’d go back to work. Then he’d say, “You think they should have a Wally Wood Parade down Fifth Avenue?” And I’d say, “I think you’re reaching!” [laughs] A weird man. I think he got decent rates; he got $200 a page for his stuff at Mad, and that was in the ’50s and ’60s. RT: I know Stan certainly liked having him at Marvel. Wally got his name on the covers of some issues, even once when he was just inking The Avengers. At that stage, even Stan and Jack didn’t have their names on the covers—but Wally Wood did!

exploited to some extent—surprise, surprise! [laughs] ADKINS: When I first started penciling for Wally, I got $4 a page! RT: Yeah, so you were exploited by Wally! [laughs] Like Bob Dylan sang, “Everybody’s got to serve somebody!” ADKINS: Wally was getting the other $16 a page. By the time I quit I was getting $18 a page and he was only making $2 a page on the deal. And he made us write stories. I wrote an airplane story for Harvey. I wrote a V-1 story... and they made me read novels to get the background information on the V-1. I wouldn’t have done this for anyone else! But I really enjoyed working for Wally. I liked Wally; I liked seeing the work. He was one of my favorite artists, so this was like a dream come true for me. RT: What do you think are the main things you learned from him that you might not have learned if you hadn’t worked for him?

ADKINS: Yeah, they gave him good promotion. RT: I think Wally was just one of those guys who always feels exploited. ADKINS: He was! RT: Of course, we’re all

In the late ’60s, Wally and Dan did these two never-published drawings of S.P.I.D.E.R. henchmen from T.H.U.N.D.E.R. Agents. The illo on the left was penciled by Wood and inked by Adkins; the artists reversed roles doing the one on the right. Repro’d from photocopies of the original art. [Art ©2001 Dan Adkins; S.P.I.D.E.R. ©2001 John Carbonaro.]

ADKINS: You learn the essentials of what to put in, and not to just put in and put in. See, what happens when an artist

A Candid Conversation With Dan Adkins

begins is, he doesn’t know that much having emotional problems, too. It’ll Larry Ivie’s visual script for the first T.H.U.N.D.E.R. Agents story and the finished Wood splash from T.H.U.N.D.E.R. Agents #1 (Nov. 1965). about it, so he just keeps putting stuff show up in their work if a person is Courtesy of Bill Pearson. [©2001 John Carbonaro.] in, hoping it’ll look better. “Yeah, having a hard time in their regular this’ll save it!” Basically, what art is life, you know? It’ll show a lack of about is knowing what not to put in, learning that a lot of stuff would confidence. clog it up. Of course, Wally put in all kinds of stuff in the beginning of RT: So what made you finally decide to take that walk down to see his work, but he knew more about what he was doing. And, later on, I Archie Goodwin about doing some solo work for Creepy and Eerie? think a lot of people thought his art wasn’t as good because he didn’t do all that stuff any more. RT: He would disown that early work, like the EC stuff. And of course to many of us that was his best art! But he probably did get technically better. ADKINS: What he didn’t quite understand is, art is more than just the drawing. He put more Wally into that early work, more of his love for it, and that shows in everybody’s work. It shows when a person is

ADKINS: Wally had already said a few things to me about T.H.U.N.D.E.R. Agents not selling that well. There was resistance from distributors about carrying 25-cent books. Tower was having a hard time getting their books out there in the marketplace, as well as selling them. So Wally said, “You know, we might have to cut back.” And sure enough, after I quit, they only lasted another three or four months. I did about three stories for Warren. Then in late ’66 I went in to Marvel with my samples and saw [production manager] Sol Brodsky, and he took me in to see Stan. Stan asked me who I’d like to do, and I said Dr. Strange and Sub-Mariner. So Stan and I came up with a plot for “Sub-Mariner.” RT: Tales to Astonish #91... the one with the undersea “It” monster.

Adkins’ solo work for Creepy’s sister publication Eerie included the story “It!”—scripted by Archie Goodwin. (But if Eerie and Creepy were “sister publications,” what does that make Vampirella— chopped liver?) [©2001 Warren Publishing Co.]

ADKINS: Yeah. But while we were talking, Sol Brodsky came in with a “Sub-Mariner” story penciled by Bill Everett, and Stan handed it to me. “You want to ink this first?” [laughs] Maybe they just wanted to see what it would look like. As for our “Sub-Mariner” plot, Stan gave me an index card and I wrote it down. And Stan did all those poses

“A Dream Come True!” It was a giant soldier. I’ve even seen it used in a Mexican “Conan” comic in the mid-1960s—that same warrior. ADKINS: What’s funny about Mexican comics: I made up some rockets for that “Iron Maiden” story in T.H.U.N.D.E.R. Agents #1, and I put a lot of detail on them, and Wally took the job away from me and he wouldn’t let me ink for a while. I inked on that first job, but then for about six months I did mostly penciling, because I’m doing it like Virgil Finlay, with all the little details. But anyway, that same panel was swiped for those black-&-white Mexican comics three months later. [laughs] I remember, in that X-Men, someone touched up the heads of one of those young characters. And in the opening sequence I used one of those girls from the Martian stories Wally had done. It was just one of a few fill-in stories I did before I got “Dr. Strange.” You’d just come into the office—that’s when I lived in New York—and they’d just need someone to ink a story, or do a cover. RT: You also drew the cover for the next issue—X-Men #35, gueststarring Spider-Man. ADKINS: Yeah. People give Kirby credit for laying that one out. But he didn’t. The Spider-Man is a direct swipe from Ditko, just redrawn a little bit. The X-Men figures were all swiped from Kirby. RT: You put them together in a nice layout. I was proud of that issue, because except for a couple of panels I’d written into an X-Men a few months earlier, #35 was the first time Stan let anyone besides himself write Spider-Man into a comic! You also inked a Werner Roth X-Men or two, and Tales to Astonish #100, with that book-length Hulk/SubMariner battle that Marie Severin penciled. ADKINS: Yeah. I did nine pages of that in the last day! Roger Brand helped me out with the backgrounds. I inked one “Sub-Mariner” story by Gene Colan, too. It was written by Archie Goodwin. I remember

Adkins page from X-Men #34 (in the days before the mag was retroactively re-christened Uncanny X-Men #34)—complete with Dan’s border notes and Roy’s proofing comments. In the final panel The Angel was photostatted down slightly. Repro’d from the original art, from collection of R.T. [©2001 Marvel Characters, Inc.]

and stuff—told the story, you know? He was up on a chair, doing this... [laughs] ...like in silent movies. He was trying to tell me you’ve got to overdo it, and overact. RT: II wound up dialoguing the second chapter of that story, in Astonish #92. I don’t believe I was involved with the plotting, though. It says “by Rascally Roy Thomas and Dapper Dan Adkins.” But it really doesn’t say who did what. ADKINS: We didn’t give much credit for plots back then. RT: So why didn’t you do any more “Sub-Mariner” penciling after these two stories? You did do a couple more covers for Astonish later, though—the one on Skull Island... ADKINS: And one where some fat guy’s lifting Sub-Mariner up over his head, which was touched up by Sol Brodsky. The left leg is different from the right leg. I don’t know why they touched up that leg, but I guess mine looked awful... RT: With the same cover date as those “Sub-Mariners” is X-Men #34 that you and I did together—with the Mole Man and Tyrannus warring beneath the earth, and that stone giant. ADKINS: Oh, yeah—all my swipes in there. Jesus! RT: I think that stone giant might have been lifted from Prince Valiant.

A Candid Conversation With Dan Adkins

35 with #169—the first solo issue—they’re not Ditkoesque any more.

because I called Archie up and asked him, “What the hell’s in this panel here? I can’t make it out! You wrote some dialogue here, but I don’t know what’s going on.” And Archie says, “Well, I don’t know what’s going on, either.” So I let the colorist figure it out. [laughs]

ADKINS: And not quite Wally Wood anymore, either. If I’d gone on penciling, instead of inking, I probably would’ve ended up being a pretty good artist! [laughs] But I used to look at all the beautiful stuff by Kirby, and even Gene Colan’s stuff, and Buscema was tight-penciling instead of just doing layouts... so I drifted toward just inking. I ended up doing about eight Silver Surfer issues over Buscema, and some Sub-Mariners.

RT: What was the last thing you did working with Wally Wood? ADKINS: “A Bullet for Dynamo,” I think. RT: It wasn’t something for Creepy? ADKINS: No. The only story I did with him for Creepy was “Overworked!” I did “Battle of Britain” for Blazing Combat. That story is almost purely all my penciling and a lot of my inking, but the credit is just for Wally. He won a Reuben Award [from the National Cartoonists Society] for it! [laughs] I worked my ass off on that one. You see all this nice maneuvering by the planes, and it’s not the way Wally would have done it. If you go back to Wally’s EC stories, his are more confusing. I took these shots from real photographs. Back in the early ’70s, Dan’s projected cover for the There’s a panel where there’s some business in Thomas-Adkins “Starhawk” became that of Marvelmania the sky, and most of that’s Wally, but I did #3 instead. [©2001 Marvel Characters, Inc.] most of that story. RT: One thing at Marvel that still showed a bit of Wood influence, perhaps, was that “Starhawks” story you and I did for Marvel Superheroes that didn’t get printed. ADKINS: I did get back all nine pages we did of it. RT: We’d made a good start, and then [publisher Martin] Goodman saw the cover, and it had the “three R’s” that he hated on it: rockets, robots, and rayguns. He said, “Those three things never sold comics for me,” and he promptly cancelled Marvel Super-heroes, which hadn’t been selling very well, anyway! So then you went onto “Dr. Strange” in Strange Tales, which was the other character you had wanted to do. ADKINS: Yeah. They told me to draw it like Ditko. I did that for the first two or three stories. Then they started letting me do my own thing, and I slowly changed the appearance of the whole strip.

RT: Did you and Wally part on good terms? ADKINS: No. We parted on bad terms, but later we made up. He got mad because I left without fully discussing it with him. I didn’t see any reason to tell Wally until it was a sure thing, and then after it became a sure thing I didn’t see any reason to tell Wally at all! [laughs] RT: I can see where he might have been annoyed. And he was known to have a temper.

ADKINS: Yeah. In fact, when Tony Coleman wasn’t doing too good a job on Fantastic Voyage, Wally broke a bottle—he smashed it down on his desk. It scared the hell out of me. [laughs] So there’s Wally standing there with his broken bottle, and I thought, “Jeez, the guy’s become a maniac!” But he just started cursing Coleman. RT: You’ve said Wally never drank much during the time you were with him. ADKINS: He was drunk two weeks or so out of the sixteen months. Most of the time, he was happy, and he didn’t carry on with me like he carried on with all those other guys. RT: Do you know when was the last time you talked to Wally? ADKINS: Yeah. It was at Phil Seuling’s first big convention in the early ’70s.

RT: Those two issues of Dr. Strange you and I did together, starting

RT: Around that time—well, weren’t you the one who started this rumor that went through the industry like wildfire that Wally had died,

Dan in the midst of Marvel’s mid-’70s magazine production staff: (l. to r.) Lenny Grow, Barbara Altman, and Nora Maclin. [Photo courtesy of D.A.]

“A Dream Come True!”

nearly a decade before he really did? ADKINS: Yeah. [laughs] I was guilty as sin. I’m a sick guy! RT: Was it just something you did impishly on the spur of the moment?

got depressed, a guy could drop the ball in the outfield of a baseball game and I’d start crying because I felt sorry for him. That’s how bad you can get when you’re clinically depressed!

ADKINS: I had Anyway, I rheumatic fever must’ve been when I was a kid, going through a and I was bad time, because paralyzed from this Namath thing the waist down depressed me. And I for six months. My mother had Dan and Jeanette in ’94, flanked by a pair of thought, the most depressing thing to me recent Adkins drawings “This is the type of to go off to personally would be that stuff I sell on eBay these days,” says the work and leave Wally Wood had died. artist. [Art ©2001 Dan Adkins; Dynamo me alone for Dynamo ©2001 John Carbonaro; Xena ©2001 So I called up Steranko three hours, and the respective copyright holder.] and told him Wally had my psychiatrist killed himself—just to says this made for make him share my grief, you know? So that feelings of “abandonment” or something. was my motivation, if it makes any sense. Since that happened to me when I was about eleven, I’ll blame it for the Wally Wood lie! RT: Well, you were going through your own Here’s what set it off: problems, obviously. I didn’t mean to pry. Do you remember that big bust, when they found that [New York football star] Joe Namath was linked with gamblers or something? He actually broke down and was crying on TV, and that upset me. When I

ADKINS: Oh, I’m very open about everything. It was actually great working for Wally, and I didn’t have a hard time with him.

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Comic Fandom Archive

Bill Pearson The witzend Interview Conducted by Bill Schelly Transcribed by Jon B. Knutson

“One of Woody’s two-minute doodles, attached by Scotch tape. He often did these while talking on the phone.” This one sports an early, never-used spelling for the magazine that became witzend. [©2001 estate of Wally Wood.]

contact with Dan Adkins in the mid-’50s. What type of material were you reading? BILL PEARSON: Mostly science-fiction. Dan saw a letter of mine that appeared in one of the digests, Fantastic or Amazing, I believe. He noticed that I lived fairly close to Luke Air Force Base, where he was stationed, and thought I might know some girls. That base is outside of Phoenix, where I got a job as a mechanical draftsman immediately upon graduation from high school. I was part of the nation’s work force, making real good money, designing valves and other parts for rockets. Back then, I spent all my spare time writing and drawing—totally obsessed. I wanted to be a black-&-white illustrator like Virgil Finlay and Kelly Freas. I wanted to write science-fiction like the greats.

Bill Pearson says: “One day out of the blue [my commanding officer in the Army, Lt. Godwin] presented me with this caricature. It’s a pretty good likeness of what I looked like then, in 1962. I don’t know what became of Larry Godwin. For all I know, he’s an important gallery artist based in the South.” [©2001 Bill Pearson.]

[As time goes on, the significance of witzend (all-lower-case is correct)—the magazine founded in 1966 by Wally Wood and continued by Bill Pearson—grows ever larger. witzend was the first major publishing bridge between comics fandom and the professional comics industry, and (at least symbolically) began the “creator’s rights movement.” All this should not eclipse the brilliance of its contents, the uniqueness of its editorial policy (that of “no policy”), and its role as the first important “pro-zine.” [Since Wood ended his own life in on November 2, 1981, after a series of eye and kidney problems, it has fallen to his best friend and literary executor Bill Pearson to shepherd his legacy. Bill was enthusiastic when I asked to interview him about witzend, and I discovered that he still has hopes of continuing the magazine in some form. He provided all the art that accompanies this interview. [The roots of witzend reach back to 1956, when Bill and Dan Adkins published a fanzine called Sata...] BILL SCHELLY: In the introduction to Woodwork you describe yourself as a seventeen-year-old bookworm when you first came into

BILL S.: How did you and Dan end up collaborating on a fanzine together? PEARSON: Dan worked in an office on the base involved with communications that had its own printing press. Dan had access, and we were both eager to create. BILL S.: What did the title Sata mean? PEARSON: Nothing. We just thought it looked spiffy as a logo. I don’t think either of us realized it was one letter short of “Satan” until we’d done several issues. Sata consisted of pretty good amateur comic strips and artwork by Dan and

Comic Fandom Archive

myself and several others, along with bad fiction by me, and miscellaneous articles and reviews. A typical sciencefiction fanzine. Dan and I contributed to many others, too. I’m trying to remember the sequence, but I guess Dan lost the use of the air base ditto machine. At some point I bought my own spirit duplicator. Dan and I got quite creative “One year,” says Bill, “I got this birthday card from four of with it, my friends.” [©2001 the respective artists.] producing some interesting graphics. Then I realized offset wasn’t that expensive if we produced it at digest size, with letter-sized pages folded over. Then we could create fine line artwork, even publish photos. BILL S.: How did you end up in New York? PEARSON: Some major government contract had expired, and I lost my job about the time Dan got out of the Air Force. He was anxious to submit samples to the sf magazines, and I just naturally tagged along.

most dangerous area of the city. Total skid row and decadence and crime. We were oblivious. A few days after we moved in, a man was killed and left on the stoop of our building, about a dozen feet from where I slept. We were still unfazed.

When Dan and I got to New York, with very little money, we shared a small room in a hotel on 43rd Street, a block from Broadway. We didn’t know it, but at that time this was the center of the

Dan met Larry Ivie on the street. Larry took us down to his apartment building on West 23rd Street, the old Chelsea district. Large old apartment buildings, but it looked like the suburbs compared to the dark alleys uptown. Within a couple of days, we had a nice twobedroom apartment in the same building Larry lived in. Dan and I connected with all our fanzine friends. Met Archie Goodwin. He was just moving out. Larry knew lots of people. In addition to him and Archie, Al Williamson and Roy Krenkel and a couple of others met weekly at a private house in the Village [= Greenwich Village] for a figure sketch session. Almost immediately I was part of the group, fortunately good enough at figure sketches that I was accepted as an artist. EC had expired a couple of years before. Al wasn’t married yet, and we were all young bachelors about town.

Cover of witzend #1, and Wood’s “Animan” splash therein. Editor Roy Thomas fondly remembers the night at his Manhattan apartment in 1966 when fresh-off-the-press copies of this issue were handed out by Wally to his fellow pros. [Art ©2001 estate of Wally Wood.]

Except for Roy. He was a middle-aged bachelor about town—but the youngest in heart of all of us. Roy was one of the most exuberant, joyful characters I ever met. He became a lifelong friend. Always the center of attention, regaling us all with one funny story after another. Not at all like you would expect from his rather serious formal artwork.

Bill Pearson: The witzend Interview

When I say “up,” that’s exactly what I meant. His apartment with Tatjana was a three- or four-story walk-up, no elevator, and thin stairs all the way up. They’d lived there for years. He was friendly but didn’t get up from his drawing board. I guess my first impression was one I held throughout his life: he was a workaholic. Wood hired Dan immediately. I believe Dan had a fulltime job at the time, but eventually Wood had enough work that Adkins was just about fulltime with Wood. I don’t know exactly how it came about that the fanzine Dan was going to do became a Wood project. But Dan could never have assembled the talent Wood did; he just wasn’t well enough established himself then. And Woody might have come up with witzend without Dan’s suggestion. He had several ideas for features but didn’t want to give up the copyrights to whatever publisher took the material. BILL S.: How did the issue of creators’ rights and creator ownership play into the impetus for the magazine? PEARSON: The time had come for creators’ rights. Wood was yearning to own his own features, and he wasn’t the only creative artist to feel that way. BILL S.: Wood’s version of the magazine was originally going to be called Et Cetera. Was that a title Wood enthusiastically embraced, or was it a stopgap name like Outlet?

Archie was the champion wisecracker of the group. Al laughed at everything Archie said. I really don’t know how I was so casually invited to join this amazing group. We went out after the sketch sessions for funny coffee in one of the many coffee shops, or played softball in Central Park, or went to the beach at Rockaway. That was the weekend. I got a job, and two nights a week I went to the School of Visual Arts. My anatomy instructor was Burne Hogarth. It all seems like a dream now. BILL S.: Why didn’t Dan Adkins contribute to those later offset issue of Sata published in 1964? PEARSON: Dan was a pro by that time, as busy as he could be, doing illustrations for the science-fiction magazines. He’d been recognized as the top amateur artist in science-fiction fandom for several years before going pro, so it would have been a step backward to keep doing fan work. I kept nudging him, and I think he did one illustration for a later offset issue. We were pals throughout. No change in our relationship. BILL S.: As I understand it, Dan arrived at the idea for witzend (though not the title) in 1965. Were you involved at the inception? PEARSON: Somehow, I’d gotten to know Wally Wood before Adkins did. I took him up there to meet Wood, without knowing anything about his idea to produce a fanzine by pros. He hadn’t mentioned it to me, or, if he had, I hadn’t paid much attention. BILL S.: Dan had taken out an ad that appeared in The Guidebook to Comics Fandom, published by the Academy of Comic Book Fans and Collectors in 1965, using the title Outlet S-F Comics, so it seems his plans were pretty far along. Can you describe your first meeting with Wally Wood? PEARSON: I wish I had a good answer here, but I can’t really remember it. I believe two or three of us went up there to meet him.

PEARSON: He wasn’t crazy about any of the many names he considered, but it was very close to deadline. The front cover paste-up was finished and in the hands of the printer with the name Et Cetera on it when Wood discovered there was already a publication with that title. [NOTE: Namely, the leading semantics journal, edited by S.I. Hayakawa.—R.T.] But Woody was really good at titles and names for characters. I like witzend so much that I’ve called a couple of different bookstores “witzend” and still use it as my business name. When I redesigned the witzend logo, Wood approved and commented that he was pleased with the title almost from the beginning. A new title always looks a little queer, if you care about what you’re publishing. Hard to change once it’s established. BILL S.: Wood described his publishing policy as a “no policy.” What exactly did this mean? PEARSON: Woody was intelligent, but he was also naive. He actually believed in anarchy. He believed there shouldn’t be any laws or rules of society. If the material was presented well, Woody didn’t care what philosophy the author espoused. That was his idea of a no-policy. BILL S.: Certainly there was some editorial hand exercised, if only in the selection of what features to run. PEARSON: Yes, of course. I was assigned the job of rewriting a badly-written but well-

Comic Fandom Archive

illustrated story in an early issue, for example. In those first issues I did primarily production work. Preparing the work for the camera, doing logos, spelling corrections, general assemblage. It wasn’t a complicated publication to handle because most pages were fully complete and sized proportionately to the page, but I had more experience at that part of it than Woody did. BILL S.: witzend somehow was able to embrace both the conservative works of Steve Ditko and the apparently liberal works of Wood. Was there any conflict behind the scenes? PEARSON: Ditko was one of Woody’s best friends, but they had radically different philosophies. Steve believed there should be many more rules than there already were, and that society should be severely regulated. I sat in on some fascinating conversations, let me tell you! Beyond those two, there was every kind of intellect and point of view expressed by the individual contributors, none of whom ever expressed to me their dismay at any other material in the magazine. Their own work was not censored or altered, and that was their only concern.

PEARSON: Whoever was around when the copies arrived from the printer was put to work stuffing envelopes. Woody had a half dozen guys working for him in this period. He was doing T.H.U.N.D.E.R. Agents and all kinds of things. The only one that still came around to my apartment to stuff envelopes after I took over the magazine was Steve Ditko. Can you believe it? Steve really got behind the witzend experience. I’ll never forget when he called me and said he’d heard there was a copyright form for people to use when they submitted work to a publisher but retained copyright. I told him I had a blank form and

BILL S.: Was there ever controversy over the nudity in witzend? PEARSON: witzend was reviewed often in magazines and newspapers. The nudity was always mentioned, and it usually came down to: “Now these guys who draw kiddie books can draw what they want, which usually includes bare-naked babes.” It always rankled me a bit that so few could see beyond that and acknowledge that some of the material was innovative and of interest to adults. BILL S.: I’m sure that witzend paved the way for nudity in fanzines, because it became commonplace, even in RB/CC, by 1970. Would you agree? PEARSON: I don’t know. We probably did our part in the gradual degradation of American society. [laughs] BILL S.: Could you elaborate on the reference in your Woodwork introduction on the “stuffing parties” that were held to get the copies of witzend ready for mailing? Who attended?

Bill Pearson: The witzend Interview

would run it down to him. He said no, he’d come up to my place and pick it up. Twenty minutes later, there he was, thrilled to have this legal form that would protect his copyright. BILL S.: Would you say there was a camaraderie among the contributors? After all, most were seasoned professionals who had presumably lost their sense of wonder long ago. PEARSON: Presumed by whom? All of these men were consumed with passion for their work. They tried to be blasé when they spoke among themselves, but creating these works of art demands a great amount of energy and dedication beyond whatever natural talent they possess. Artists are not born, they’re developed over time, with perseverance and the taste to study the masters who have gone before. The intelligence to assimilate whatever fits their skills and attitudes. The cleverness to develop a unique style of their own. We had a looselyassembled monthly group that got together for years. We met either at my apartment in the city, or at Roy Thomas’ apartment. No booze, no drinks at all, just conversation and camaraderie. All kinds of people came. All artists or writers of some sort, with their wives and girlfriends occasionally. Even Stan Lee showed up once, curious to see what was going on.

of those guys are now successful in some area of the art world. In retrospect, I’m sure I was more disliked than I imagined, rejecting dozens of submissions for every one I accepted! BILL S.: There was always the idea that witzend would make a profit, right?

PEARSON: At first. Didn’t take too long to find out it was impossible. The deal was, witzend paid nothing for the first printing, after BILL S.: Are there any humorous anecdotes involving the publiwhich all rights and the cation of witzend that you can share with us? originals were returned to the creators. We had PEARSON: Sometimes it’s a case of “you had to be there.” My nothing but a title. No apartment was in the center of Manhattan and a lot of people knew inventory, no advertising, no the address. Strange distribution. Advertising is people would show up what makes publications Courtesy of Bill Gaines, witzend #6 featured a at all hours of the day profitable. Large circulation never-before-published Wood EC science-fiction and night, usually magazines lose money on story! [©2001 William Gaines, Agent.] carrying some sort of their subscriptions to keep art samples. Some of their numbers high. They’ll almost give the magazines away. The only them were con men, trying major magazine I know of that made it without advertising was Mad. to convince me they were Jim Warren made it for a while, but he developed his own merchangreat artists, some were dising operation. desperately timid and inarticulate, and, more often BILL S.: What was the circulation of witzend? than not, I never found out PEARSON: Wood printed a thousand copies of #1, then a second precisely why they had thousand, then a third thousand. A counterfeit edition was published appeared at my door. soon after—I suspect by the original printer—in an edition of an Obviously I could only unknown quantity. Later issues got up to four or five thousand copies accept very few contribueach. tions to the magazine, but I always tried to be as BILL S.: In 1966, when witzend #1 appeared, the $1.00 price was a encouraging as I could with hefty one. How was it possible it never made money? young talent. I’m sure some PEARSON: I’m a lousy businessman and Wood was worse. That’s not the One of the more offbeat covers of witzend #5 (1968). In case you can’t reason it failed; it’s just the reason we stayed with it long after any normal tell, that’s an elephant, seen from something less than its best angle. businessman would have realized it would never make any money. [©2001 estate of Wally Wood.]

Comic Fandom Archive meetings, that sort of thing. I started at $75 a week as an employee, then switched to a freelance basis when I realized I could make $400 or more a week. I worked there for several years, all during the time I produced witzend. BILL S.: Had Wally ever done the actual bookkeeping and record-keeping, or did he always have someone to handle those aspects from the beginning? PEARSON: Woody never any book- or record-keeping at all. When the money came in, he spent it. If there wasn’t any money coming in, he waited until there was. BILL S.: What were the circumstances that led to your assumption of the publisher’s role? PEARSON: All the time Woody was publishing the first four issues, he was soliciting subscriptions through #8. The subscription money funded the first four issues, after which there was zero money left. That’s when he realized he couldn’t proceed. Well, here was Pearson, making good money at Admaster. Dumber than a retarded mule, I immediately offered to take over publication and fulfill Wood’s commitment to produce eight issues. For the sum of one dollar, I inherited a title, a file of unused artwork (much of which Wood had accepted but I didn’t like at all), and that four-issue commitment. Magazines that had already been paid for. And you ask how it never made money?

The cover for #7 (1970). Of the accompanying sketch, Bill Pearson writes: “Soon after I met Vaughn Bodé, he started to tell me about a story he thought would be good for witzend. He asked for a piece of paper and did this sketch to show me what the lead character looked like. He got the lead story and cover of the next issue.” [Art ©2001 estate of Vaughn Bodé.]

BILL S.: Was anyone paid for his or her work in witzend? PEARSON: Gray Morrow showed me a story once, but said he wanted to be paid for it. I just had to have it, so I gave him a couple of hundred dollars. Swore him to secrecy. BILL S.: Were there any foreign reprints of witzend? PEARSON: I’d signed a contract with an Italian publisher, and he was supposed to pay something for reprinting witzend in Europe. I’d forgotten about it. One day I got a call from Italy. In broken English I was told to meet a certain pilot at La Guardia Airport the next day, arriving on such-and-such a flight from Italy. I met the plane, paged the pilot. With a grin he hands me an envelope, starts to walk away. I say, wait a minute, did Aldo take care of you? He puts up his hands, as if to say, it’s all taken care of. When I got to a private spot and opened the unsealed envelope, there was several hundred American dollars in cash, twenty-dollar bills. No way of knowing how much the pilot had taken. No way of knowing what Aldo had put in the envelope. Real tacky deal.

BILL S.: Did Wood leave you more or less on your own, once you took over, or was he still actively consulting on contents, etc.? PEARSON: Once he was out from under, he disengaged completely. It was all I could do to get the second two chapters of The Wizard King out of him. In fact, I wrote most of the second chapter myself, and he had Ralph Reese doing a lot of the art for it. Thought I’d never get the third chapter, but he finally got it done. I found stuff in his files, like the character in the wheelbarrow. That was originally two separate drawings. Together, and brightly colored, they made a terrific wraparound cover.

There was a convention opening in just a couple of days, so I divided the money into allotments I considered appropriate, put them in individual envelopes, and handed them out at the convention to various folks who had contributed to witzend.

BILL S.: So you had to do everything yourself?

BILL S.: What was your day job while you were publisher of witzend? PEARSON: I was the production manager to a small Manhattan art studio called Admaster Prints. They produced slide and filmstrip productions used primarily by large corporations at annual stockholders

PEARSON: Back to the Admaster connection. As soon as I took over witzend, I knew I needed help. I’d become good friends with Ed Glasser, the head of the photography department, another young bachelor who made good money and was a comics fan. We formed a corporation called Wonderful Publishing Corporation. We shared financial responsibility, and, most important to me, Ed kept the books. He was also, incidentally, a master photographer. Much of the praise the magazine

Bill Pearson: The witzend Interview

received in those days was due to Ed’s masterful negatives. All negatives are black-&-white. The color comes in at a later stage. Here’s an example of Ed’s trick: Jeff Jones submitted a story called “Alien” which had some of the most fine-line inks I’ve ever seen on an original. Jeff knew the job required superior negatives to hold the line work without going too far, and spreading. He wanted to be present and approve the negatives when they were shot. It wasn’t difficult for Ed and me to arrange Jeff’s arrival after office hours. Jeff observed, he approved, and it’s just one of the stories that benefited from Ed’s technique. It’s simple, really, but not a lot of commercial photographers know how to do it. Most photographers set their timer to get the sharpest image in one shot. If it’s too short, the fine lines won’t hold. They’ll fade to nothing in places and show a little bit in places. If the exposure is too long, the fine lines will hold but they’ll spread and Wood’s wraparound cover for witzend #10, 1976—the “wheelbarrow” illo. not be as thin in printing as they were on the [©2001 estate of Wally Wood.] original. Ed shoots three very short exposures in succession. Each exposure maintains the delicacy of By the time the W.C. Fields issue was published, I was back in the lines but burns them deeper so the negative will be strong enough to Arizona, but the printing was done in New York. The printer screwed transfer a perfect image to the plate. Ed was a big help in many ways, up, and I was distraught, to say the least. I asked Phil to see the printer but he grew discouraged when we still weren’t making any money. and complain about the print job, and get some kind of satisfaction Circulation was up, and we weren’t losing a lot except the time we were from him, either a partial refund, or re-do, or something. Phil absolutely putting into it, but Ed wanted out. Couldn’t blame the guy. He held on refused. Said I had to handle it from Arizona. I got nowhere with the longer than most would have. printer. Hard to travel thousands of miles to punch someone in the face, which was about all I could have done. Anyhow, that cooled everything BILL S.: Phil Seuling is listed on the masthead of issue #8 as publisher. between Phil and myself. He did nothing to get the Fields book How did he get involved? distributed, and I’d lost heart about it, so I just stored the books away, PEARSON: Phil was getting into a lot of things at that time. He was and that’s why it was a hard issue to find for so long. I still have promoting his New York City conventions, which were very successful, thousands of copies in deep storage. and getting into direct distribution. I don’t know the chronology, but BILL S.: What happened to the Wonderful Publishing Company? somehow he agreed to buy out Ed’s half-interest in Wonderful Publishing. So I had some seed money. PEARSON: I still remember the young girl at the bank snickering when I went in to dissolve the bank account. I guess she thought it was I think Phil helped with or even totally handled the distribution of funny for anything Wonderful to fail. issues #7 and #8. He also kept the books, I believe. Phil had no connection with choosing material or planning ahead or the actual production of the magazine.

Bill Pearson: “witzend got lots of illustrated mail, like ‘Animalman’ by Dave Holman. I kept them all... A few years after this [one], Gary Kato began his career as a professional.” [Art ©2001 Dave Holman and Gary Kato, respectively.]

Comic Fandom Archive make witzend more of an album in the European style than a magazine. It just happened that I met a man with the most awesome collection of Fields photographs, and I was a major Fields fan, so I thought I could have fun designing a special publication about him. It would also make it perfectly obvious that witzend was going to be different from then on. BILL S.: Would you say your personal interests were shifting from sf and comics to film?

Bogart by Bush. Cover to issue 12 and more of “Woody’s ‘idea’ doodles.” Pearson says: “I wrote all the gags in ‘Lunar Tunes,’ Wally’s last contribution to witzend #12 (1982), which appeared after his death. I had to do a lot of repair work on that job, too—but he was a one-eyed cartoonist at that point, and feeling miserable.” [Cover art ©2001 by George Bush (no, not that George Bush, with or without a W!); other art ©2001 the estate of Wally Wood.]

PEARSON: No. I’m still fascinated by all popular culture. I believe popular art is the genuine art of the 20th century and possibly the 21st century as well. I think most of what passes as serious art in our culture is fraudulent and vacuous. BILL S.: It was years between witzend #8 and the Fields issue. Why so long?

BILL S.: Of all the work that Wood did for witzend, what was your favorite?

PEARSON: “Pipsqueak Papers.” Charming art, clever wordplay. Closest personal expression he was capable of. BILL S.: Did the magazine generate an enormous amount of correspondence? PEARSON: Woody sent out complimentary copies of the first issue to everybody he could think of, and you wouldn’t believe how many prominent writers, artists, TV people, book and magazine editors sent a letter in reply. I believe we talked about the possibility of printing some of these. Some, like Basil Wolverton, put little sketches in their letters. Some were hilarious. Some by very famous people, now deceased. But since we didn’t have a letter column, we didn’t get many letters to the magazine. Woody got a lot of very interesting fan mail personally, and he did answer some of it, but I used to feel bad about some of the very sincere and intelligent letters that he didn’t answer at all. Sometimes I’d sit at the typewriter and goad him into making a few comments that I would expand a little bit, and then have him sign the letters. But, you know, time was pressing in those days. Hard to fit everything in that, in a perfect world, you’d like to. BILL S.: As with any trailblazer, there were soon a number of similar magazines: fanzines presenting work by pros or near-pros in a slick package. What effect did this have on witzend? PEARSON: Not much, not that I wasn’t aware of them and admired many of them. My publishing agenda had its own dynamic, related to my personal life. As to the other magazines, it was surely obviously, especially after I took over the magazine, that if I could do it, anybody could do it. There’s at least one printing press in every good-sized town in this country, and they’re all eager for work. If you can put something down on paper worth printing and come up with the money to do it, you’re a publisher. Power to the people! BILL S.: The issues after #8 changed in flavor. #9 was a special W.C. Fields issue. How did this change in editorial emphasis come about? PEARSON: I didn’t have any clear-cut plans beyond issue #8 except to

PEARSON: Real life caught up with me. Admaster scored three major jobs all at the same time. They were all big jobs, and when they were finally done, I collapsed from complete exhaustion. I got back to my place, and into bed, and didn’t leave it for weeks. I could barely remember my name. It scared me bad. I knew I’d never be able to work that hard again. My recovery was gradual, and I don’t think I was ever the man I was before. As soon as I could, I started making plans to dissolve all commitments and return to Arizona, where the pace is slower. That’s what I did. BILL S.: How did Wally, and your relationship with him, change over the years? PEARSON: In shorthand, I was his fan, then his assistant, then his friend, then his editor, then his guardian, and finally the executor of his estate. My relationship with Wallace Wood has had more impact on my life than any other person, living or dead. BILL S.: Do you have a wealth of unpublished witzend material in your files? PEARSON: Quite a bit, with more accumulating all the time. witzend has been and continues to be a big part of my life. As far as I’m concerned, it’s just on hiatus. I intend to produce more issues. I expect to lose even more money. It’s my favorite hobby and joy. [Information about back issues of witzend and related publications is available from Bill Pearson at PO Box 1013, Mayer, AZ 86333 or by e-mail at <witzend13@hotmail.com> [For those who want to learn more about the Golden Age of Comic Fandom, including Bill Schelly’s Eisner-nominated book of that name and other archival goodies, be sure to check out Hamster Press’ website: <hamstrpres@aol.com>] D. Janke’s cover for witzend #13 (1985)— the “good girl art” issue, and the final ish to date. [©2001 D. Janke]

IS BACK!

TWOMORROWS PUBLISHING and GILBERT STUDIOS present MR. MONSTER: HIS BOOKS OF FORBIDDEN KNOWLEDGE, VOLUME ZERO! Gathered within this Trade Paperback are twelve twisted tales of Forbidden Knowledge––dark secrets hidden from humankind for untold weeks! This non-ancient tome collects all the the hard-to-find MR. MONSTER stories from A-1, CRACKA-BOOM! and DARK HORSE PRESENTS in mysterious black-&-white! BUT THAT’S NOT ALL! VOLUME ZERO also includes over 30 PAGES OF ALL-NEW MR. MONSTER ART AND STORIES! Friend, can your sanity survive our Lee/Kirby monster spoof, “Ooooak... The Tree That Walks Like A Man” by Michael T. Gilbert and Mark Martin? Don’t be too sure! Or how about the long-lost 1933 MR. MONSTER NEWSPAPER STRIP? Forbidden Knowledge indeed! Then there’s our extra-special 8-PAGE FULL-COLOR INSERT, “Never Touch A Satan Glass!”––featuring a terrifying Trencher/Mr. Monster slug-fest, drawn by KEITH GIFFEN AND MICHAEL T. GILBERT! Can you stand the horror as titans (and art styles!) clash!? TALK ABOUT FORBIDDEN KNOWLEDGE! All these secrets and more will be revealed this summer when MR. MONSTER: HIS BOOKS OF FORBIDDEN KNOWLEDGE slithers into your comics shop. READ IT AT YOUR OWN RISK!!

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Mr. Monster’s Comic Crypt

Introduction by Michael T. Gilbert This episode of the “Crypt” features two Wally Wood stories—both reprinted from his self-published newsletter The Woodwork Gazette. Five issues of the Gazette appeared from 1978 to 1980 (or possibly early 1981). Wood used his pamphlet to promote upcoming projects and to share his thoughts about comics. “The Award” and “The Big Blue Pencil” each reflect his often ambivalent feelings about the comics industry, and his place in it. In “The Award”, Woody pokes sly fun at the fickle nature of fandom. He talks about the mindless worship of “the Great One” by the WeeFen (the little fans) and the BNF (big name fan). Wood was certainly a “Great One” in the comic book field, having won numerous awards over the years. But by 1978 his supernova career had dimmed considerably. He rightfully resented the constant deification of his decades-old EC work at the expense of his current projects. And he was well aware that the glory of those past awards didn’t contribute a dime towards his rent or his ever-escalating medical bills. This awareness contributed to the story’s bitter edge. Nonetheless, “The Award” remains a fine example of Wood’s funny, X-acto-sharp wit.

Weeks before that issue of The Woodwork Gazette went to press, a new magazine appeared from Warren Publishing—a sci-fi fantasy magazine in the Heavy Metal mold called 1984. The first issue of the Gazette and 1984 both had a June 1978 cover date. One of the stories in 1984 #1 was a 6-pager by Wood called “Quick Cut,” originally titled “The End.” The first Woodwork Gazette mentioned “The End” as part of a longer article on the evolution of his Wizard King series—a swordand-sorcery saga he had dreamed of telling since he had been a child. He described several failed attempts at selling the story, until publisher James Warren approached him in the early ’70s with an offer he couldn’t refuse. Wood wrote: “About this time Warren asked me to create a magazine for him, similar to witzend, and it sounded good, so I did it. I wrote a whole issue, got the artwork done, and included a 12-page chapter of the Wizard King. Then he changed his mind and sat on the whole issue for five years. Then, with the success of Heavy Metal, he put out 1984 and utilized six pages of my story... cutting up the originals and otherwise defacing them, and hired some degenerate to rewrite them. And he gave me credit for writing it!”

In light of Wood’s comments about “baby fat” editors, it’s worth noting that he had been “The Big Blue Pencil” is another case entirely. proudly cover-featured in a fanzine published by Here, the artist trades his X-acto blade for a the very person who, more than a decade later, meat cleaver. Throughout his career, Wood was was editing 1984. Now he had destroyed constantly at odds with various editors and Wood’s art—and the artist was helpless to stop [©2001 estate of Wally Wood.] publishers. By the late ’70s he’d had his fill of him. When Wood saw what was done to his both—especially the young editors who were beloved story, he was furious. Though he’d worked for Warren off and now his bosses. He once jokingly threatened to write an essay about on for twenty years, he vowed never to do so again—and never did. them called “Baby Fat & Acne.” He resented the power these “kid” editors held over him, and that resentment culminated in “The Big Blue The first issue of 1984 came out weeks before Wood wrote “The Big Pencil.” Wood’s essay was written at a time when his career and health Blue Pencil,” and his rage comes through loud and clear. The artist’s were both fading, and should be read in that light. comments reflect a lifetime of frustration at injustices done While it’s impossible to say what specifically goaded him to write the latter piece, it is possible to make an educated guess.

to him—real or imagined. And while Wood’s blanket indictment of editors is clearly unfair, “The End” is ample proof that his anger was not entirely unjustified.

The Award In magnificent innocence, the Great One moved among the WeeFen, dispensing favors and allowing all and sundry to bask in the splendor of his magnificent radiance. The WeeFen, meanwhile, were engaged in their customary pursuits: hurling invective, anointing each other with Stuff and occasionally crushing each other’s grapes. “He is great!” cried the WeeFen. “Let us prostrate ourselves in abasement and reverence him!” And so they did, covering his feet with wet slobbering kisses as he sat bemused and lost in introspective contemplation. “But it is not enough,” exclaimed Blemish, a BNF. “We must reward his greatness! What can we do?” “I know,” said Pukey, a neo. “We must give him an award!” And so they formed a truly remarkable Award out of Stuff.

animal cunning growing in his beady little eyes. “In fact, he didn’t do it,” Swiper asserted. “Then who did?” chorused the Weefen. “I cannot tell a lie,” said Swiper. “I DID!” “We shall take away his Award!” they cried, “for he had done nothing to deserve it!” And so they did. The Great One smiled benignly and continued to move among them, doing Good Works and allowing one and all the benefit of his radiant magnificences. He would have been hurt had he known they had taken his Award away, but he did not know. In fact, he did not know he had been given an Award. They had neglected to tell him.

But then they were stricken by a disease and a blight. “If he is truly great,” reasoned Whyner, “how come he needs an Award from the likes of us?” “Yeah,” exclaimed Pyggo. “He is great because we made him so!” “I became ill that he might cure me,” said one. “I soiled myself that he might cleanse me,” said another. A WeeFen named Swiper took it all in, a dim light of [©2001 estate of Wally Wood.]

Mr. Monster’s Comic Crypt

The Big Blue Pencil One day, a few years ago, as I was watching a small boy busily defacing a subway poster, the thought occurred to me, “That kid’s going to grow up to be an art director!” It was only much later that it occurred to me that what I’d said was based on a glimpse of the truth. The world is composed to two kinds of people, those who create things and those who deface them. The latter category includes all editors, art directors, critics, and not a few publishers. They achieve these positions of power by the fact that they cannot DO anything, and have an abiding hatred for those who can. They WANT and seek power because of this drive, and wind up being your bosses by virtue of the fact that they can’t do anything... except mess things up. So my advice is, don’t be a creator. It’s much more fun, and much more rewarding to be a defacer with a title... “Creative Director” or “Assistant Associate Editorial Consultant.” If you’re a creator, be it writer or artist, you’ll find yourself in the position of being at the mercy of a kid fresh from writing dirty words on walls, who will take work you have spent hours on and write the singularly revealing message “KILL THIS” across it with bold strokes of his big blue pencil. Recently comic books introduced an innovation that really gave the game away... the use of light blue magic markers to indicate corrections. And did the bastards USE them! They seized them with glad little cries and went to work with a vengeance, circling parts of the art and making sure to have a long tail stretching across the width of the page, cutting through faces and intricate bits of detail with truly marvelous precision. Of course, it did not reproduce, but it sure as hell wrecked the page forever for display or sale. And I thought, full circle... from defacing things with a magic marker back to defacing things with a magic marker. Too bad it’s light blue, not black... or BROWN! That would really be revealing... After all, it’s a manifestation of anal aggression, right? Why do publishers hire these people? People who would rather have power than do good books? I think the answer is, there isn’t anyone else. They have to have someone who can read and write, and every applicant for this type of position will have the same kind of personality. Some publishers share this hate for creative people, some do not know, but most don’t care... They’re in the business of selling paper. What goes on the paper is the business of the editor. So I repeat... do not seek to be a creative writer or artist. Do not CARE about doing anything good. That will only put you at the mercy of those who will always hate you because you can do something that they can’t.

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Kubert Tor

Vol. 3, No. 8 / Spring 2001

™

Editor

Contents

Roy Thomas

Associate Editor

The Tor Gambit . . . . . . . . . . . . . . . . . . . 2

Bill Schelly

Design & Layout

No editorial! We jump right in with Mark Hanerfeld’s 1969 take on Joe Kubert’s caveman—and with the late-1950s Tor comic strip dailies prepared by Kubert and Carmine Infantino.

Christopher Day

Consulting Editors

Interview with Joe Kubert . . . . . . . . . . . . . . . . . . . . . 8

John Morrow Jon B. Cooke

Ronn Foss’ groundbreaking 1963 conversation-by-mail with a Golden/Silver Age great!

Production Assist Eric Nolen-Weathington

FCA Editor

The Over-extended Marvel Family . . . . . . . . . . . . . . . . . . . . . . . 13 Captain Marvel’s many, many imitators, chronicled by John G. Pierce.

Hail, Hail, the Gang’s All Here! . . . . . . . . . . . . . . . . . . . . . . . . 23

P.C. Hamerlinck

Roy Thomas on the 1981 creation of the All-Star Squadron—and its 1940s forebears.

Comics Crypt Editor

Nuggets–from the Moat of Jerry de Fuccio. . . . . . . . . . . . . . . . 29

Michael T. Gilbert

A free-wheeling new column by an expert on the Golden Age of Comics.

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

Cover Artists Dan Adkins & Wally Wood Joe Kubert

Cover Color Tom Ziuko, with special thanks to Scott Lemien

Mailing Crew

Chic Stone: A Rock-solid Professional. . . . . . . . . . . . . . . . . . . . 30 A remembrance by Bill Cain of his artist friend.

The All-Star Compendium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Additions and corrections to Roy Thomas’ All-Star Companion.

re:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Some informative letters from knowledgeable readers.

FCA (Fawcett Collectors of America) . . . . . . . . . . . . . . . . . . 38 Another foray into Fawcettdom, conducted by P.C. Hamerlinck.

Russ Garwood, D. Hambone, Glen Musial, Ed Stelli, Pat Varker

FCA Section

We Didn’t Know... It Was the Golden Age! . . . . . . . . . . . . . 39 Vintage artist/writer Marc Swayze on the art and artistry of Charles Clarence Beck.

Once in the Dear, Dead Days beyond Recall . . . . . . . . . . . . . . 42 C.C. Beck on life during and after Captain Marvel.

“We’re All Part of This Brotherhood!” . . . . . . . . . . . . . . . . . . . 45 Jerry Ordway on The Power of Shazam!—plus a sidebar by Peter Krause.

Special Wally Wood Section . . . . . . . . . . . . . . . . . . . . . . Flip Us! About our cover: In 1969 Joe Kubert gifted the late Mark Hanerfeld with a particularly striking illustration of Tor and Chee-Chee, which became the back cover of Alter Ego [Vol. 1] #10. But, until now, it’s never been a front cover—or printed in color. We thought it was high time we remedied both situations. And a special gracias to Joe and his amiable assistant, Pete Carlsson, for their kind cooperation. [©2001 Joe Kubert.] Below: From an ad that appeared in The Comics Buyer’s Guide, 1990. [©2001 Joe Kubert.]

© Alter Ego is published quarterly by TwoMorrows, 1812 Park Drive, Raleigh, NC 27605, USA. Phone: (919) 833-8092. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: Rt. 3, Box 468, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: roydann@oburg.net. Send subscription funds to TwoMorrows, NOT to the editorial offices. Single issues: $8 Postpaid ($10 Canada, $11.00 elsewhere). Four-issue subscriptions: $20 US, $40 Canada, $44 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. TM

The Tor Gambit

ou know the line I mean. I mean the one about how comic books can’t really be art because so many people are involved in the production of the thing. And how there are different pencilers, and inkers, and colorists, and how most of the stories are written by other people anyhow! Yeah, you know the line! You almost always get it from the ones who like their opinions ready-made and pre-digested—although, at times, I have gotten it from people who should have known better. Whenever I get any of these people, I usually sit them down in a nice comfortable chair, and hit them with something I call...

Article by Mark Hanerfeld

(Edited & Abridged from Alter Ego, Vol. 1, #10, 1969)

Generally, it starts with my quietly explaining to them that just because more than one person is involved in the creation of a work of art doesn’t mean that work (be it literature, painting, or whatever) is any less valid as “art.” After all, didn’t many of the great painters of the Renaissance have their assistants help in finishing up those slightly less important details of a painting? And furthermore, is not the subject matter of many of those great paintings drawn directly from the mythology of the ancient Greek and Roman storytellers?

occasionally employed the writing talents of Bob Bernstein and the inking talents of Bob Bean, the strip still bore the distinctive stamp of a Joe Kubert creation: the product of one man’s thought and imagination.

As old axioms die hard, this bit of analogizing usually leaves the poor victim flustered, especially if he’s never really given those axioms a second, or perhaps even a first, thought. That’s when I hit them with the clincher.

But chances are that, if you’re reading this, you already know all that because you already are a comics fan. However, if you’re a new fan, you may not have heard of, let alone actually seen, Tor. Well, let’s remedy that situation here and now!

I double back to their original qualifications and tell them all about Tor.

[EDITOR’S NOTE: At this point in 1969’s Alter Ego #10 were printed two weeks’ worth of dailies for a sadly unsold Tor newspaper comic strip, circa-1959, which had been written for Kubert by Carmine Infantino, generously supplied by Joe, and harking back to Tor’s boyhood. Although those strips were printed in color, with new art added, to form the basis of the first story in DC’s Tor #1 in 1975, it was our intention to reprint the dozen black-&-white strips as they originally appeared in A/E, where they were re-formatted to fit six magazine pages. However, due to a last-minute change of plans, DC is reprinting them in the first volume of a much-anticipated Tor Archives - Volume 1, only a few weeks from now; so, instead, we are here presenting the strips a bit smaller than in ’69, and using the extra space to toss in a couple of later Kubert Tor illustrations. We strongly urge all aficionados of the comic art form to pick up a copy of the Tor Archives - Vol. 1, which reprints the first three issues of Tor/One Million Years Ago! The following three pages of art are ©2001 Joe Kubert. —R.T.]

It goes something like this: Back around 1953, there was this enterprising comics group called the St. John Publishing Company, whose publisher, Archer St. John, had the foresight and daring to allow an artist to edit, write, pencil, letter, ink, color, and even own the rights to his own character. Why, the artist even got to share in the magazine’s profits! Unheard of! The comic book was called Tor, and the artist was Joe Kubert. Tor was a caveman adventure strip set in the world of one million years ago, and although the ecological balance was a bit jumbled for story’s sake, the strip had an air of reality about it that grew out of the powerfully-drawn characters and settings. Even though later issues

By the time I’ve finished haranguing my poor victim with words (and with illustrations, if I have my copies of the magazines at hand), he is customarily ready to grudgingly admit that, yes, some comic books can be art. No mean accomplishment, I assure you.

The Tor Gambit

[These strips were reprinted and the story completed in DC’s Tor #1 in 1975.}

The Tor Gambit www.kubertsworld.com

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[EDITOR’S NOTE: At this point, following the printing of the twelve newspaper strips, Mark Hanerfeld continued in 1969:] Tor’s premier appearance was in the September 1953 issue of a comic book entitled One Million Years Ago. Eventually, the book would be retitled Tor in the World of One Million Years Ago. However, it was first conceived as a multiple-feature magazine, and the contents of the first issue included a one-page introduction by co-editors and longtime friends Joe Kubert and Norman Maurer; an 11-page “Tor” origin tale by Kubert; a sixpage caveman humor feature called “The Wizard of Ugghh” by Maurer; and seven pages of “Danny Dreams,” a strip by Kubert that was destined to be a co-feature in all future Tor issues.

In passing, some note should be taken of the gimmick that was the basis of the “Danny Dreams” strip. High-schooler FOR MORE INFORMATION: Danny Wakely would WRITE: CALL: or E-MAIL: occasionally have vivid 37A Myrtle Ave. 1-973-328-3266 jkartstore@aol.com Dover, NJ 07801 or 1-800-343-4792 daylight dreams in which ad designed by Tell-A-Graphics: 1-973-442-0100 he relived episodes of a www.kubertsworld.com previous life in the primitive past. Upon awakening, he would usually find some evidence to support the reality of his experiences. Besides Kubert, Alex Toth, Mort Meskin, and Bob Bean also handled art chores on this strip. But it was Tor who set the tone of the magazine and for which it is justly remembered. The first “Tor” story set the theme of the series: a theme of right over might, of alienation, and of prehistoric man’s emerging humanity. [EDITOR’S NOTE: Next, Mark synopsizes the plots of the Tor stories in the six 1953-54 issues of Tor/One Million Years Ago—omitted here because half these stories appear in DC’s Tor Archives - Vol. 1, while the others will be presented in Vol. 2.]

Kubert and Tor were both busy as a brachiosaurus in 1969! Besides this issue’s cover illo, he drew another that was used as the cover of a fanzine called The Comic Artist (no relation to TwoMorrows’ Comic Book Artist), which also featured an appreciation of the hero by Tony Isabella. [Art and Tor ©2001 Joe Kubert.]

It probably has something to do with the term “heroic fantasy,” but then again so do Superman, Batman, and the whole super-hero milieu. The strip is all of this and more than this. Uncategorizable, except as Tor. Tor is a man fighting for those things he believes to be right, in a world where might is king; a man who thinks, in a world where it is easier and safer simply to act. Tor is a man in a world of almost-men, or soon-to-be-men; a man alone, on the brink of mankind’s tomorrow. Tor is Tor! I am supposed to have told you all about Tor, but nothing I can say here can truly do that because, simply, it is not Tor! The only way to truly understand the character is to read the books. I guess it’s just a case of “you had to be there!” I was. And one thing more. In the final analysis, there is but one criterion by which a work may be adjudged “art,” and this is if it touches something within you—if it strikes a chord that rings true. Then let me stand as this strip’s advocate; for I read Tor at a much more tender age, and, having recently reread the entire series after a lapse of some years, I can first begin truly to appreciate its influence in shaping my early thoughts and attitudes. I was strongly affected by Tor, and recall it vividly.

Tor was unique. The strip was derivative, of course, from Tarzan, and from the 1940 motion picture One Million B.C., and from who-knows-what-else—but only superficially. If it were being published today, the strip would probably be labeled “sword-and-sorcery,” although An oddity: In 1964-65 an unauthorized knock-off of Tor ran for at least ten there is neither a sword nor a issues in Mexico, published by La Prensa. As Fred Patten wrote in Alter Ego, Vol. 1, #8, in ’65, the art in most issues of Azor el Primitivo was “divided sorcerer to be found in the strip.

Such is a work of art.

“This is a story of survival. Of a man. . .TOR . . . in his most basic element. Armed with only a stone axe, a vine rope, and his human instincts, in a new, raw world ruled by giant dinosaurs, where any misstep can result in certain death.

“Let us take you back . . . back to 1,000,000 years ago . . .” TM

Comics legend

JOE KUBERT’s

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primal hero returns in a series of full color, hardcover comics collections featuring previously unpublished and rare material.

Interview With Joe Kubert

Interview With

Joe Kubert by Ronn Foss [EDITOR’S NOTE - 2001: This by-mail interview was the first ever to run in Alter Ego—in Vol. 1, #6, with a cover date of March 1964. It was A sketch of Joe Kubert (probably drawn by Norman Maurer) from the Comic Book Illustrators Instruction Course, 1954. For more on the first (and only) lesson of this ancestor of Joe Kubert’s World of conducted by artist/ Cartooning/Correspondence Course for Comic Books, see the 160-page volume Alter Ego: The Comic Book Artist editor/publisher Ronn Collection, now available. [©2001 Joe Kubert.] Foss, and is presented here for its historical value. It was also reprinted in the out-of-print 1997 $60 per page for artwork only. Story will vary from $8 to $12 per page. Hamster trade paperback, Alter Ego: The Best of the Legendary The “lows” are pretty much set; the “highs” can vary—depending on Comics Fanzine. The only Kubert art that ran in the original publithe demand for the particular work (art, writing, lettering, coloring, cation was the Scandinavian reprint page of Tor re-presented here. what-have-you). When I started out, my rates were $6 per page. We begin with a pair of paragraphs from Joe Kubert which were quoted by Ronn earlier in V1#6, referring back to the previous A/E. RF: Did someone other than you letter “Hawkman”? —R.T.] KUBERT: The latest “Hawkman” scripts I did (circa 1963) were lettered “I was quite impressed by your by Gaspar Saladino. However, when I zine—both in its quality and the did the strip “way back when”—I did amount of work/energy put into it. the lettering, and with a very shaky Incidentally, Ronn—only someone hand, I might add! who has had work reproduced in a RF: How much are letterers paid? mag (or any other form of printed matter) can know the thrill of seeing KUBERT: Rates are $2 to $5 per page. his efforts in published form. It’s a thrill you never lose, no matter how RF: Do you know if all DC artists long you’re in the business. It’s still work “twice-up” (double-size)? true with me, and I’ve been in ‘it’ KUBERT: As far as I know, yes. I going on 25 years. think, generally, it’s found that 1/2 “Unlike many people in the comic reduction tightens, cleans, and clarifies book business, I don’t feel myself original artwork. After a while, you find demeaned by working for comics. The that you work “for reproduction”—that fact is—I’ve always enjoyed this is, the artist will know what the printed medium—and I’ve always given what work will look like (which is most I felt is my best to it. I’m not ‘saving’ important)—rather than gauging full my ‘greatest works’ for painting, or effect from the original drawing alone. advertising art, or even ‘pop’ art! My RF: Who was your personal favorite of best efforts are what you see now!” all the characters you ever drew? —Joe Kubert (1963) KUBERT: Tor was and is my favorite. RF: Do you use a crow-quill pen?

RONN FOSS: What is the pay per page? How much more if you also write the script? JOE KUBERT: I can’t tell page rates specifically, but they vary from $25 to

KUBERT: I use a pen similar to it, but very flexible. Dinosaurs and Hawkman—two of Kubert’s main themes—were combined in this illustration for the 1977 Super Powers book. Thanks to Al Dellinges. [©2001 DC Comics.]

RF: Do you dilute your India (water-

Interview With Joe Kubert

was allowed the run of the place—to look over the artists’ shoulders and watch them work—and to ask their criticisms of my own work. These guys were just wonderful— their patience and their helping hands did much to engender a desire in a very young boy to be a successful cartoonist—just as they were! RF: Doesn’t DC allow the use of Zip-ATone? You used it so advantageously in Tor.

proof) ink? KUBERT: I “water down” my ink with tap water.

RF: What kind of paint is used to white-out a mistake? KUBERT: Some white paint has a plastic base, so that ink will not dilute it. One is called ‘Sno-Pac.’ RF: How long does a brush last you; a pen tip, before it either spreads beyond usefulness or becomes caked up with ink?

RF: Do artists ever get original art back? Would you like any of it returned?

KUBERT: A brush will last through 30-40 pages; pen, only 2-3.

KUBERT: Artists may get their work back, upon request—frankly, I’ve never had any desire for it. The point here being that, once the publisher pays for work, it becomes his property. If the publisher feels he will have no further use for those originals, he disposes of them as he sees fit. At this time, the artist (writer, letterer, etc.) may request the originals.

RF: Do you always use a blue pencil to roughup (lay out) a strip? KUBERT: Yes—a special non-reproducing blue. Sometimes, just for a change of pace, I’ll switch to pencil. But then it’s back to the blue again. RF: The photo of you and Norm Maurer in Tor #1 has you doing the Three Stooges while Norm appears to be working on Tor. Can you explain this?

RF: According to Archer St. John (Tor #1), you started drawing in 1941. Do you remember what character it was? KUBERT: I did a strip called “Volton,” around 1941, when I was in my second year of high school or thereabouts. Prior to “Volton,” I worked for Mr. Harry “A” Chesler; this was in the early 1940s. I worked in his offices 11⁄2 hours a day after school, and he gave me $5 a week for my expenses. This, I believe, was one of my greatest “breaks” I ever had. He had a staff of men, among whom were Charley Sultan, Rube Moreira, Raphael Asterita, and George Tuska. I

KUBERT: We co-edited each other’s work. RF: The comic Meet Miss Pepper—you inked it, penciled it, or what?

One of Joe’s earliest efforts was this “Volton,” published in Catman #11 (June 1942). For his very first “Volton” splash—and indeed, for a lengthy section on the many eras of Joe Kubert art, see Alter Ego: The Comic Book Artist Collection. [©2001 Holyoke Pub.]

KUBERT: I penciled Miss Pepper—a fellow named Bob Bean inked. Bob is now the guiding hand and power behind Wylde Studios here in New York—they produce live and animated ads for TV.

Interview With Joe Kubert KUBERT: I’ve done a considerable amount of painting, including oils and watercolors. Portraits and figure drawing in any media are subjects I find most fascinating. I’ve always thought I’d like to do some carving and modeling, but just never got to it. RF: Have you ever considered selling a strip to a newspaper syndicate? KUBERT: I’ve made quite determined attempts at it, but I’m afraid to no avail! I have several weeks of “dailies” in my closet gathering dust. And, as it happens, Tor is the character I’ve tried selling. Personally, I feel that Tor—as I’ve applied him in a syndicated strip—would be successful. RF: Is there any chance of your reinstatement on “Hawkman” now with the editorial change at National? KUBERT: No. RF: Why did “Viking Prince” fold in Brave and Bold after finally winning the entire book to himself? KUBERT: The sales didn’t warrant continuation. RF: Did you see any/much actual combat action in the army? KUBERT: I was in the army from 1950 to ’52; the only action I saw was the G.I. rush to the chow line. RF: Do/did you really draw from models, e.g., the Tor dinosaurs?

KUBERT: I’ve sketched from models, but not directly for my illos in comics. The sketches taught me my subject (the figure, dinos, whatever), then I tried to apply what I learned to the comics. For me, the amount of time needed to work from models would negate the idea—insofar as its use directly to comics is concerned.

RF: Was “Viking Prince” (in The Brave and the Bold) your own creation? KUBERT: “Viking Prince” was created and written by Bob Kanigher, who also does “Sgt. Rock”—he used to write “Captain Marvel.” He is the best, in my opinion. RF: Why were you actually pulled off “Hawkman”—or is it really true that “Sgt. Rock,” etc., keeps you too busy? KUBERT: It’s exactly as I stated before—my commitment on other work made it impossible for me to do “Hawkman”; as much as I’d have liked to do it! Fact is, the last issues I did were getting close to what I felt I wanted in the character—when it became apparent I’d not be able to do it. RF: Would you like to continue on “Hawkman”? KUBERT: From the preceding answer, what do you think? RF: What other artist(s) influence you most? KUBERT: Outside of an almost complete art education any aspiring artist can get from Hal Foster [creator/artist of Prince Valiant]—I try to incorporate anything of value that I might see in any artist’s work. RF: Did you and Maurer create 3-D before it was used in the movies? KUBERT: I believe the 3-D movies were out before our comic books. Norm and I were publishing four or five comics through St. John Publishing Company when we came up with the idea of employing a 3-D image in comics. RF: Have you ever done any art other than comic strips? Your remarkable depth would lend itself well to fine art! This powerful illustration was done for the 1977 San Diego Comics Convention program book. [Art and Tor ©2001 Joe Kubert.]

Interview With Joe Kubert

Eisner, Simon and Kirby, Lou Fine, Irv Novick, Mort Meskin, to name a few of the real greats, preceded me and others along the lines of “novel” breakdowns.

RF: What type of strip do you prefer: super-hero, war, Viking, Tor? KUBERT: I enjoy all subjects—all types of strips—providing that they are well written. By “well written,” I mean the writing should utilize the art, rather than use the art merely to enhance the writing. My preference toward Tor is simply because this is my own personal idea and property.

RF: What advice would you give pro artist hopefuls other than “Practice, practice, practice!” as stated in the first (and only) lesson of your Comic Book Illustrators Instruction Course in 1954?

In the Tor books, I created the character, wrote it, drew it, lettered it, colored it, and at one point took the original art down to the engraver and set ’em up in front of the cameras, for shots to be set on the metal to be etched.

KUBERT: I would say that one of the most important things for fellows in our business to learn is anatomy. This is something you cannot learn from comic books, Bridgeman’s books on anatomy, or “How to Draw,” etc. You’ve got to study from the live figure. Once you have learned the basics, then exaggeration will not look incorrect, but rather an extension of correct drawing.

RF: Which of the superheroes did you enjoy doing most? KUBERT: Hawkman, Dr. Fate, The Spirit (on which I did inking), and, of course, Volton. RF: Some readers feel that your art is too dark. What do you think of that? KUBERT: I try to draw what seems right to me. Basically, we in comics are working in black-&-white. I try to use my blacks to gain the “effects” I want. I’m sure I don’t succeed all the time, but I do try!

Watch composition variation. When you jump around from one panel to the next too much, you disrupt the flow of the story— which is all-important! You may have the most beautiful drawings in the world, but if they don’t tell the story, they’re worthless, as far as a comic strip is concerned.

Another Joe Kubert page (scripted by Robert Kanigher) from the Flash/Rose & Thorn story which DC never published. (See previous issues of Alter Ego for more, courtesy of Robin Snyder’s wonderful publication, The Comics.) [Jay Garrick/Flash ©2001 DC Comics.]

RF: Do you have any personal dislikes associated with comic books? KUBERT: The only dislike I have of comics is the type of paper, reproduction, and printing used. This is, of course, due to the cost of producing an article that sells for 12¢. But, within these limitations, I’m gratified at the end results. RF: How far ahead to you work on a strip? KUBERT: In comic books, we usually work two to three months in advance.

I hope my answers will enlighten some of your readers.

MONThly! Edited and published by Robin Snyder

RF: Do you usually adhere strictly to a script? KUBERT: No. Bob Kanigher, the editor/writer of most of my work, will allow me carte blanche with his script—just so long as it looks good when he gets it! RF: Did you originate the panel-within-a-panel method, now used in many DC war comics? KUBERT: I may have added slight variations, but fellows like Will

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The Over-extended Marvel Family

The

O VER-

Extended Marvel Family by John G. Pierce

I. The World’s Mightiest Mold If imitation is the sincerest form of flattery, the original Captain Marvel could easily get a very swelled head.

But there have been numerous other characters who were in some measure derivative of the good Captain. One such was developed by two former Fawcett men, Ken Crossen and Mac Raboy, for the former’s company, Spark, as they took the pulp character The Green Lama (in the pulps, something of a Shadow-type figure) and turned him into a post-World War II green-clad super-hero who resembled The Spectre. When Jethro Dumont recited his chant, “Om mani padme hum,” the words echoed from a lamasery in far-off Tibet and changed him into The Green Lama. With the more serious style of story and Raboy’s artwork, it was as if Freddy Freeman had suddenly grown up and changed his name, religious affiliations, magic words, and the color of his costume!

For, even though he himself began life as an imitation of Superman, he soon moved beyond his source of inspiration—and indeed, the World’s Mightiest Mortal has been one of the most imitated super-heroes of all time. A lot of the earliest imitations came from his own publisher, Fawcett. Starting with the three Lieutenants Marvel, and proceeding on through Captain Marvel Jr., Mary Marvel, and Hoppy the Marvel Bunny, as well as the villains Niatpac Levram and Black Adam, Fawcett didn’t hesitate to exploit the Shazam mythos for commercial gain and/or story possibilities. (The two aren’t necessarily mutually exclusive.)

Scattered here and there throughout the Golden Age were various minor characters who were Captain Marvel takeoffs of one form or another. One was Golden Lad, drawn by Mort Meskin, who was vaguely similar to Cap Jr.—and who was published by the same company that put out Green Lama, as a matter of fact.

The Over-extended Marvel Family Then there was a character who yelled the old circus cry for help, “Hey, Rube!” in order to change into Red Rube. (Honest!) A Fly-Man (not to be confused with the later Archie Adventure hero) also made something of a magical transformation.

Major Victory (who actually outranked Captain Marvel!) responded to calls from a “Father Patriot” who had a touch Major Victory #3 (Summer 1945) was the of old Shazam about him. Major last issue; art by Charles Sultan. The Victory even had his own Major got his start in Dynamic Comics #1 (reprint) comic for three issues— (Oct. 1941). [©2001 Dynamic Comics.] and appeared in the pages of Marvel’s The Invaders #16-18 in 1977, as a comic book super-hero created by a young soldier named Biljo White, who was rescued from the Nazis by Captain America and company. Remember that name “Biljo White”—it will pop up again, later in this article.

II. Britain And Brazil An even more direct Cap imitation came in the form of the British character Marvelman. When Fawcett went out of the comics business in 1953, as a result of the DC lawsuit and declining sales, its British publisher, L. Miller, simply changed the character’s name to Marvelman, with a redesigned blue uniform—changed Junior to Young Marvelman (in red)—and altered Mary, oddly, to the even younger male Kid Marvelman (in yellow). The magic word “Shazam!” was replaced by “Kimota!” (“Atomic!” misspelled backwards), and Miller kept right on going.

because of Marvel Comics’ trademark on the name “Marvel” (which in the ’70s had forced DC to call its own CM revival Shazam!), the names of the British heroes had to be changed to Miracleman, etc. What is less well-known, however, is that Marvelman and Family also appeared in Brazilian comics through the 1950s, where they shared the pages of Captain Marvel’s own comic—which (as revealed in Alter Ego, Vol. 3, #1) outlasted the US version by some years with new, post-Fawcett stories. In fact, the Marvelman group often stole the cover away from Cap! On occasion even Cap’s magic word “Shazam!” was used rather than their own word “Kimota!” In Brazil, by the way, the heroes’ names were Jack Marvel and Jack Marvel Jr.—but I’ve never been able to discover the Brazilian name for Kid Marvelman (who did not appear that often).

While the stories had little of the whimsy and humor of the original, they were popular enough to be published weekly for several more years. Many covers and panels were direct swipes from earlier Fawcett material. As most modern-day fans know, the story doesn’t end there, since in the early 1980s a British magazine named Warrior brought back the Marvelman Family in a bizarre reworking of the original concept, with the writing of the yetto-be-famous Alan Moore. Not long afterward, the Marvelmen were After the final English issue of their Fawcett forebears, Cap and Junior brought stateside by metamorphosed into Marvelman and Kid Marvelman. The accompanying letter Eclipse Comics; but from the Editor appeared in the last Captain Marvel, wherein Junior often had the lead spot, with Cap Sr. bringing up the rear. Thanks to Roger Dicken and Wendy Hunt. [Captain Marvel Jr. ©2001 DC Comics.]

Also, we mustn’t forget that, in Alan Moore’s Miracleman stories, there were also a Miraclewoman and a Miracledog.

III. More Bundles From Britain But wait—there’s more! Although I have not yet been able to track down the precise publishing history and dates, there was yet another, earlier British character actually called Miracleman... and he, too, was an imitation of the original Captain Marvel. John Chapman, a young assistant to a police inspector, says the magic phrase “Sun Disc!”— while simultaneously touching a disk with concentric circles on his chest—to change into the adult super-hero Miracleman. There are various coloring inconsistencies between the covers of the two issues I have, #11 and #13 (the interiors were black-&-white, remember); e.g., sometimes his arms and legs are bare, sometimes not. In at least a few stories I’ve seen, this Miracleman had his own young assistant, a boy

The Over-extended Marvel Family who donned a special tuxedo, thereby gaining super-powers, and who went by the name of (I kid you not!) Supercoat! (DC’s evervigilant attorneys must have missed that one!)

It might be said that Captain Marvel had some sort of special resonance in both Brazil and Great Britain: in the former, because his career lasted over a decade longer than it did in the USA, and in Britain because so many imitations of him were published there.

Freddy Freeman, as Gifford reports: “Kind, elderly New York City newsboy Dan Watkins, formerly Fingers the arch-crook, has become Electroman thanks to a trip to the electric chair which went wrong.” All he had to do to change into a super-hero with

Besides Marvelman and Miracleman, there were a number of other English heroes who borrowed either his concept or artistic look—and I can’t promise that the list which follows is exhaustive: According to Super Duper Supermen!, an early-’90s book from Britain’s Green Wood Publishing Company, with commentary by the late Denis Gifford: In 1951’s Masterman Comic (no “s”), the blonde do-gooder named Masterman, in his yellow-trimmed-in-black outfit, was “the only super-hero to wear a skirt.” He was actually “bespectacled schoolboy Bobby Fletcher,” who changed to the adult hero by rubbing his Ring of Fate to achieve “a loud ‘Pow!’” Art was by one Joe Colquhoun.

Captain Universe’s magic word “GALAP!” stood for Galileo (Master of the Galaxies); Archimedes (Master of Physics); Leonardo da Vinci (Master of Invention); Aristotle (Master of Philosophy); and Pythagoras (Master of Geometry). But somehow, “Galap!” never had quite the pinache of “Shazam!” [©2001 Arnold Book Company (London).]

Captain Miracle, who had his own comic from Anglo Features circa 1960 (drawn by one Don Lawrence), was in reality Johnny Dee, the “youthful editorial assistant of the Daily Clarion.” Upon calling out the magic words “El Karim!” he changed into Captain Miracle. As Gifford phrased it: “If he had shouted ‘Kimota!’ he would have probably turned into mighty Marvelman, for Johnny was a reworking of old Fifties Marvelman strips.”

Captain Universe (“the Super Marvel”), by Mick Anglo—a real name, or more likely a play on Michelangelo?— appeared in 1954. Gifford again: “When Jim Logan of the United Nations Interplanetary Division... shouted ‘Galap!’ electronic impulses from outer space vibrated through him” and he became the super-powered “King of the Spaceways.” Masterman lasted twelve monthly issues before changing to Masterman Western; a few of his adventures were even printed in color. Incidentally, the “6d” (sixpence) price tag amounted to approximately one US dime... the same as American comics at the time. [©2001 United Anglo-American Book Co./Streamline (London).]

Electroman, star of Electroman Comics circa 1951, was a switch on both Billy Batson and

electrical powers was to stick his finger into an electric socket! (And wouldn’t Fredric Wertham have had a field day with that one!)

There were far more characters named “Captain” in British super-hero comics than even in American ones, where that military title was easily one of the most popular components of a super-hero’s name. Gifford’s 1991-92 book also featured shots of non-CM-imitators Captain Crash, Captain Vigour (Strongman of Sport), and Captain Zenith. (In America, the most common color found in a hero’s name back in the Golden Age was green; some early fandom wag once suggested that the ideal 1940s super-hero would have been named The Green Captain!)

IV. Captain Of The Vacuum Tube And, speaking of captains, here’s an American one that most fans have never heard of: Former Fawcett executive Editor Will Lieberson later became a publisher himself. He exploited the growing popularity

Electroman’s art had a strong C.C. Beck influence. Denis Gifford reported that King-Ganteaume Productions, which packaged it and Masterman, was “a studio said to have been set up on their severance pay by two former GIs. Certainly, their storylines and dialogue teemed with authentic American comic-book slang.” [©2001 Scion Ltd. (London) and George Turton (London).]

The Over-extended Marvel Family Two Shazam-influenced British heroes not mentioned in this article are George Bunting’s red-costumed, red-caped Mr. Apollo (shown here from Dynamic Thrills #7, 1952), who at least has “the strength of Hercules, plus the speed of Mercury”—and Litening [sic!], the hero of 1948’s Big Flame Wonder Comic, who got his powers (as “young David Terry”) from an old man who takes him to “the home of the gods,” where Zeus and Mercury are waiting to greet him. In 1957 Litening artist Ronald Embleton produced an excellent color comic strip, Wulf the Briton, for Express Weekly. [Mr. Apollo ©2001 Gerald G. Swan Ltd. (London); Litening ©2001 Scion Ltd. (London). Mr. Apollo interior art courtesy of Roger Dicken & Wendy Hunt.]

of television in the early 1960s to issue a youth magazine about the medium, called TV Junior. For three issues this magazine featured a direct Captain Marvel imitation called Captain TV. A boy named Bobby, who had a color TV set long before many of the readers, is contacted via his set by benevolent aliens of “Channel X from the planet Superior,” who have selected him to aid in the fight against evil.

For some reason, Zane, who was ready to kill the kids a moment before, now locks them in a dungeon, but “Suddenly, invisible hands bend the window bars.” Captain TV had simply made himself invisible! Why he would go to all this trouble, when he could have simply captured Zane earlier, is not revealed. Maybe the writer just wanted to use the invisibility power a couple of times! In the following issue’s third (and, as far as I know, final) adventure, Captain TV and The Video Kids meet up with “Zatara, the Mad Magician,” proving that the folks behind this strip weren’t mining only Fawcett for material! This Zatara doesn’t say backward words, however. Instead, by “high-intensity concentration,” he is able to “break down the molecular structure of living organisms... and reconstruct them into anything he wishes!” He abducts The Video Kids to an asteroid (where they get along fine without space suits). When Bobby starts to say his magic word, Zatara turns him into a “tongueless space monkey,” which he shoots into space in a capsule. But somehow the monkey is able to use his fingers to act as a tongue and form the word “Oscilloscope,” which changes him into Captain TV. You can guess the rest.

Bobby is given certain conditions to meet (such as never revealing “the secret of Capt. TV”). When Bobby says the tongue-twisting secret word “Oscilloscope,” he is changed into Captain TV, with standard Captain Marvel-type powers—plus the ability to become invisible. Soon afterward, he and his friends are playing when they are abducted by evil ant-like aliens. Becoming Captain TV, Bobby makes short work of them. The origin story was told in all double-page spreads—three spreads for a total of six pages, slightly larger than digest size—so things moved rapidly even for a Silver Age story. The cartoony art was vaguely reminiscent of C.C. Beck. By the second story, next issue, a slightly less cartoony style was employed (apparently via a different artist), with shading effects. This time it takes five spreads for Captain TV to finish off Dr. Zane, an evil scientist. Although nothing was said about Bobby’s gaining any intelligence when he changed to Captain TV, he apparently did, or perhaps he was just a very good science student, for he defeats Zane’s laser weapon by spreading millions of shiny metal pellets in the atmosphere to deflect the rays. Bobby’s friends, who’ve dubbed themselves “The Video Kids,” are about to become targets of the laser when the Captain intercepts the beam—and disappears!

When publishers and writers weren’t content to steal Captain Marvel’s attributes, they simply stole his name! Thus, in a brief mid-’60s publishing venture for M.F. Enterprises (the “M.F.” stands for “Myron Fass,” once a comic book artist), Carl Burgos—creator of the original Human Torch, and capable of far better than this—draws another android hero, named Captain Marvel. It lasted only a short time, but along the way managed to “borrow” a number of other names, such as Plastic Man and Dr. Fate, for supporting characters and villains. With Marvel Superheroes #12 (Dec. 1967), Stan Lee jumped into the fray with his own Captain

Carl Burgos’ Captain Marvel cried “Split!” to make his body parts fly off in all directions, and “Xam!” (pronounced, no doubt, “Zam!”) to make them reattach themselves. #1 was dated April 1966; there were five issues. [©2001 M.F. Enterprises.]

The Over-extended Marvel Family Marvel. This one (drawn by Gene Colan and introduced into Marvel Comics at the insistence of Marvel publisher Martin Goodman, who wanted to prevent anyone else from publishing a comic by that name in the future) actually was a captain, named Mar-Vell, of the alien Kree race introduced earlier in Fantastic Four. After two issues of MSH, Mar-Vell jumped to Captain Marvel #1. Matter of fact, there was a brief lawsuit back and forth between M.F. and Marvel over the use of the name “Captain Marvel.”

17 totally different from any previous version. More recently, the son of Mar-Vell has taken over the name and mantle, though, as one Comics Buyer’s Guide reader noted, he should really be referred to as “Captain Mar-Vell Junior.”

But, even before Mar-Vell, by 1962 Marvel Comics had a character who owed a debt to Gene Colan’s dynamic pencils for the second of Marvel Comics’ “Captain Marvel” Captain Marvel: The Mighty stories, in Marvel Super-heroes #13 (March 1968), courtesy of David G. Hamilton. [©2001 Marvel Characters, Inc. Hey, do you think we used the word “Marvel” often Thor, who at least in the beginning was lame Don Blake, enough in one caption?] who became the thunder god by striking his walking-stick on the ground, thereby With Captain Marvel #17 (Oct. 1969), Roy summoning magic lightning from the heavens. This added one more variation to the list of magical Thomas (who had first written Mar-Vell in MSH changes. We’d seen boy-to-superman, crippled#13) would work with artist Gil Kane to change his boy-to-superboy, girl-to-supergirl, man-tocostume drastically and to link him via the Negative superman—but here was handicapped-man-toZone with The Hulk’s former teenage sidekick Rick Norse-deity! Jones. When Rick slammed the Nega-bands on his wrists together, his place was taken by Mar-Vell. And, over at Charlton Comics a couple of years later, the old Victor Fox hero The Blue Beetle In other words, the Thomas-Kane team turned a somewhat bland character into an updated, (who in the 1940s had aped every hero from The Marvelized version of the original Big Red Cheese! Green Hornet to Superman, at one time or Still, it is worth noting that the Marvel hero was another) was revived as an archaeologist who usually referred to simply as “Mar-Vell,” rather found an ancient scarab icon that changed him, than “Captain Marvel.” with the magic non-words “Kaji Dah,” to the powerful Blue Beetle. The writer of most issues Captain Mar-Vell spawned an offshoot, Ms. was veteran Joe Gill; art was by Bill Fraccio and Marvel (#1, Jan. 1977). She was in reality Carol Tony Tallarico. Danvers, originally a supporting character in Roy Thomas wrote the final issue of that Blue Captain Marvel. Beetle, just as he had earlier written finis to Still later, after Jim Starlin had killed off Maranother mid-’60s Charlton/Gill hero, Son of Vell with cancer in Marvel’s first graphic novel, the Vulcan, who owed even more to both Thor and Captain Marvel #17 (Oct. 1969) was the first House of Ideas introduced a black female called of many Gil Kane-Roy Thomas collaborations. Captain Marvel. Reporter Johnny Mann was Captain Marvel, whose powers and costume were [©2001 Marvel Characters, Inc.]

Lee and Kirby’s Thor, and less directly Captain Marvel, influenced Charlton’s Son of Vulcan and Blue Beetle; seen here are #50 and #54 respectively, both last issues from 1966. As per the credits, Alter Ego’s editor got to write all three—but only the Asgardian survived the experience! The Buscema/Palmer Thor splash is from #272 (Jan. 1978). [Thor ©2001 Marvel Characters, Inc.; Blue Beetle & Son of Vulcan ©2001 DC Comics.]

The Over-extended Marvel Family

likewise lame, and shouted out, “Let me become Son of Vulcan!” in order to turn into a quasimythological super-hero, with at least some similarity to Cap, who after all had received his powers mostly from mythical Roman gods.

VI. Archie And Others But, to backtrack a bit, changing companies as we do so: In the late ’50s, Archie Comics, which hadn’t done super-heroes since its 1940s days as MLJ, started an Archie Adventure line with a Simonand-Kirby creation, The Adventures of The Fly. This stalwart also made the magical change from boy to man. In fact, after S&K departed, a new creative team had Tommy Troy suddenly grow up (with no explanation) to become an adult lawyer, Thomas Troy, who still used the magic Fly Ring to make the transformation—though in this incarnation The Fly had vastly greater powers. (Later, his name would be changed to Fly-Man, and he would be joined by Fly-Girl.)

whom two kids transformed themselves was different each time. But it wasn’t just professionally-published comics which contained Captain Marvel-inspired characters. From the 1960s till the time of his death in 1980, Capfan A.J. Hanley filled various fanzines with numerous creations, including, most notably, his Marvel Family-like Goodguy (a.k.a. Major Marvel), Minor Marvel, Miss (sometimes Ms.) Marvel, and even Moms Marvel, along with an unrelated Marvelmouse—whose origin story also involved, for one panel only, a direct Captain Marvel imitation called Marvelman—but not the British version!

The stories had some of the sense of fun and whimsy of the Fawcett tales, while not being directly imitative thereof. Later on, Hanley (who was also a great fan of Walt Kelly’s Pogo) would do some socially relevant tales involving The Jaguar. Art by John Giunta. Goodguy. He once told me, in private correspon[©2001 Archie Publications, Inc.] dence, about another idea he had, of combining The Fly himself was apparently an outgrowth of an earlier and very Captain Marvel and The Spirit into a Captain Spirit, but he never similar, but never published, Simon-and/or-Kirby character, The Silver followed through on this one. Spider, for which C.C. Beck did the art. It is worth noting in passing Sadly, Hanley never gained much of a foothold in pro comics, that The Silver Spider has been claimed as an influence on the creation though his Marvelmouse (as “Mucha Mouse”) did appear briefly in a of Spider-Man (in Stan Lee’s original idea, according to artist Steve Charlton comic. I long maintained that Hanley should have been Ditko, a magical-ring transformation was used); so even the famed wallhandling Captain Marvel for DC—and, while he was not one to be crawler may owe a debt to Captain Marvel! envious, I could sense his disappointment when fellow Capfan Don A slightly later Archie Newton, and not he, got the Adventure character, The assignment to draw Shazam! for DC. Jaguar, also made a magical adult-to-adult transformation. He even lost a mustache in the process! Speaking of Charlton, back in the A few years ago, Malibu’s late 1950s that low-rent comics company ran some unused “Hoppy Prime was added to the list of the Marvel Bunny” strips, with the characters making the transcostume changed from red to blue formation from boy to (impos(minus the lightning bolt insignia), his sibly-muscled) superman. And magic words altered to “Alizam!” and both the 1960s and the 1980s his name to Happy the Magic saw versions of DC’s Dial H for Hero feature, though this Bunny. “And nobody sued, either!” time the explanation was as Roy Thomas noted in his awardpseudo-scientific rather than winning article on The Marvel Family magical, and the hero into back in A/E, (Vol. 1), #7, 1964.

VII. Magic And Thunder

The Over-extended Marvel Family

Some time before that acquisition, Editor Mort Weisinger resurrected the basic idea of Captain Marvel, but as a villain called Zha-Vam (how do they think these names up?). Zha-Vam, who fought Superman in Action Comics #351-353, received his powers from Zeus, Hera, Achilles, Vulcan, Apollo, and Mercury—using the goddess Hera doubtless to avoid using Hercules (who at Fawcett had been a godly component of the powers of Shazam). Superman eventually defeated Zha-Vam with the aid of Atlas (another cog in the mighty Shazam machine), who was part of a group of rival gods. When DC made a licensing deal with Fawcett, a team-up of former rivals Captain Marvel and Superman became inevitable. But first, in Superman #276 (June 1974), the Man of Steel met up with a hero one step removed: an alternate-world Captain Thunder (utilizing what was originally to have been the Big Red Cheese’s name, used previously only in Fawcett’s 1939 “ashcan” edition). Captain Thunder’s secret identity was—Willie Fawcett! Picture Hoppy the Marvel Bunny in blue instead of red, with no chest sigil, and Alizam!—you’ve got Charlton’s Happy the Magic Bunny! Commission sketch by Chad Grothkopf, courtesy of the artist (who cocreated Hoppy in the ’40s) and Jeff Gelb. [Art ©2001 Chad Grothkopf; Hoppy ©2001 DC Comics.]

From the late ’40s into the ’50s, Magazine Enterprises (best known for their western titles) had a rather unusual Captain Marvel takeoff, in the form of a character called The Mighty Atom. His secret identity was Pete Pixie, resident of a village of pixies. When he shouted “Pick a peck o’ pixies!” magic lightning turned him into The Mighty Atom, costumed but otherwise identical in appearance to Pete, and with the standard super-powers. The same phrase changed him back. (NOTE: This Mighty Atom is not to be confused with the DC hero The Atom, whose strip had originally been called “The Mighty Atom”—nor with the Japanese character of the same name.) As is well known, under Carmine Infantino, DC acquired the rights to The Marvel Family and revived them in 1972.

More recently, DC has introduced its own takeoff, simply called Thunder, a futuristic female whose real identity is that of CeeCeeBeck. She gets her powers from an old wizard who is supposed to be an aged Captain Marvel himself. Like Cap Jr., she changes by shouting “Captain Marvel!” rather than “Shazam!” The “Thunder” handle has turned up in other Captain Marvel-derived characters, too. For instance, there’s Marty Even Rusty of George Pal’s Puppetoons Greim’s masterful creation got into the act, in a comic based on the Thunderbunny, who clapped popular 1940s stop-motion animation his hands together to change shorts. Of course, it was a Fawcett comic! from boy to anthropomorphic Thanks to Gene Kehoe. super-powered rabbit. Although [©2001 the respective copyright holder.] initially not thrilled with existing in rabbit form, it was the price he had to pay for having powers. In the early 1980s, Roy Thomas proposed to DC that he and Don Newton, in a planned Shazam! revival, replace Captain Marvel Jr. with a young African-American whose costumed identity would be Captain Thunder. Nothing ever came of it, due to Don’s untimely death; the idea was not used in Roy’s mid-’80s Shazam! A New Beginning, which was drawn by Tom Mandrake. More recently, in the “retro” title Big Bang Comics, a teen named Molly Wilson has been given the power by Mother Nature to change into Thunder Girl, a green-costumed homage to Mary Marvel. It’s interesting to note that there is no adult (or even non-adult) male to whom Thunder Girl is the counterpart. She is apparently the sole standalone distaff takeoff on Captain Marvel. Another Big Bang feature (which has also appeared in titles such as Savage Dragon and Supreme) is Mighty Man, yet another takeoff on and tribute to Mary’s twin brother.

Zha-Vam turned out to be a real heel! Since penciler Wayne Boring was the Superman artist of the 1950s, Roy Thomas had him draw issues of Marvel’s Captain Marvel and even Thor for Marvel in the ’70s. [©2001 DC Comics.]

Even Cap’s once-projected last name was used again in the 1980s, when Roy and Dann Thomas created Captain Thunder and Blue Bolt for Dennis Mallonee’s Heroic Publications. This father-and-son superhero team was published for only twelve issues, but circa 1992-93 Paramount optioned it as a possible motion picture. Recently the comics

The Over-extended Marvel Family have been featured on Heroic’s Internet site (www.heroicpub.com), and last year some of the stories were reprinted—in Croatia, of all places! Roy has announced plans to revive the heroes in the near future.

VIII. Altered Egos Roy struck again in 1986, this time at First Comics, with four issues of a comic book called Alter Ego, in which a boy named Rob Lindsay dons a mask (nigh-identical to the one adorning this “Mighty Man” from Big Bang Comics. In this one, magazine’s cover) and, teenager Bobby Berman slams his wrists together entering a dimension to become Mighty Man—making him in some where comic book ways an imitator of Marvel’s first Captain happenings are real, Marvel! [©2001 the respective copyright holders.] becomes a super-hero with the name Alter Ego. Those tales, too, are currently viewable on Heroic’s website, and have been printed abroad from time to time—including, again, in Croatia. Roy and a producer of quality films have even met in Los Angeles to discuss the latter’s interest in turning that Alter Ego into a feature film. Speaking of Alter Ego (the original fanzine, that is): Back in 1964, A/E #7 introduced a comics feature entitled Alter and Captain Ego, written and drawn by Biljo White. (See? We told you you’d hear that name again before this piece was done.) In it a boy named Alter Albright encounters a spacefarer named Captain Ego. The two of them become telepathically linked, so that whatever Alter imagines, Captain Ego can do. The drawback is that any physical pain or emotional distress suffered by Alter will also affect Ego. It was a concept which (as A/E Editor Roy Thomas noted at the time) “managed to be inspired by but not copied from Captain Marvel.” Later, with Biljo’s permission, I wrote a few tales of the pair which were published (sometimes in comics form, sometimes in prose form with or without spot illustrations) in both US and British fanzines. One cover drawing of Alter and Captain Ego was even done by British fan-artist (and future pro) Kevin O’Neill! I introduced young Alter Albright’s Splash page of Alter Ego father, a retired colonel of unspec(the comic book) #1, May 1986. ified military affiliation who was [Art ©2001 Ron Harris; Alter Ego is TM & also an inventor. Had I continued ©2001 Roy & Dann Thomas.] the feature, the reader would have been led to suppose that Col. Albright was formerly Captain Albright—i.e., the alter ego (there’s that word again!) of famed radio/comics/TV hero Captain Midnight. I also introduced Alter’s older brother, a spy gone from home for long periods of time, whose identity could be assumed by Captain Ego when he needed to walk among Earthmen unnoticed.

Alter and Captain Ego are back, of course—not only as the timeshare mascots (along with the 1980s hero Alter Ego and teenage Rob Lindsay) of this magazine, but in the recent Hamster Press comic Heroes vs. Hitler, where they share billing with The Eye, The Eclipse, and other 1960s comics fandom creations. Story is by Roy Thomas and Bill Schelly (who have purchased the characters from Biljo White), with art by Schelly. It has been Hamster Press’ biggest seller to date.

IX. Religion And Flying Saucers This next imitation came neither Nope, it’s not Cap and Junior Marvel. from comic books nor from Captain Thunder and Blue Bolt soar in fanzines, but from a newsstand their twelfth issue (#2 of Heroic’s second magazine. In the mid-’70s the publiseries, Nov. 1992). They’ll be back! Art by cation Nashville Gospel briefly E.R. Cruz. [©2001 Roy & Dann Thomas.] featured a four-page strip about a hero called Gospelman. “Mild-mannered country singer Chet Hank” finds a so-called “Powerpac” medallion left behind by alien visitors 10,000 years before. By holding it and saying the words “Great speckled bird” (which is what the emblem on the medallion looks like), Chet is changed into Gospelman, who (not unlike Thor) suddenly starts speaking in Elizabethan/King James Bible English. Perhaps in this case with more justification. Why would an ancient Norse deity speak in the language of the Christian holy book? Gospelman’s power, however, like the Miraclo-induced strength of Hourman, lasts only sixty minutes at a stretch, though apparently no hour of recovery time is needed for Chet to invoke the power again. The strip was credited as being “Based on characters created by M.G. Shestack and Walter Zacharius”; it was drawn by Marvel Comics regular Don Perlin. And then there was the Milson (a.k.a. Lightning) line of comics. In the mid-’60s, former Fawcett executive Editor Will Lieberson reunited various former Fawcett personnel—Editor Wendell Crowley, writer Otto Binder, artists C.C. Beck and Carl Pfeufer (and, briefly, former Editor and writer Rod Reed)—for an all-too-shortlived line which offered two Cap-derived heroes, with a third who never made it into print. Super Green Beret was in reality Tod Holton, a boy given a magical green beret. When he saluted, he changed into adult, super-powered Green Beret, who participated in the Vietnam War.

A 1973 British fanzine cover spotlights Biljo White’s Alter and Captain Ego, drawn by future pro Kevin O’Neill, for a story by John G. Pierce. [Art ©2001 Kevin O’Neill; Alter & Captain Ego © Roy Thomas & Bill Schelly.]

The Over-extended Marvel Family

In a totally different vein, Binder and Beck offered the humorous Fatman, the Human Flying Saucer, a hero with no less than three identities: the everyday one of wealthy Van Crawford; his costumed ID as Fatman (in which he wore a green Captain Marvel-like costume); and Saucerman (the Human Machine), a form he was able to morph into.

Super Green Beret was John Wayne as super-hero—while Fatman the Human Flying Saucer had perhaps too much of the whimsy and too little of the heroism of Captain Marvel in 1967—but it was great to see Lieberson, Crowley, Binder, and Beck back together again, even for a little while. [©2001 Milson Publishing Co.]

The two above titles lasted two issues and three issues, respectively. A never-published third Milson title was to have been Captain Shazam (who would not have been like Captain Marvel, Binder later insisted). A combination of poor distribution, bad timing, and perhaps the format (86 pages for 25c—which sounds like a real bargain nowadays!) killed the line before it had a chance. The final character we’re going to examine is unique among Captain Marvel imitators, because in a sense she is an offshoot, yet she is not a member of The Marvel Family. She is also unique for having debuted not in comics, but on television. I refer to The Mighty Isis. Following the first season of the Saturday morning live-action Shazam! series, the show was expanded to a full hour, now entitled The Shazam!/Isis Hour. As Isis the Invincible. [©2001 Filmation.] such, it aired from September 6, 1975, through September 3, 1977. (There were three crossover episodes in which she and Captain Marvel teamed up.) From September 15, 1977, through September 2, 1978, after the Shazam! portion of the show was cancelled, Isis held down a solo spot in The Secrets of Isis. Isis was, in reality, high school teacher Andrea Thomas, who gained the ability to become the ancient Egyptian goddess by calling out, “Oh, Mighty Isis!” Apparently she had to chant the full title; simply saying “Isis!” wouldn’t change her. She had the ability to command the forces of nature and to turn back time, plus other considerable abilities. In some ways, it seemed Isis’ main limitation was simply the tiny budget and the Saturday morning regulations on children’s programming which existed at the time. Filmation Studios had created a new heroine because they did not want to pay a licensing fee for an existing one, such as Mary Marvel. DC Comics had a licensing deal to produce an Isis comic book. She

started with a guest appearance in Shazam! #25, after which she starred in her own title, which lasted only eight issues. Various writers and artists worked on the title, including Steve Skeates, Mike Vosburg, and Wally Wood. Isis also appeared in a Filmationproduced animated cartoon called The Freedom Force, in which she teamed with Hercules, Sinbad, Merlin, and others. This program was part of the Tarzan and the Super Seven show (1978-80). An animated Isis also had a cameo in an episode of Filmation’s Hero High cartoon (1981), which was part of the Kid Super-Power Hour with Shazam!

Epilogue

No other character ever enjoyed the popularity (or at least the sales figures) that the World’s Mightiest Mortal did for a time during the mid1940s; and no other single super-hero—probably not even Superman himself—has been so directly (even blatantly) copied and “borrowed from.” It is a tribute not only to the popularity he once enjoyed, but also to the talent and vision of his creators and sustainers at Fawcett, that, even now, decades later, his name and concepts continue to be imitated. For all that, he himself remains unique, the perfect blend of magic, myth, humor, whimsy, and adventure, whose stories have never really been duplicated or equalled. He remains the one and only, the original Captain Marvel! [Born in 1947, JOHN PIERCE grew up reading comics of the 1950s-60s but developed an interest in the Golden Age, especially the Fawcett group. He later published his own Marvel Family fanzine, The Whiz Kids. He speaks four languages, has an extensive collection of Brazilian comics, and is a high school teacher of Special Education and an adjunct college professor of Modern Languages.]

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Hail, Hail, The Gang’s All Here The

Part II:

Hail Hail The Gangs All Here! Chronicles

by Roy Thomas [WRITER/EDITOR’S NOTE: Our premier installment, in V3#6, related how in 1980 I left my writer/editor position at Marvel Comics after fifteen years to become a contractual writer for DC Comics, with one of my first projects there being All-Star Squadron. [Actually, V3#6’s offering was only the first half of the article I wrote. It had to be truncated to make room for other features, so this issue’s chapter is in truth the latter half of that chapter. At any rate, onward:]

possible exception of George Pérez, who wants to draw everybody)? There were good and sound reasons why super-hero groups to date had never contained more than eight or nine members, and usually seven or fewer. To me, however, the above problems were merely challenges. I wanted to try something different—a comic where the concept and the group were more important than the heroes appearing in any individual story. As I’ve often said, I thought of All-Star Squadron from the outset as a tapestry, weaving together disparate threads of an epic story—some of which had been published before I’d been born.

I. If Three’s A Crowd, Then What The Hell Is This?

I’m a bit fuzzy on details, but I believe I outlined most of the above to editorial director Joe Orlando on that first DC-related trip back to New York City. And I was basically told, “Fine, go to it.”

I suppose the sprawling concept of a group composed of any and all DC super-heroes appealed to me because, with the JSAers having been handled by various writers over the past nigh two decades, this was my chance to start something both old and new under the sun.

To the best of my recollection, I was originally told that Len Wein (who’d been my associate editor at Marvel, and had succeeded me in ’74 as editor of the color comics) would be my editor on the sword-andsorcery mag which became Arak, Son of Thunder, while Dick Giordano would edit All-Star Squadron.

Just as there had never been a real Timely/Marvel super-hero group during the World War II era until I’d dreamt up The Invaders retroactively in 1975, so there had never been a DC story or series in which so many heroes took part. It’s fairly easy, of course, to see why there hadn’t been! The number of potential heroes in such an assemblage was simply too large to be manageable, in the usual sense of the word.

DC Coming Attractions was a four-page promotional publication sent to retailers. #54 spotlighted R.T.’s two upcoming series, All-Star Squadron and Bloodwolf, Son of Thunder (changed at the last minute to Arak). The Rich Buckler-Dick Giordano splash art for Squadron (with Jerry Ordway inking the rest of the insert) would be printed in JLA #193, with an incongruous Shining Knight shown as a JSAer in December 1941, and Starman noticeably absent; in A/E V3#6 we showed a “corrected” version, inked by Ordway. Bloodwolf/Arak pencil art by Ernie Colon. [©2001 DC Comics.]

In the Real World, such a superumbrella organization as I invented for All-Star Squadron would make perfect sense. Soldiers in an army, after all, are often numbered in the millions, and no one complains except the enemy. But in a comic book, readers might well get so confused by the welter of names and costumes and super-powers that they’d find no one to identify with.

Besides, what artist would want to draw such a huge group (with the

Whether this remembrance is accurate or not, by the time things got rolling the assignments got switched around. Dick would edit my DC answer to Conan the Barbarian, and Len would oversee my WWII superhero comic. Which probably made more sense.

II. Captain Of My Fate

Much as I would have liked to be also the editor of the DC comics I was to write (I’d had some success in that area at Marvel over the past decade and a half, after all), I didn’t waste my breath arguing the point in 1980. You see, over dinner with Jenette Kahn one night in 1975, soon after she’d become DC’s publisher, she had made her views clear to me: She

The All-Star Chronicles It couldn’t be put formally into a contract, I had been told, but I was assured before I signed on that the storylines and direction of the new sword-and-sorcery and Golden-Age-related comics would be basically under my control, and that the editors would be there to help me, not to tell me what to do. Having considerable respect for both Len Wein and Dick Giordano, I made no complaint. Now, whether Joe or Jenette or coordinating editor Paul Levitz ever got around to filling in Len and/or Dick on this supposed unwritten limitation of their editorial prerogatives, I couldn’t say. Matter of fact, I hope to discuss precisely that point with them next issue. It wouldn’t exactly be the first time there was “a failure to communicate” in the comic book field, would it?

III. Who’s In, Who’s Out? And so I set to work developing All-Star Squadron. Ye Writer/Editor does some All-Star Squadron “research” aboard a World War II submarine circa 1980-81. Roy’s friend Alan was producing a TV commercial to be shot on the sub, which was temporarily anchored some distance out in Los Angeles Harbor. So for an hour or two they rummaged about on the vessel, the only people on board. The TV commercial? ‘Twas for a submarine sandwich, what else? [Photo by & ©2001 Alan Waite.]

didn’t like the “writer/editor” situation then common over at Marvel, because, she said, nobody could do a good job both writing and editing a comic. “Oh, I totally agree!” I’d replied cheerfully. “That must be why Stan Lee, Al Feldstein, Harvey Kurtzman, Simon and Kirby, Charlie Biro, Will Eisner, and so many other writer/editors produced such lousy comics.” I had been too modest (yeah, sure) to point out that I had been both writer and editor of many of my comics stories she said she admired... and had been virtually a de facto writer/editor on many of the others, as she well knew.

I had explained to Joe that I wanted to get the JSA (including the four honorary members) and even the Seven Soldiers temporarily out of the picture at the outset of the series, so that the nucleus of the new group could be a handful of super-heroes who hadn’t appeared together before. However, since “a foolish consistency is the hobgoblin of little minds,” I wanted two JSAers—Hawkman and The Atom—to be prominent in the Squadron. Hawkman, after all, had been the Justice Society’s chairman for most of its original run, and was the only hero who appeared in all 55 Golden Age JSA stories. He was also my favorite member. The Atom was right behind him, having missed only two meetings; besides, having been small as a kid, I’d always identified with the Mighty Mite, as I did with Quality’s Doll Man. Atom would be a lightweight in the Squadron, since his super-powers weren’t scheduled to kick in till 1948; Hawkman could at least fly, as long as he wore his belt of Ninth Metal.

Jenette and I had never discussed the topic again. It was a case of two different philosophies, and neither of us was ever going to persuade the other to his/her point of view.

Besides, I wanted a permanent “JSA presence” in the Squadron, and the two of them would give it. And, just because I always thought of him in conjunction with Hawkman and Atom, I added Dr. Mid-Nite to the first story arc, too. Green Lantern, Flash, Spectre, Dr. Fate, Superman, Batman, Wonder Woman, et al. would gravitate in and out of the comic, later, once the group was firmly established.

In 1980 she had offered me a three-year contract to write for DC—and I had accepted, because if I weren’t going to be allowed to be a writer/editor any longer at Marvel, due to policies and ambitions of the new regime, I might as well cast my lot with DC and see what happened. I had just turned forty, and still had a lot of productive years ahead of me. I might be a writer/editor again yet, for all I knew. And anyway, the important thing to me was never whether my name, or Stan Lee’s, or whoever’s, was listed as “editor.” What I wanted, always, was simply the authority to guide the contents of comics I wrote, so I could tell the stories I wanted to tell and make certain that the artist—with as much leeway for creativity as I could give him/her—did a good job on the illustrations. And in that respect, DC had done well enough by me.

Actually, DC would have preferred that I downplay Hawkman, Atom, GL, Flash, Wonder Woman, and any other JSAers who had Earth-One counterparts... not to mention Aquaman and Green Arrow. (“Dopplegangers,” they began calling them during the 1980s.) I was willing to go along with this dictate, at least until I could figure a way to get around it, but still I pushed for Hawk and Atom. And DC’s powers-that-be went along with me. So, who else should be in the Squadron? “Give me Liberty Belle—or give me death!” was Roy’s cry in 1980-81. This Chuck Winter-drawn splash is from her second adventure, in Boy Commandos #2 (Spring 1943). [© 2000 DC Comics.]

Well, I wanted (and probably needed) at least one female member, especially if Wonder Woman were to be de-emphasized.

Hail, Hail, The Gang’s All Here

Clockwise: Six who didn’t make the (initial) cut: Mr. America (Bernard Baily), The Guardian and Manhunter (both by Simon & Kirby), Tarantula (three proto-Spider-Man panels by Hal Sharp), Mr. Terrific (Stan Josephs), and Wildcat. The Feline Fury, at least, did a cameo in JLA #193, as per this Buckler-Ordway panel, repro’d from original art, courtesy of Jerry G. Bails. [©2001 DC Comics.]

Only thing is, DC didn’t have a late-1941 super-heroine to replace her! (At this time Dinah Drake, the future Black Canary, would have been maybe 14-15—though I always considered bringing her in later as a teenager, with some bird-related name like Hummingbird, and somehow just never got around to it in nearly seventy issues.) However, from my comicsreading youth post-1945, I was aware of one gold-tressed lass who, with only the barest bit of chronological fudging, would definitely fill the bill: Liberty Belle! This colorful heroine in jodhpurs had debuted in Boy Commandos #1 (Winter 1943), on sale in autumn of 1942. That’s nearly a year after the time period in which All-Star Squadron would be set, but I had a way around it: In May of 1940, according to her origin story, Libby Lawrence, an Olympic-level athlete, had swum the English Channel to escape the Nazi encirclement of British and French forces at Dunkirk, France. She had quickly become a female Edward R. Murrow, one of the bestknown voices on the radio as well as a newspaper columnist. So it wouldn’t be hard to postulate that her first appearance as Liberty Belle had occurred shortly before December 7, 1941, instead of months later.

(Actually, what might be more difficult would be making readers believe she could get by without a mask. All that ever protected the true identity of this doubly famous lady was a Veronica Lake-style peekaboo hairdo— and the apparent near-sightedness of the entire US population.) Okay, so Liberty Belle would take care of the obligatory distaff member. Next? Well, since I had shoehorned The Atom (and even Doc) into the Squadron, I didn’t want to spotlight any more non-super-powered heroes in early issues. And so, of the litany of DC heroes listed last time, The Guardian, Manhunter, Mr. America, Tarantula, Wildcat, Mr. Terrific, Green Arrow—even Air Wave—were put on hold. I considered using TNT, but the name was corny even for comic books. Besides, his power depended on him and Dan the Dyna-Mite slamming their hands together in a sort of explosive high-five, and I didn’t want to include a kid in the core group. (I had never cared much for having Bucky and Toro in The Invaders at Marvel, a few years earlier.) So TNT went onto the back burner. Robotman, a scientist’s brain encased in a tough metal body, was a natural. I’d find a way to work in all the gadgets built into his body, which had become a fixture of the strip in later days, turning him into a virtual cast-iron Plastic Man. Johnny Quick, of course, would be a stand-in for The Flash. He was nearly as good a character, had a streamlined costume which might

The All-Star Chronicles

appeal more than Flash’s to a 1980s audience, and had generally enjoyed better artwork during the ’40s, when the likes of Meskin and Kubert and Dan Barry had drawn his exploits.

But—Aquaman? Besides being a “doppleganger” character, with a basically identical EarthOne counterpart, the sea king had always proved a problem in Justice League of America, since he had to be in the water to be effective. So I decided to hold him off till later. (How much later, I couldn’t have guessed at the time!)

anything resembling super-powers! Well, actually, it was his horse that had wings, not him. But Sir Justin had been a knight of the Round Table, which gave him super-hero status in my eyes. And I had, after all, conceived the modern-day Black Knight at Marvel in 1967 largely in homage to The Shining Knight. So he was in.

IV. Worlds Enough And Time At this time I made one of my more questionable decisions, one about which I have mentally vacillated from 1981 till today. I decided to rope in Plastic Man. Jack Cole’s “Indian rubber man,” of course, was one of the most popular heroes appearing in “Busy” Arnold’s Quality Comics line from 1941-55, most of whom were later purchased by DC. As covered in “Crises on Finite Earths,” last issue, in 1973 scripter Len Wein had created an “Earth-X” on which the Quality heroes lived—a world in which the Axis powers had won World War II—and he had established that Plas and the Blackhawks had been killed by the Nazis.

While inking Rich Buckler on All-Star Squadron, Jerry Ordway penciled and inked this previously-unpublished Shining Knight illo. [Art courtesy of and ©2001 Jerry Ordway; Shining Knight ©2001 DC Comics.]

Charter JSAer Hour-Man (now Hourman) was tempting, since his own series in Adventure Comics had run through 1943, even though he’d been given a “leave of absence” from the JSA in 1941; he’d been replaced by Starman, whom DC considered (incorrectly, as it turned out) a hot new property. But, for reasons I can’t recall—maybe because he was appearing in many of the JLA-JSA teamups published each year by DC—I decided to hold Hour-Man for a later storyline. I already knew it would deal at least in part with an addiction to the drug Miraclo, which gave him his hour of superpowers.

Next I contemplated The Shining Knight. If I could have two or three JSAers in the core Squadron, why not at least one of the Seven Soldiers—the only one with

The argument raged within me whether to assume the Quality heroes had originated on Earth-X or on EarthTwo. Because I had a “big tent” theory of super-heroes, I thought it better to assume the DC and Quality heroes had originally inhabited the same world. One reason I wanted to include the Quality heroes, besides my love of Plas, Blackhawk, and Doll Man in particular, was that then The Phantom Lady could become a second female in the Squadron. As it turned out, however, though she did appear in a couple of early issues, I eventually opted against making Phantom Lady a regular in the All-Star Squadron. In retrospect, a part of me wishes I’d left all the

Hail, Hail, The Gang’s All Here

Quality heroes on Earth-X—to which I’d eventually restore them anyway in issue #50, just in time for that world to be shattered in the Crisis on Infinite Earths. In 1981, however, hard as it is for me to believe now, I actually wanted more heroes on Earth-Two, not less. Nor will it surprise many longtime comics readers to learn that I tried to ring in the Fawcett heroes, as well. Yes, I wanted the original Captain Marvel to be in the AllStar Squadron—which meant Mary and Junior wouldn’t be far behind, fresh from yet another of DC’s multiverse worlds, Earth-S. If I’d had my way, I’d have been handling several AllStars with roughly the same powers as Superman—not to mention Bulletman, Spy Smasher, and the other Fawcett guys, few of whom besides Ibis the Invincible had any super-powers.

Talk about overcrowded! This panel features an even half dozen of the world’s mightiest mortals, plus that lovable fake, Uncle Marvel—and the decidedly anti-Marvel Dr. Sivana disguised as “Aunty Marvel,” a clever Otto Binder pun. [from Marvel Family #2, July 1946; ©2001 DC Comics.]

I was informed by Joe and Paul, however, that it cost DC money every time a Fawcett character appeared in a DC comic. At that time DC hadn’t yet bought the Fawcett heroes; they merely leased them, and paid a pro-rated fee based on how many pages of a given issue sported their likenesses. The company position was that they just weren’t worth it to All-Star Squadron. I was naturally disappointed not to be able to include Captain Marvel and his family and friends; but again, with the virtue of hindsight, I suspect it was for the best.

Besides, I was assured that, at some future time, I’d be able to guest-star the Marvel Family. And I did. So, by now, the core group of the Squadron was going to be: Hawkman, The Atom, Johnny Quick, Robotman, Liberty Belle, Plastic Man, and Shining Knight—with Dr. Mid-Nite along for the ride in the first few issues. Hmmm. I was up to eight already—one more than the JSA of my post-1945 childhood had hosted—and I hadn’t even got around yet to working in Phantom Lady! More: I was already contemplating the introduction of Danette Reilly—named after my bride-to-be, now Dann Thomas—so that the redhaired vulcanologist could become yet another a super-heroine, Firebrand, utilizing the name and modified costume of a lesser Quality hero. This could easily get out of hand. At this point, a few additional human beings in the Real World inevitably began to get involved in All-Star Squadron. First among these, of course, was Len Wein, editor designate of this WWII mishmash. A penciler and inker had to be chosen, as well. That would turn out to be Rich Buckler and Jerry Ordway—and if the Good Lord takes a liking to us, next issue we’ll have some behind-the-scenes commentary from both of them—and from Len. After all, All-Star Squadron may have been my “baby”—but I was sure gonna need a lot of support from an “extended family”! See? Like I said last time around: All these pages, and we haven’t even got to All-Star Squadron #1 yet. Hell, we’re still a ways from the 16-page insert in Justice League of America #193 that preceded it! But hey, I figure this is probably the only time in my life that I’ll ever make a stab at telling the full, unfettered story of All-Star Squadron—so if I don’t make the account as complete as I can this time around, when will I? I knew you’d understand. NEXT: ENTER THE PUPPETEERS!

Nuggets

NUGGETS

[NOTE FROM R.T.: With this issue we begin a continuing column by the former associate editor of Mad (an inveterate collector of anecdotes about vintage comics)—a free-wheeling cross between Walter Winchell’s old gossip column and Garrison Keillor’s “News from Lake Wobegon.” Jerry thinks of it as “nuggets” of information and memories—and of artwork from his formidable collection! Alas, we were already scrunched for room this issue when Jerry signed aboard, and we plan to print a lengthier contribution next time; but he knew we were covering some Avon work in this issue, so...] I knew very little about Avon Comics until Mad’s incredible art director, John Francis Putnam, took me to a tavern in Greenwich Village and introduced me to the brother of the publisher of Avon. We went there three or four times. The lesser Avon personality kept shoving a $20 bill in my hand, and Putnam said aloud, “Take it, Jerry, take it!” I presume the purpose was to move me over to Avon, goodbye Mad.

A Winchellesque Jerry de Fuccio (drawn by his cousin John Severin of EC/Cracked/Sgt. Fury fame) when he was the US representative of Australia’s Ring Digest magazine; and Jerry’s “coat of arms,” drawn by the late great Jack Kent, artist of the wonderfully obscure King Aroo newspaper strip; ribbon & lettering by Frank Borth. [©2001 Jerry de Fuccio.]

John Putnam could set up anything from the Magna Carta to the racing form! His mother, Nina Wilcox Putnam, could write about any subject: a steady member of the Algonquin Round Table, most likely second only to Dorothy Parker. Nina was called to Hollywood in 1932 to do the screenplay of The Mummy. She thought of it as a genuine love story.

Anyway, on my second tavern tour with Putnam, the Avon brother gave me a printed cover of art by Gus Ricca. There was the character Molly O’Day, Super Sleuth, an Avon Comics #1. I believe Ricca had his most glorious hour working for Harry “A” Chesler. I saw only one Ricca cover on Collier’s magazine: two tennis players were about to crash into each other, hopping the net at the [©2001 the respective copyright holder.] conclusion of a game. Later I met a gentleman named Everett Raymond Kinstler. And he was a gentleman: sophisticated, well-dressed. He had drawn “Hawkman” and “Black Pirate” for National in 1947, and he became the rage of Avon covers in 1950: Escape from Devil’s Island, Custer’s Last Fight, The Dalton Boys, Jesse James, etc. He took a turn for Avon’s Eerie comics. I was invited to his studio sometime in the 1970s. He had abandoned the comics and gone in for serious portraits, upstairs, in the area of Klein on the Square [14th Street], long defunct. Kinstler’s “downstairs quarters” were an elite men’s club, and my drink from the bar was an immediate order. He had a familiar uniform on his studio wall. “Uncle Sam Wants You!” Kinstler did the eulogy at the funeral of James Montgomery Flagg! Salute!

Jerry writes: “Frank Borth was a great artist, doing 17 years of Treasure Chest. Reed Crandall was his chum in school and thereafter!” [This 1987 re-creation of a feature Borth drew in the early ’40s is ©2001 the respective copyright holder.]

Chic Stone

Chic Stone A Rock-solid Professional A Remembrance by Bill Cain When I think of artists who helped shape and drive the comics industry in the prolific early 1960s, I always think of Chic Stone.

to make his mark specifically as an inker with Marvel, and his vast body of work and deft pen strokes helped shape and guide the Marvel “look” of the era. Before he was done, Chic worked on some of the most successful comics and with some of the most famous creators in the business.

Chic, one of the most inexhaustible and esteemed artists and inkers of the Golden and Silver Ages of Comics, died July 28, 2000, of pancreatic cancer in Prattville, Alabama. In the early ’60s, inkers most commonly associated with Marvel Comics included superstars like Dick Ayers, Don Heck, and Steve Ditko, often inking their own pencils. Stone was one of the first artists

Although other great artists like Joe Sinnott and Tom Palmer would emerge as superb inkers in their own right a few years later, it was Stone who attracted early fan interest, inking Kirby’s powerful pencils in Journey into Mystery, Tales of Suspense, X-Men, and Fantastic Four, to name just a few. Inking Kirby’s pencils was the professional high point of Chic’s life, as he was happy to explain every time he got the opportunity. “Working with Jack Kirby was always such a pleasure for me,” he told me last April. “His pencils were so easy to ink. There was always such power and elegance in them. Of all the great artists I worked with over the years, Jack Kirby was truly the best of them all.”

And boy, did those two pros churn out some great comics! Check out their work on Journey into Mystery for, in my opinion, some of the greatest comics ever produced. Remember that great tale where Thor battled The Hulk for the first time? Or Thor’s first encounter with the Absorbing Man? Lee/Kirby/Stone triumphs all! Chic’s bold inking style focused on the talent of the penciler. He always endeavored to highlight the original artist’s style and never dominate it. Although he gained immense respect in the medium as an inker, don’t be fooled. Chic Stone was an excellent penciler, as well. A very short list of his penciling assignments reveals work on “Batman” and Tower Comics’ fondly remembered T.H.U.N.D.E.R. Agents in the ’60s, Kamandi in the ’70s, and several years of drawing everybody’s favorite teenagers for Archie Comics. As anyone who had the pleasure of knowing Chic will tell you, he loved to make you laugh. One favorite story he loved to share centered on the installation of an office intercom system in the Marvel offices in the early-to-mid-’60s. “Those speakers would squeak and whine every time they’d come on,” he said, “so we’d play tricks on Stan, making sure we said exactly what we wanted him to hear. After a while, his voice would boom over the speakers to stop fooling around so much and get back to work!” But make no mistake, Chic greatly appreciated working with Stan Lee and Jack Kirby during that magical period. “They were both first-class professionals,” he said.

Born in New York City on January 4, 1923, he knew at a very early age that he wanted to be a cartoonist. By age 16 he had landed a job with Will Eisner’s studio, although Chic admitted that his tasks there were quite minimal. Due in part to the decline of comics sales during the ’50s, Chic left comics to work as an art director, storyboard artist, and even publisher for a short time for various magazines. After a brief stint as an art director for teen-related magazines while living in California in the early ’60s, Chic returned to New York and sought work again in the comics field. He completed some minor freelance work for various companies at that time, but his career took off when he approached Stan Lee, just as Marvel was exploding in popularity worldwide. There, as Chic put it, he found the “job of a lifetime,” inking Jack Kirby’s pencils.

Chic may be gone now, but like so many other great pros before him, he lives on through his work. Thanks to that, new fans today can still thrill to his strong, solid inks and dramatic pencils. As the name “Stone” implies, he’s still as strong as ever—and years from now, his work will have stood the test of time.

All-Star Compendium

A Few More Corrections to the All-Star Companion Installment No.

by Roy Thomas

[EDITOR’S NOTE: Because it seems that errors minor and/or occasionally major will inevitably sneak into virtually any publication, no matter how hard one tries to bar the door, we’ll be dedicating a page or so in each of the next few issues of A/E to corrections to The All-Star Companion—and, in some cases, to addenda which are not corrections, but just additional information. Last issue listed the mistakes and omissions I myself noted before others had pointed any out to me in the printed copies. Here are a few additional errors and additions, mostly ferreted out by other eyes and hands. As before, this page has been laid out to match the style of the Companion, so that it can, if desired, be cut out and inserted therein for easy reference. Whether or not you then purchase a second copy of A/E to replace the mutilated one is a matter between each reader and his/her conscience. Page numbers below refer, of course, to the corresponding pages in The All-Star Companion. —R.T.] P. 12: Jerry Bails informs me he was 15 (not 13, as stated) when he drew the splash illo based on a Junior JSA message. P. 18: Not a real error, but fan-historian Rich Morrissey says his colleague Martin O’Hearn (who analyzes writing styles in Golden Age comics) deduced that “The Secret of Hunter’s Inn” in Batman #18—one of the tales Mike W. Barr mentions as, er, borrowing liberally from an Ellery Queen mystery—was by Joe Samachson, who wrote many a DC story back then. Apparently even Samachson’s actual script turned up eventually! Just thought you might want to know. P. 26: Rich also doubts that Ed Dobrotka actually inked Wayne Boring’s Superman strips, as stated, saying the inking often credited to him was done by a combination of Boring himself and Stan Kaye. Anybody else know anything about this? P. 26 (again): Rich (again): “I think the idea of Ben Flinton and Bill O’Connor ‘writing and drawing interchangeably’ was made up by someone too lazy to figure out which was the writer and which the artist. Most of the other evidence indicates that O’Connor was the writer and Flinton the artist. I’ve never heard of any writer-artist team in comics ‘writing and drawing interchangeably’ (with the possible exception of Joe Simon and Jack Kirby.)” P. 35: Rich (yet again!): “A minor quibble... but while Batman’s butler on Earth-One was indeed Alfred Pennyworth, the Batman of Earth-Two... the one who was an honorary member of the JSA... had a butler named Alfred Beagle.” Good point, Rich! P. 44: We forgot to mention that a second “Evil Star” would pop up as a Silver Age baddie in Green Lantern #37 back in the 1960s. P. 54: Morrissey returns: “Not only was EC’s International Crime Patrol reminiscent of a non-powered JSA; it was produced mostly by the same people! Gardner Fox wrote all the stories Martin has seen, and the artists were largely JSA veterans Sheldon Moldoff, Stan Aschmeier, and Joe Gallagher... I wouldn’t be at all surprised if [publisher] Bill Gaines deliberately tried to keep together what had been a P. 23: Ulp! Charlie Roberts informs we misread his note on a 1926 cartoon he sent us from one of Major Wheeler-Nicholson’s magazines; the one we printed wasn’t by later All-Star editor Whit Ellsworth, and he has no idea who “Inky” was. But Ellsworth did draw the one pictured here! Didn’t he, Charlie? Didn’t he? [©2001 the respective copyright holder.]

successful team at AA for the intended flagship of his new EC series.” While the foregoing doesn’t correct an error in our entry on the ICP, we share Rich’s view that it and the Fox-Moldoff Moon Girl deserve reprinting along with the EC “New Trend” and “New Direction” mags. But don’t hold your breath. P. 58: As Rich also points out, we didn’t mention all the places where Wonder Woman’s origin from All-Star #8 has been We had hoped in the Companion to print at reprinted; but then, we were least one piece of art by every artist who ever worked on a Golden Age JSA story in concerned mainly with listing All-Star, but a few got squeezed out: Joe reprints of JSA material, and the Giella (who inked one chapter of #50); first WW tale had no connection Bernie Klein (Dr. Fate in #12); Arthur with the group. Since The AllCazeneuve (an inker in #18); Chad Star Companion came out, there’s Grothkopf (who probably drew Sandman in #3-4); Hal Sharp (Flash in #5); Pierce Rice even been a Millennium Edition (who penciled chapters in #14 and #18)— of All-Star #8! and Ed Dobrotka, who drew Starman in #15P. 61: Fan/collector Dan 16. Here’s a Dobrotka panel from the former. [©2001 DC Comics.] Makara asks: “Has anyone noticed that [the Hawkman figure on] the cover to All-Star #11 (June-July 1942) is actually a re-pasted photocopy of the [figure on the] cover of Flash Comics #27 (March 1942)? On the former Hawkman bops a Japanese soldier; on the latter it’s a thug. Same pose.” A photocopy—or perhaps artist Sheldon Moldoff simply used the same pose. P. 73: “Shelly” Moldoff himself informs us: “The Hawkman splash panel [in All-Star #17] was done by me, pencil and ink... and exactly as it is reproduced. It drove [editor Sheldon] Mayer nuts when I deviated from the script and broke up the pages, or combined panels. [Gardner] Fox loved my handling of his scripts, but Mayer did not appreciate being usurped. Walking around the office in his riding boots and carrying a crock... Mayer’s personality is something that has nothing to do with his accomplishments in the early days of the comic book. However—don’t underestimate M.C. Gaines’ influence in comics.” Thanks, Shelly. Still, if you squeezed what had to have been written as at least a 6-page “Hawkman” chapter into four pages in #17, it almost certainly had to be at Mayer’s direction, because the magazine’s page count had abruptly dropped by a signature (16 pages) from #16. Otherwise, a 4-page

All-Star Compendium

“Hawkman” chapter in #17 is a playing card, and/or the would never have been done! name of the actor in the role, (We’ve written Shelly asking Jack Nicholson.” him if he recalls anything P. 172: Mike W. Barr more in this connection. noticed that we spelled the Watch this space!) name of the famous fictiP. 98: Reader John Austin tious detective Inspector queries by e-mail: “Could Maigret two different ways the ‘Gurney’ [a title on a on this page. And Rich magazine rack in the “Atom” Morrissey rears his head a [©2001 DC Comics.] chapter of All-Star #29] be final (but welcome) time in Page 138: On the final page of All-Star #36 there’s mention of a drug called “habis the Gurney Seed Catalog? I this “All-Star Compendium” indica” which is blamed for “deadening a man’s conscience.” grew up visiting my grandto add the info that, “ironiLink Yaco e-mails us: “There is a drug with a similar name; however, it is not parents, who always had a cally enough, [All-Star #57 terribly rare. CannABIS INDICA is the Asian variety of marijuana. Is it possible that copy of a Gurney catalog author] John Broome would Gardner Fox was a bohemian hipster? I can’t picture him listening to jazz and ‘blowing lying about. Catalog and in a few years have the vetch’ (as the slang of the era had it), but if he lived in New York, it would have been company have been around opportunity to write the hard for him not to have bumped into at least some fragments of Greenwich Village for 130 years.” Perhaps adventures of the ‘real’ sub-culture. Every music club in town in those days featured musicians who were sneaking puffs of cannabis backstage. artist Jon Chester Kozlak Charlie Chan... in a shortwas a gardener as well as a lived DC title” and “would “Ten years previously, in 1937, marijuana had been criminalized. There was a fishing enthusiast? also chronicle another government-sponsored publicity campaign to spread awareness of the dangers of the drug. In those days the South American variety—Cannabis Sativa—was not distinP. 103: Back to the famous detective of fiction, guished from the classical variety, Indica, so all publicity referred to it as ‘Cannabis ubiquitous Rich Morrissey: Nero Wolfe, in a licensed “Gardner Fox’s records may Indica.’ Consequently, it is possible that Fox picked up the phrase as a youth. His newspaper strip.” encyclopedic mind seemed to retain anything of obscure and exotic interest. The be safe and secure, but a P. 181: This isn’t really botanical Latin name for the newly illegal drug from Asia might have made an friend who visited the Fox an error, either, but Jim impression. Collection [at the University Lawless informs us that the “Incidentally, ‘indica’ is an old Latin modifier meaning ‘of or pertaining to India.’ of Oregon in Eugene] a year One must bear in mind that in the classical world India and Asia were synonymous. 1942 Hawkman JJSA code or so ago couldn’t find That convention of naming stuck for millennia, which is why Indo-China was used for message given there from those index cards.” All-Star #14, when decoded, the area around Vietnam, and why the American inhabitants were named Indians. To P. 109: Contrary to Fox’s this day we have collections of islands named the West and East Indies, which have reads: “YOU CAN ALSO nothing to do with India. Indonesia also derives its name from the convention of letter reproduced only six HULP WIN THE WAR BY calling all things exotic and far-eastern... INDICA.” pages earlier, “November COLLECTING SCRAP Lots to ponder there, Link—although it still seems at least as likely to have been 1945” is given here as his METAL AND RUBBER.” John Broome (or even Robert Kanigher) who scripted that part of All-Star #36 as it date for writing “The Will The “HULP,” Jim opines, was Gardner Fox. More on that on page 34! of William Wilson,” rather “must have been deliberately than the correct September of ’45. I somehow got it mixed up with the misspelled in order to throw off the Nazis!” Clever, that Shelly Mayer! date he gave for “The Peril of the Paper Death.” P. 185: Jerry Bails points out a credit boo-boo: “While many JLA P. 121: Due to a last-minute glitch, the famous Bettmann Archive, covers in the 1960s were penciled by Sekowsky and inked by Anderson, source of our Genghis Khan illo, got misspelled “Bettman.” I knew there are also some (particularly JLA #21) that are Murphy all the way.” better, honest! Sniffle! I never had seen much Sekowsky in that supposed “SekowskyP. 134: Rich the Morrissey tells us that writer Cary Bates once gave Anderson” cover art; but I relied on a source that had it down wrong— The Wizard’s real name as “Frederick P. Garth,” in a story that revealed and even repeated the goof last issue in A/E! Never again, Murph, I how Superman and Lois Lane had gotten married. That has no bearing swear it! on whether, in 1946-47, Gardner Fox intended “W.I. Zard” to be the P. 189: In JLA #123-124—covered also in A/E V3#7—we said the villain’s real name or merely an alias, of course. “evil Cary Bates” forced the Injustice Society to kill the JSA. Actually, P. 148: We accidentally typed “Kanigher” for the writer of the Allhe forced the JLA to try to kill the JSAers, who were disguised as the Star #40 page depicted there; we should have said “Broome,” as duly Injustice Society at the time. A small but real distinction, pointed out by credited on the preceding page. Tim Scotty. P. 168: Also, while concurring that Prof. Napier in All-Star #36 was P. 197: The same eagle-eyed Tim reminded us that Adventure Comics probably named after Edgar Rice Burroughs’ Carson (Napier) of Venus, wasn’t cancelled after #466 (not that we said it was); it merely shrank to Rich M. asserts that both writers could have taken the name from “Jack regular thickness and dropped the JSA, among other features. Adventure Napier... the actual name of the Scottish mathematician who invented stuck around till #503, with its last thirteen issues printed digest-size. logarithms and a calculation device with the delightfully Jokerish name P. 200: Glen Echelberger e-mails us that the JSA appeared in John of ‘bones.’” Rich points out that The Joker was named Jack Napier in the Byrne’s Wonder Woman #130-133, not #131-134. 1989 Batman movie and the 1992 cartoon series, “but that name more likely came from the word ‘jackanapes,’ the fact that a Jack (like a Joker) Be here next issue for another “All-Star Compendium”!

re:

Dear Roy,

Thank you for the note of sympathy about the passing of my former wife Dorothy Roubicek Woolfolk, who was an editor at All-American Comics in the early 1940s. Dorothy and I had not had any contact with each other for thirty-two years, and had been divorced for even longer. Nevertheless, I was saddened by her death, as was our daughter Donna Woolfolk Cross, who you recall is the author of the book Pope Joan, with over three million copies sold and a big movie in the offing.

I’ve always had a soft spot for Gene Colan’s work—especially his “Iron Man” run—but I have to declare a special interest in the FCA section. As a boy I grew up on British reprints of Fawcett material published by L. Miller & Son of London. These comics were still in circulation as late as 1968-69, rusty staples and all.

However, I’m afraid that is not Donna sitting on the couch with me in the photo in your sixth issue, as stated. It is, rather, my recently divorced wife Joanna Martine Woolfolk, leading astrology columnist and author of the second-best-selling astrology book in history, The Only Astrology Book You’ll Ever Need. Both she and Donna claim I played a leading role in fashioning their books for bestsellerdom, and I’m proud of them both.

As for me, I have a novel coming out in March or April. It’s a blatant attempt to repeat the success of my own novel The Beautiful Couple, which sold a million-plus copies many years ago. That one was a transparent rendering of the Elizabeth Taylor-Richard Burton relationship. This one, equally sexy (what else?), deals with Ava Gardner and her lovers. I had to ask myself whether at this stage of my life I was interested in adding to my scanty fame and equally scanty fortune and as usual I chose to serve Mammon. Another comics oldtimer, Seymor Reit, did the cover art. Sy invented Casper the Friendly Ghost, wrote successful books, and has become a really good portrait artist. I shamelessly traded on our sixty-year friendship to get him to do the cover art for my novel, which is titled The Sex Goddess in the hope someone will think it’s pornographic, and for all I know it may be. Also, my play Maugham in Love will be produced at the Empira State Theatre in Syracuse this coming summer. It deals with Somerset Maugham (who was gay) married to Syrie Maugham, the most famous designer of her day (she created the white-on-white style that was all the rage for some years) and who was himself madly in love with a young man named Gerald Haxton. I thought it was an interesting triangle... and because Maugham was a witty man, often compared to Shaw and Wilde, and I contributed what I could, I hope audiences will welcome it. If they do, we’ll move it to New York. God! how I ramble on. Bill Woolfolk (via e-mail) Ramble away anytime, Bill. Sorry about the ID goof. (It occurred because time ran out on us while I sent you a copy of the photo by snailmail.) ‘Twould seem you’ve always surrounded yourself with more beautiful, talented women than I can keep up with!

In 1970, aged 16, I began working at IPC Magazines as an office boy/art assistant on Buster, a British weekly comic. One lunch hour, on a market stall just off Cambridge Circus, I saw a small pile of original art—“western” pages, but clearly old Fawcett art. When I expressed interest in them, the stall holder, a friendly hippy fellow (name escapes me) said he had much more stored in a basement beside the market. That eerie basement was jammed floor to ceiling with original art. It seemed this guy had obtained the art when L. Miller & Son ceased trading and had disposed of it. Now, this was art sent to London by Fawcett so they could shoot from originals! In Roger Hill’s excellent Mac Raboy article, it’s plain that making stats of art was simple enough—so why send bulky art to London? Anyway, after noticing a complete Red Badge of Courage issue by Dan Barry (couldn’t afford it) and a “Hoppy the Marvel Bunny” cover (already sold), I was told that all Captain Marvel/characters art had been sold back to American collectors, as had Bulletman and other material. I was even told you had bought some pages. I could only afford to buy a few pages, but I did find four of a fivepage “Dr. Voodoo” strip, marked “Dec. Whiz” at top of page—no issue number. The art always looked like Mac Raboy to me. Needless to say, I went back a week later with more money, but the guy seems to have vanished, basement and all. Kevin O’Neill (from London, via fax) Fascinating story—especially coming from one who went on to become a top-flight pro artist! But I’m afraid I own only one very early page each of “Bulletman,” “Ibis,” and “Master Man”—and Chad Grothkopf’s great cover for Animal Fair #1 (1945), which features the Marvel Bunny. Maybe that’s the “Hoppy” cover you saw in London?. If so, you’ll see it again soon, in this very mag! Meanwhile, see “The Overextended Marvel Family” in this issue for some very early Kevin O’Neill art, featuring characters familiar to A/E readers! Dear Paul and Roy, Alter Ego #6 was great... so many memories! I enjoyed Bill Woolfolk’s story in FCA. It was very nostalgic for me, bringing back to mind the writers, artists, and fellow editors I worked with at Fawcett. In Chapter 11 of Bill’s story I liked being called a “female invader”! There was only one female editor hired after me—Kay Woods—but she was there for less than a year. Will Lieberson let her go and her comics were assigned to me. I had forgotten Bill was born on Long Island. I was, too. Whenever anyone asks where I came from, I’m happy and proud to say New York. I still don’t have a southern accent and never will, even though I’ve lived in Florida since 1968. Once a New Yorker, always a New Yorker. Ginny (Virginia A. Provisiero) Always wonderful to hear from a vintage Fawcett editor! In case readers have forgotten, Ginny sent us some fabulous photos of those days, which were printed in the FCA section of A/E V3#3! Hi, Roy... To bring you up to date on the Stream of Ruthlessness story: Martin [O’Hearn] says All-Star #36 reads nothing like Gardner Fox, but it could very well have been by John Broome, who wrote enough

re:

like Bob Kanigher at that point to be hard to distinguish. Could it be that “5 Drowned Men” was originally a Broome story, not a Fox story, that Kanigher rewrote? Kanigher was an editor, after all... and, indeed, Martin says that on most of the books on which Kanigher was the primary editor (e.g., Danger Trail and the early Brave and the Bold), even stories ostensibly by very different writers (Bill Finger on “The Viking Prince,” David Vern on some Danger Trail backups) read so much like Kanigher that it’s almost impossible to spot any other style. Evidently Kanigher did a great deal of writing, indeed.

with Lee bringing Colan into the Marvel Bullpen. Perhaps Lee found himself without an artist for “The Sub-Mariner,” and circumstances forced him to agree to Colan’s request for “more money” and bring him over to Marvel and the “Sub-Mariner” strip. A few belated comments on your honest and heartfelt article concerning the late Gil Kane in A/E #4: Mr. Kane wouldn’t have remembered me from a grain of sand on the beach, but I certainly remember him. During the 1980s I was briefly editor of the fanzine Amazing Heroes, as well as editorial assistant of The Comics Journal. During this time, I was working and living at the Fantagraphics office in Stamford, Connecticut, where Gil was a frequent visitor. Understand that I’m a perennial fanboy, but had never met a comics professional prior to Gil Kane. I didn’t know what to expect the first day he came to the office, but suffice it to say that I was far from disappointed. I don’t need to tell you that Gil Kane had a rare combination of talent, intelligence, and charisma, and that meeting and listening to him was a unique experience for me. Tall, distinguished, articulate, and oh-soopinionated all describe the presence that was Gil Kane.

Peggy Broome recently mentioned to me that she and John had enjoyed skiing; in fact, he enjoyed all sports. Julie Schwartz is “about 90% sure” John created The Sportsmaster, a foe of the original Green Lantern, and wrote all his stories. It’s interesting that the 1960s “Strange Sports Stories” tryouts in Brave and the Bold were mostly written by Gardner Fox, who seemed to be more interested in detailed playby-play accounts of real games. Broome tended to let his imagination roam in different areas, coming up with new sports like “Spaceball,” played in three dimensions in zero gravity. (Said to have been originated by astronauts, it anticipated “Quidditch,” the game played by I remember him witches and wizards on showing up one evening flying broomsticks in J.K. effusing about a talented Rowling’s bestselling DC newcomer named Harry Potter books.) Julie Trevor Von Eeden. As I expressed in the lettercol recall, he came in the door the possibility of bringing wielding (literally) one of back the Sportsmaster the kinetic issues of character in a new incarWorld’s Finest Comics nation as a hero. Though that Von Eeden had illusthe idea was put on hold This half-page of Kane layouts from Amazing Spider-Man #102 (1971) shows Spidey and Morbius the trated. It was humorous when “Strange Sports Living Vampire, who’d debuted the issue before as the brainchild of Gil (Sugar) Kane and Rascally watching Gary [Groth] Stories” failed to obtain a Roy Thomas, with a nudge from Smilin’ Stan Lee. Courtesy of David G. Hamilton. trying his best to get Kane book of its own, I suspect [©2001 Marvel Characters, Inc.] to equally admire some Broome would have been Hernandez Brothers the writer of the series. artwork (Love & Rockets) that had just come in. But Gil would have Peggy also mentioned she and John hadn’t done any actual skiing, none of it: “Yes, yes, it’s very nice, my boy, but just look at the work by as far as she knew, until around 1953 or 1954. Perhaps his lack of this Von Eeden fellow...” experience at the time of All-Star #36 could explain why his Flash On another occasion, we were doing a preview of Kane and chapter might have been rewritten by an editor who (at the time) had Strand’s Sword of The Atom mini-series in Amazing Heroes #28, for more direct experience with the sport. which Gil was to do the cover art. He certainly groused about the Rich Morrissey payment of $50, but in the end he turned in the sort of precise, profes(via e-mail) sional job for which he was famous. I can still see him posing over the The last word on the very mysterious All-Star #36 is still a long way layout table in the Fantagraphics office, illustrating the cover with felt tip pen in hand, with bold, deceptive ease. from being written, Rich. More to come in a special section soon! Dear Roy: I’m pleased to see Gene Colan receiving recognition for all of his outstanding comics works. My interest in Gene’s recollection of Sly Stan Lee trying to convince him to come over from DC and work for Marvel in 1965 was piqued when I recently read somewhere that Wally Wood was lined up to illustrate the “Sub-Mariner” series in Tales to Astonish, but that he and Lee had a bitter falling-out over the amount of payment, which resulted in Wood declining to illustrate it. I’ve got to wonder how Wood’s departure might have coincided

On another note, he was very vocal (and bitter) about the new generation of comics artists enjoying the newfound fame and fortune of the royalties system. Overall, I got the impression that he felt vastly underappreciated. It was during this time that Kane, in collaboration with Marv Wolfman, was doing a brilliant interpretation of Superman, complete with redesigned versions of Luthor and Brainiac. I feel this was some of Kane’s finest work, and talk was that his goal was to prove something to DC as well as to a younger generation of fans and professionals alike. A decade and a half later, his Superman work is completely forgotten. Perhaps that’s the nature of the business, but it shouldn’t be

re: What, no middle-age spread? Alter Ego just turned forty—yep, four even decades since founder Jerry G. Bails launched the world’s first super-hero comics fanzine with V1#1 in MarchApril 1961—so artist Ronn Foss (who published and edited V1#5-6 in 1963) sent us this birthday greeting featuring “Joy Holiday,” the mag’s original mascot. Thanks, buddy! Next issue, one ish late, I hope to do a brief recap of A/E’s four-decade life. [Joy Holiday and art 2001 Ronn Foss.]

so. Ultimately, he wanted better things for himself and for the comics industry. I truly believe that if more professionals were like him, the comic book business would be much better off. While I understand that he didn’t want to be remembered as “the artist on Green Lantern,” I think that it’s more important that he is in fact remembered. Like so many professionals before him, he gave a great deal to an industry that often gave him back very little. Kevin McDonnell PO Box 1176 Pilot Point, TX 76258 Agreed, Kevin. Incidentally, the remainder of my mid-1999 interview with Gil, part of which appeared in V3#3—along with more rare art by him and others—is on view in Alter Ego: The Comic Book Artist Collection, currently on sale. This trade paperback features over 30

35 pages of new material, plus the contents of the five mini-issues of A/E (Vol. 2) which piggybacked on Jon B. Cooke’s CBA #1-5, all of which are out of print. I’m afraid I know nothing about the Wood/Sub-Mariner situation, but your letter caused me to ask Dan Adkins about it. See his response in this very issue. JUST ROOM FOR A COUPLE OF BRIEF CORRECTIONS: Thanks to Robert Loy of Charleston, NC, for reminding me it was Laurence Sterne’s early-English-novel hero Tristram Shandy, not Dickens’ David Copperfield, who spent several chapters getting born! (But I’m well aware, Robert, that Strunk and White’s The Elements of Style says to form the possessive singular of nouns by adding an apostrophe and “s,” as in “Charles’s chin.” I choose to add only an apostrophe after such nouns, including in the case of “Thomas’”—which is also correct!) Also, last issue, we goofed in crediting the penciling of Justice League of America #231 to Paul Kupperberg and of #232 to Alan Kupperberg. Alan (the artist of the two cousins) did both; Paul is a writer and editor. And, as noted in the All-Star Compendium section, the cover of the landmark JLA #21 in 1963 was purely the work of Murphy Anderson, not of Sekowsky and Anderson. As always, Alter Ego is looking for letters of comment (especially those chockful of information), for good copies of original comic art and scripts (the older the better, as a general rule), and for any and all possible contributions (especially of truly rare, little-known, or behindthe-scenes material, but also convention sketches and the like). Contact: Roy Thomas, Rt. 3, Box 468, St. Matthews, SC 29135 Fax (803) 826-6501 - e-mail: roydann@oburg.net

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in this issue...

no. 67

Jerry Ordway

Plus:

Marc Swayze C.C. Beck Peter Krause

We Didn’t Know... It Was The Golden Age!

39 but a year at the Chicago Academy of Fine Arts translates to this mind as university-type freshman coverage of the basics. Five years’ experience as a member of a large art department in a top publishing house is not to be sneezed at, but the magazines were not comics. In the 1930s there were no comic books as we know them, save for a few that cropped up near the end of the decade. Singlepanel gag cartoons used in some Fawcett magazines were generally purchased from independent specialists, not from staff. So it appears that Captain Marvel got his start at the hands of writer/editor Bill Parker and a young family man with somewhat unimpressive training and experience... in a brand new, untried field of publication.

by (c) mds

[FCA EDITOR’S NOTE: From 1942 to 1953, Marcus D. Swayze was one of Fawcett Publications’ top comic book artists. Marc was the first to bring Mary Marvel to life on the drawing board, but he was primarily hired to illustrate (and write) Captain Marvel stories. After returning from military service in World War II, he freelanced from his Louisiana home, where he produced art and stories for The Phantom Eagle in Wow Comics and a wealth of material for Fawcett’s romance comics; he also drew Bell Syndicate’s Flyin’ Jenny newspaper strip, created by his mentor and friend Russell Keaton. Marc’s ongoing professional memoirs have been an important part of FCA since his first column appeared in issue #54, 1996. Last issue he provided his thoughts on the earliest Captain Marvel art, the Tom Tyler-Captain Marvel connection, and the art style of Charles Clarence Beck. In this issue, Marc further discusses the Captain Marvel art before he came on board at Fawcett, and Beck’s style and simple approach to storytelling. —PCH] It’s funny... for about four of his most formative years, I wrote and drew stories and illustrated magazine covers featuring the super-hero Captain Marvel. Yet only recently did I see for the first time the story of his origin by Bill Parker and C.C. Beck, as published in Whiz Comics, February 1940, by Fawcett Publications. I’ve been reviewing that story, and others that appeared in Special Edition Comics #1 in the summer of that same year, hoping to learn more about the 1940 C.C. Beck and his art style. Toward that end I have been fortunate in having had on hand reproductions of those stories, beautifully printed on quality paper and likely re-colored by the publisher, in Shazam! From the 40s to the 70s (1977) and The Shazam! Archives, Vol. II (1999, from DC Comics). The selection of Parker would have been made by executive editorial director Ralph Daigh. When time came to choose an artist, Daigh would have turned to the director of the Fawcett art department, Al Allard. I’ve read where Parker and Beck were introduced when the partnership was formed. “Captain Marvel slamming a sedan into a brick wall is about as humorous as anything...” 1940: The First Issue of Whiz Comics, art by C.C. Beck [©2001 DC Comics]

It may be a mistake to label C.C. Beck’s training as limited,

I wonder what Beck thought of all this. Having been yanked off a movie magazine for this project meant he had been arranging page layouts, the same as the rest of the art department. Film mags used photos, not drawings. Now he was on an assignment that meant nothing but drawing. Was he happy? My money says yes. He had the God-given talent to draw... and he knew it. It was, he has said, the one thing he knew he could do best. His love of drawing is Cover of 1940 Special Edition Comics #1, C.C. of such evidence that, in that Beck’s Classic (Recreated by C.C. in 1981) first story, I’m confident that [©2001 DC Comics] when he got the job going hot and heavy, you couldn’t have dragged him from the drawing board with a bulldozer. Believe me... C.C. Beck was happy! Although Whiz Comics of February 1940 opens with the origin of Captain Marvel, my quest concerns the origins of the Beck art style. Why, and how, when publishers, editors, and schools must have been looking right and left for the likes of Foster and Raymond, did this artist emerge with the kind of drawing that might have come along with the Katzenjammer Kids? It was a gradual development. Things were tried and changed and kept or abandoned... the obvious indecision between the pen and the brush, for instance. The

Marc Swayze & C.C. Beck, Fawcett Art Department, Paramount Building, New York City, 1942. (Entire photo published in FCA #54, 1996)

We Didn’t Know... It Was The Golden Age!

static line in the rendering of heads and hands of the early characters suggests the inking was done with a rigid pen. Another example is the excessive use of the straight edge and T-square that gives many early panels a mechanical hardness uncharacteristic of the Beck style as we came to know it. It is difficult to discuss this art of 1940 without mentioning again the lack of expression on the face of Captain Marvel in contrast to that of Billy Batson. While Billy makes more than twice the number of appearances in the story as does the Captain, there is rarely an instance where his face doesn’t reflect the words he speaks. I think the reason was, Captain Marvel was under control. The 22nd, 23rd, and 24th floors in the Paramount building had eyes on the new super-hero. He had to be “just-so.” But Billy was Beck’s to do with pretty much as he pleased. The expressions amounted to C.C. Beck’s telling the picture story.

that matter... is exceptional. Both Captain Marvel and Billy are yet to fill out somewhat before achieving the images they bore in ’41 and later, but already Captain Marvel in particular is leaning toward the big brother personality that, some assure us, brought him fame. Beck never poses as an illustrator here. The two villagers running down the hillside on Page 4, carrying the injured police chief, pure cartoon figures, could have come out of Mutt and Jeff... and Billy Batson, with his hair standing on end from fright, is reminiscent of Little Orphan Annie. Apparently, C.C. Beck had ample time to do his thing, leisurely and happily, on this one.

It’s difficult to say much about “The Gamblers of Death,” the third story in the book. The Fawcett brothers must have drawn that one. There’s a hood on Page 2 that could be accepted as Beck’s work, but the same character There appears to be no effort to be funny in on Page 4 is definitely not his. And the guy in the art. The cover illustration, Captain Marvel A Swayze-drawn cover of Captain Marvel the track suit... that’s Captain Marvel? By Beck? slamming a sedan into a brick wall, is about as Adventures, #12, June 1942. [©2001 DC Comics] Come on! The Captain Marvel on the last page, humorous as anything in the story. I’d say the incidentally, was shot from the same original as origin of Captain Marvel is pure Beck art all the the portrait in his origin in the first Whiz. I don’t see how this story got way, with the possible exception of Panel 1, Page 8, where it looks as out of the house! though the artist’s hand might have kept drawing after he fell asleep... or maybe the janitor drew the two bad guys in that panel.

Let’s jump to the untitled first story in Special Edition Comics #1 (Summer 1940), some four or five months later. There’s a compassionate nature and a definite consideration for young readers shown in the manner in which the artist handled the rough treatment of Billy and the newsboy by Slaughter Slade and his henchman. Some Panel from “Captain Marvel and the Haunted later panels contain House,” Special Edition Comics #1, 1940, art by material that, had these C.C. Beck. [©2001 DC Comics] been drawn in a less tongue-in-cheek manner, might have been frightening to the kids. It’s possible that writer Parker may not have been aware of it, but the picturing of physical handicaps was an absolute no-no to most of us. Beck, however, kept the little guy, Spider, out of most of the panels, and drawn so ugly as to be... if not funny, at least not unfunny.

“Sivana, the Weather Wizard,” the last story in Special Edition #1, may have been the final collaboration of Bill Parker and C.C. Beck. It looks like pure Beck art down to Page 15, where the woman in Panel 6 tells me that Pete may have come over briefly from Golden Arrow to lend a hand. A comparison of the character art of Beck and his lifelong assistant Pete Costanza can be made by this lady and the delightful little stewardess in Panel 1, Page 14. I would identify the glossy autos and the mechanically rendered giant locusts as being outside the Beck style, also. Noticeable in the story is Captain Marvel singing ditties and making wisecracks as he goes about his duties. A prediction of things to come? A pairing of script and art? Not much on these pages of the beautiful composition, the black patterns, the atmospheric perspective, the expressed emotions observed in earlier stories, but perhaps that’s just the way the script went. And the pages seem to crowd up toward the end... six panels per page up to the last... then, wham! Eight! Oh, well... In a way, this study has been a disappointment. I had hoped to come up with a clear picture of C.C. Beck in 1940 and of the style of comic book art that came to be known as the Beck style, or the Captain

Later in the story, Beck went full-steam. The gorilla, Dr. Allirog, complete with bellyfold, is a masterpiece, monstrous enough to be a fit foe for Captain Marvel, but never really terrifying. On the final page, rather than picture the character as a dead figure, Beck presented it as though the shape of the gorilla had been cut from the lawn with a giant cookie-cutter. The story “Captain Marvel and the Haunted House” is a gem... the top of the early 1940 work of C.C. Beck... and possibly his all-time greatest, though that should remain as an individual decision. The emotion established in the first pages... and all through the story, for

We Didn’t Know... It Was The Golden Age! Marvel style. It was my aim to be able to point out exactly where in the early art Captain Marvel broke into his first big grin and where he showed his first painful embarrassment at the attention of admiring women. But things didn’t turn out that way. Before we chalk it up as a total loss, however, look at it this way. Here’s a kid who grew up in Zumbrota, his dad a minister, his mom... a loving mom, I’m sure, and a housewife, as well. He has this talent for drawing, and after high school he enters the Chicago Academy of Fine Arts. Times must have been hard... this was the early ’30s, during the nation’s worst Depression. After a year this young guy goes back home... his work experiences, probably while in school and afterwards, being “a lousy factory worker, waiter, janitor, dishwasher”... his words. Comes the middle of the decade and he lands a job with one of the world’s largest magazine publishing companies... and right at home in Minnesota. Now, all along the way he has loved to draw... and, like most kids, even in the ’30s, loved to read the newspaper comics... and, like just about every American boy, said to himself at one time or another, “I could do that!” But here he is, working with a gang of pros... preparing page layouts for just about every kind of magazine you can think of, specifically, at this time, one of the several motion picture fan magazines. And all of a sudden in comes the boss, with a couple of other guys...

with this idea about some kind of magazine that features comics... not gag cartoons... but comics much like the funnies in the newspapers... only different. Wow! “I’m your boy!” I don’t think Beck asked himself questions like, “Now, how shall I go about this? What art style shall I use? Whose work shall I take as my influence?” No, I think he shoved his movie mag stuff aside, lowered his drawing table, exchanged his tall layout stool for a chair, rolled up his sleeves... a little higher... and said, “Give me a script!” You see, regardless of the years behind him, Beck was still a kid. Most of us were, and I say that thankfully. I believe the simple, direct style that eventually became recognized as the Captain Marvel style came about this way: When Beck took a good look at the volume of work before him (three features in that first issue of Whiz, I’ve been told), he said something like this to himself: “If I’m to finish this in the time I’ve been allowed, I’ve got to go at it with a style that will enable me to do it.” And, of course, the “reasonable style” went hand in hand with Beck’s natural tendency to tell the picture story. Another characteristic of the Captain Marvel style! [Marc Swayze’s memoirs of his (and others’) days in comics will continue next issue.]

Once In The Dear, Dead Days Beyond Recall

Once In The Dear Dead Days Beyond Recall by C.C. Beck Edited by P.C. Hamerlinck [FCA presents another previously unpublished essay by Captain Marvel’s chief artist, C.C. Beck. It was written in January 1987 at his residence in Gainesville, Florida. By that time, illustrating proved to be quite difficult for C.C., as his eyesight had diminished greatly; he began devoting even more time to writing and penned a great deal of material throughout most of the ’80s up until his death in November 1989. Many of these unpublished works by C.C. Beck will continue to be featured in each edition of FCA. —PCH] Sometimes I wonder what life would be like if people lived for hundreds of years instead of for just a few decades. We then might be entertained by seeing on our televisions an interview with Leonardo da Vinci or Michelangelo. They would be asked to demonC.C. Beck at the 1982 Orlando Con. strate how they created the Mona Lisa or the Pieta by whipping out a five-minute recreation of their masterpieces for viewers, starting with a blank canvas or a block of marble and, like gourmet chefs, ending with the completed project, perfect in all details. They would be greeted with loud applause and cries of wonder and delight from the studio audience. I have been at comic conventions where Jack Kirby, Carl Barks, and other old professionals of comics (including myself) have been forced to stand on a stage with a magic marker and re-create on a sketch pad (placed on a wobbly easel) our most famous comic characters. Needless to say, none of us did ourselves much of a favor; our drawings were pretty horrible. The public never wants to be told that comic characters can not be dashed off with a few quick strokes of a pen but must be slowly and carefully worked out with pencil and eraser, brush and India ink, and with a great deal of thought and planning. The public also does not want to hear about all the years of experience and hard work, luck, and the help of many others that go into the creation of successful comic characters. Again and again I have been asked how I created

Captain Marvel, the World’s Mightiest Mortal, back long ago in those dim, legendary years of the Golden Age. When I explain that I didn’t create him but only brought him into visual form, they’ll ask, “Then who did create him?” “Captain Marvel was really created by Fawcett, his publisher,” I explain. “Bill Parker wrote the first story featuring Captain Marvel, and I supplied the illustrations. The story and the drawings were made to specifications given to us by our editorial department and art directors at Fawcett. Neither Parker nor I received any credit at all at the time. Parker and most of the others involved have now faded into obscurity, leaving only me alive to tell the true tale of Captain Marvel’s birth and untimely death a few short years later.” “What killed Captain Marvel? Was he put to death by Superman’s publisher?” people ask.

“Not directly,” I reply. “The super-hero comic characters had

Once In The Dear, Dead Days Beyond Recall begun to lose their appeal after World War II, and by 1953 comic books were no longer profitable. Fawcett killed all their comic books, super-hero and otherwise, and left the field to other publishers.” “What did you do after you were let go by Fawcett? Did your success as a comic artist help you get other work?” I am asked.

The Price of Fame My Celebrity Years

By C.C. Beck Late in my career, after Fatman the Human Flying Saucer was published, and after Captain Marvel’s revival in Shazam! comics, I had gained some fame and notoriety overnight. Suddenly, I was featured in newspaper articles, invited to conventions, and was a special guest on several radio and television shows. The more I was interviewed, the more the facts became twisted. Sometimes a radio or television interview with me went about like this: Q. So you’re the fellow who created Superman, eh? A. No, I worked on Captain Marvel. I had nothing to do with Superman.

“Not at all. In fact, I had to keep A quick magic marker convention sketch by C.C. Beck for my connection G.B. Love at the 1969 Miami Con. According to G.B., it with comic books was the first time Beck had sketched Captain Marvel since under the rug, as Fawcett Comics folded in 1953! comics were not [Captain Marvel ©2001 DC Comics] highly regarded at that time and were considered no better than pornography by most people. Luckily, my name was not well known, so I landed a job as an ordinary paste-up and mechanical artist, and as a copy writer and designer of advertisements, brochures, catalogs, price lists, and such material.”

Q. You didn’t? What did you do? Did you write comics?

“Now that you’re famous and Captain Marvel is known all over the world, how do you feel?” people ask.

Q. You created Captain Marvel, is that it?

“Mostly embarrassed,” I confess. “I’m given credit for all the wrong things. Hundreds of people worked on Captain Marvel and the Marvel Family. Some of them were much more talented than I, some were less. I hate to take the credit for all the good work that some others did, and to be given the blame for all the terrible work produced by others.”

A. No, I drew them. Q. Oh, so you drew Captain Marvel! Wasn’t he the guy who was really a poor little crippled newsboy? A. No, that was Freddy Freeman, another character, who could turn into Captain Marvel Jr. Q. It was? You drew Freddy Freeman? A. No, I drew Billy Batson, the boy who turned into Captain Marvel.

A. No, Bill Parker did. I only made the drawings. Q. Well, thank you Mr. Berk. Folks, we have been talking with Mr. C.C. Berk, the man who created Captain Parker!

“But you’re still around, C.C.,” I am reminded. “Aren’t you proud and happy now?” “Happy? Yes, I’m happy that I didn’t starve to death long ago,” I concede. “I’m happy that I didn’t drink myself to death, as some did, or commit suicide, or end up living under a culvert in a cardboard box. I’m still in reasonably good health, have a good home, and have many friends.” “Friends from the old days?” “Just a few here and there, from whom I still get Christmas cards. Most of my friends are now young people–people from their twenties up to about fifty or fifty-five.” “Fifty-five? That’s young?” “It is, to me. Remember that I’ve been around a long, long time. I go back to the very earliest days!” “You do? Did you ever meet da Vinci or Michelangelo? What were they like? Were you alive?!” You’ll have to excuse me at this point. The quill pen with which I’ve been writing this account has worn out. I’ll have to go out and chase down another wild goose to get another one.

Number 1b, April 2001

•

Hype and hullabaloo from the publisher determined to bring new life to comics fandom

•

Edited by Jon B. Cooke

And Baby Makes… ThreeMorrows! The new issue of The Jack Kirby Collector (#31) isn’t the only thing that’s late! One of the TwoMorrows who bring you that periodical is pregnant! (Can you guess which one?) As of this writing, PAM MORROW’s twelve weeks along, and has been plagued by an awful case of morning sickness. This left publisher (and husband) JOHN MORROW trying his best to care for her, and juggle the workload at their ad agency, so the deadline on that first tabloid-size issue of TJKC just had to give. The happy couple’s lips are sealed on whether or not they’ll change their company name to ThreeMorrows Publishing, but both are looking forward to the impending arrival in September! (And TJKC #31 will be shipping by the time you read this!) We’ve also got a few other new members of the TwoMorrows family to welcome into the fold! First is ERIC NOLEN-WEATHINGTON, our full-time production assistant at the Raleigh, North Carolina headquarters. Eric’s responsible for only about a kazillion jobs here, from order filling, scanning, and proofreading, to all-around helping John and Pam keep the TwoMorrows mags coming out on a regular schedule. Also, we’d like to welcome CHRIS DAY, our new graphic designer on Alter Ego (freeing up the previous designer—and Comic Book Artist editor—JON B. COOKE to concentrate on some top secret new projects coming soon!). And lastly (but definitely never leastly), there’s MIKE MANLEY, editor of Draw!, our new “how-to” mag for comics artists, cartoonists, and animators. Mike’s a long-time comics pro with beau-coup industry connections, as you’ll see from his first issue line-up. Welcome to all these fine gents! (Now get back to work, allayeez!) ™

ABBREVIATIONS TO REMEMBER:

A/E: THE CBA COLLECTION E.T.A. A.S.A.P., O.K.? There’s a plethora of pencils from KIRBY’s 1970s Invaders covers in our new trade paperback, Alter Ego: The Comic Book Artist Collection. In addition to reprinting the Alter Ego sections from CBA #1-5, several of the book’s 30 NEW PAGES are taken up with previously unseen art from Roy Thomas’s 1970s “retro” comic, and Jack’s covers are well represented. Plus there’s an awesome, new gallery of JOE KUBERT artwork covering his work from the 1940s to the ’70s, and a previously-unpublished 1999 interview of the late, great GIL KANE, conducted by ROY THOMAS—Ye Editor himself! All of this—and more!—behind a spiffy JOE KUBERT cover (see our repro’ at left). It’s shipping within a week or two of when you read this, so order your copy today!

Warren Companion to kick a**!

THE

COMPANION

Creatures Beware!

Why, you’d think TwoMorrows was a dating service with all of the Companions we’re producing, but—man!—are we psyched about this book! This 288-page tome—due in early Summer—is the definitive (and authorized) compendium to the great horror comics of Warren Publishing! Including an exhaustive checklist (with artist and writer cross-references), the book also features a complete redesign of the sold-out Comic Book Artist #4 (winner of last year’s Eisner award!) plus nearly 200 pages of new interviews, articles, a rarelyseen story by AL WILLIAMSON & ARCHIE GOODWIN, and much more, behind a new cover by Italian pal ALEX HORLEY! Look for it!

S&K SEARCH!

TwoMorrows is still in search of good photocopies of art from Stuntman, Boy Explorers, and Captain 3-D for our upcoming book The Best of Simon & Kirby (particularly pages from the never-published Stuntman stories “Jungle Lord”, “Terror Island” featuring the evil Panda, and “The Evil Sons of M. LeBlanc”). We’ll gladly reimburse you for copying/shipping expenses, and send you a free copy of the book when it’s published! Requests for anonymity will be respected, so get in touch with us today!

COMIC BOOK ARTIST LOOKS FOR HARVEY! Last year CBA took home the EISNER AWARD for “Best ComicsRelated Periodical.” This year JON B. COOKE’s outstanding mag has already been nominated for “Best Biographical/Historical Presentation” by the fine folks at the HARVEY AWARDS! His publisher wishes to use this space to congratulate Mr. Cooke for finally reaching the nadir of his career! (Inside joke, folks!)

COPYRIGHT NOTICES: The Fantastic Four ©2001 Marvel Characters, Inc. Mr. Monster ©2001 Michael T. Gilbert. Uncle Creepy, Cousin Eerie ©2001 Warren Publishing. Stuntman ©2001 Simon & Kirby. Captain Marvel, Bulletman, Bulletgirl, Mary Marvel, Capt. Marvel Jr., Spy Smasher, Isis, Ibis, All-Star Squadron and related characters ©2001 DC Comics.

EVOLUTION IS INEVITABLE

JULY 2001

PRIME8

™

The Fawcett Companion Coming this Summer is another TwoMorrows trade paperback, The Fawcett Companion, presenting the Best of FCA (Fawcett Collectors of America), the long-lived fanzine devoted to the artists, writers, and editors of the Marvel Family, Spy Smasher, Bulletman, and co. Fans have been raving about editor Paul Hamerlinck’s new FCA sections in Alter Ego, and this volume delivers more great, classic work by the likes of C.C. BECK, MARC SWAYZE, KURT SCHAFFENBERGER, and more, including interviews and historical articles galore, and a new, knockout JERRY ORDWAY COVER (above)! Look for ordering details next issue!

MR. MONSTER is back in June in Mr. Monster: His Books of Forbidden Knowledge, Vol. Zero! Gathered within this TwoMorrows trade paperback are twelve twisted tales of Doc Stearn’s Forbidden Knowledge! This non-ancient tome collects all the the hard-to-find Mr. Monster stories from A-1, Crack-ABoom! and Dark Horse Presents in mysterious black-&-white. But that’s not all! Volume Zero also includes over 30 pages of ALLNEW Mr. Monster art and stories! Friend, can your sanity survive our Lee/ Kirby monster spoof, “Ooooak… The Tree That Walks Like A Man” by MICHAEL T. GILBERT & MARK MARTIN? Or how about the long-lost 1933 Mr. Monster newspaper strip? Talk about Forbidden Knowledge! There’s even an eight-page FULLCOLOR INSERT, featuring a terrifying Trencher/Mr. Monster slug-fest, drawn by KEITH GIFFEN and MICHAEL T. GILBERT! Can you stand the horror as titans (and art-styles!) clash!? Look for this 136-page Trade Paperback in the COMICS section of April’s Previews or order directly from TwoMorrows for $20 postpaid—if you dare!

“We’re All Part Of This Brotherhood”

“We re All Part Of This Brotherhood” Jerry Ordway interviewed by P.C. Hamerlinck [The Power of Shazam! graphic novel and subsequent same-named, short-lived series of the ’90s by Jerry Ordway marked the return of the Marvel Family and the revival of many old Fawcett characters. A professional in every sense of the word, the artist and writer provided me with the background and creative processes that went into The Power of Shazam! —PCH] PC: How did your involvement begin with Shazam!? JO: It began with my desire to do a self-contained project with some sort of shelf life. At the time, DC’s Jonathan Peterson had already gotten John Byrne to commit to a quarterly Shazam! book, but Byrne quit after a dispute. PC: And that’s when you expressed interest in doing a Shazam! graphic novel? JO: Yes. DC was anxious to get the character back into comics, having recently purchased all rights from Fawcett of their characters. (DC now has free reign to do what they want with the Fawcett characters, including not publishing them!) When I got the Shazam! assignment, Peterson wooed me with the idea of painting the book, as well as packaging it as a hardcover. He loaned me a copy of the Captain Marvel 1941 Republic serial, and then I was really hooked! I watched the serial several times before I started laying out the graphic novel, and I ran it on the TV in my studio while I was working on the book. I wore out the tape!

my approach with the C.C. Beck/Otto Binder material. I just felt that I didn’t want to try to walk in Beck’s shoes, as others had tried. Beck’s work was very pure, and had a life to it that was truly amazing. He was a very well rounded artist. He embraced a cartoony style that Roy Crane and others popularized in the thirties, and I love that stuff. I never had any illusions about Beck liking my own approach to Cap. I had to accept that right away and do my own thing. I knew that despite my stylistic difference, I could produce a product that would, in all modesty, make the Captain look good. While I am sympathetic to the past, my goal was to modernize the concept, from a ’40s Fawcett comic to ’60s-era Marvel Comics (which I read as a teen and where I was inspired by the works of Joe Sinnott, John Buscema, Jack Kirby, and many others). I was later thrilled to learn that Stan Lee himself said he really loved the graphic novel. PC: So when you came up with your Shazam! proposal to DC, the Republic serial influences were already present, as well as the art deco look that you incorporated?

PC: The serial’s influence showed in the first part of the graphic novel. What aspects did you enjoy about the Republic serial? JO: I liked Republic’s handling of the superheroics. I liked the fierceness in Tom Tyler’s portrayal of Cap. Tyler had the right look, and the stunts were great. PC: Did C.C. Beck’s original version of Captain Marvel ever come into play while you were conceptualizing the project? JO: I needed a source for Captain Marvel that wasn’t C.C. Beck’s version, which I wasn’t capable of emulating, nor did I want to. I liked the character ever since I saw him in the Steranko’s History of Comics, Vol. 2, and later the revival in 1973, but I never thought I could mesh

JO: DC gave me permission to dump everything and start fresh. The graphic novel was to be a complete story, and structured like a movie of Captain Marvel, with four acts. The first act was inspired by the serial, set in Egypt. The art deco aspect came from my own interest in the style, as well as a logical way of establishing Fawcett City and creating a city frozen in time.

PC: Let’s cover the techniques used for the graphic novel. The cover and inside title page were painted—the interior was painted yet outlined in black ink. What led to the decision of combining the two mediums and how did you go about it? JO: It would have taken way too long for me to paint the entire story in opaque. I combined linework with watercolor dyes because it was the look I wanted: comic drawings, with color shading. I first drew all the art in ink, then made copies of the art before I painted the watercolors on the original pages. That way, if DC wanted to, they could later release it in a cheaper, standard comic format for those who couldn’t afford the hardcover edition. (Instead, DC went with a trade paperback format for the more affordable reissue, keeping the interiors the same but adding a different cover). Incidentally, the very first thing I did on the graphic novel was the title page, which I had hand-lettered to look

Jerry Ordway Interviewed something like an old John Wayne movie poster.

starring other heroes such as Plastic Man, Batman, etc., in an attempt to beef up Power of Shazam! sales?

PC: Did you have some favorite Golden Age Fawcett stories prior to working on the graphic novel?

JO: I wanted to use those guest-stars because I enjoyed the way Captain Marvel played off them. Also, I wanted to show DC how Cap should be an integral part of their universe.

JO: I liked the first Black Adam story from Marvel Family #1, and the Capt. Marvel/Spy Smasher crossovers from Whiz Comics. “I liked the fierceness in Tom Tyler’s portrayal of Cap.” Tom Tyler as Captain Marvel, Nigel deBrulier as Shazam in Republic’s 1941 movie serial The Adventures of Captain Marvel, an important influence on Ordway when starting work on the Power of Shazam! graphic novel. [Captain Marvel ©2001 DC Comics]

PC: Did you have any favorite DC versions of Captain Marvel?

JO: C.C. Beck and Kurt Schaffenberger were the best Shazam! artists. Don Newton was very good on the later stories. I’m still not sure about Alex Ross’ version. As for writers, I thought E. Nelson Bridwell had a good handle on the characters. I actually liked what Denny O’Neil did too, despite what Beck felt. Elliot Maggin, however, was horribly miscast. I liked Roy Thomas’ “Shazam!” stories which he did in DC Comics Presents.

PC: Many purists were annoyed by some of the cosmetic changes you made, such as Mary’s costume changing from red to white, the diamond designs on Captain Marvel’s cape, and Captain Marvel Jr. referred to as “CM3.” JO: Mary’s costume changed to white as sort of a tribute to her mother’s costume from the alternate universe story. I felt changing it to white would give her more of her own identity. Junior’s name was an attempt to give him something he could mouth without causing his transformation. As for those diamonds, Joe Quesada had drawn Cap’s cape like that once and I kind of liked it. PC: I know old fans were happy to see Mr. Tawny again, but were surprised to see him drinking beer. Also, there were some who didn’t care for Ibis portrayed as such a bored old fellow.

JO: Originally Mr. Tawny was going to be handled utilizing the Calvin and Hobbes concept, but when it was time for the series, I used the movie Harvey as a template, making Dudley the Jimmy Stewart character in that film. Who better to see a talking tiger than someone who’s had too many beers? Since I grew up in a tavern (my mom owned one when I was a youngster) I was able to use stuff from my memories in the background. As for Ibis, my take on him was that, in theory, he was the most powerful of the JO: After writing the scripts, I had bunch, with that Ibistick of his. plenty of time to spend on each of With those great powers, why the covers. Normally, I’d spend a hadn’t he done more? He was an week on each, but not full days. I underachiever who grew bored had the luxury of tinkering with with all the power, so he would them until I was happy. The Statue hibernate for years on end, waiting of Liberty cover printed horribly for things to change enough to be dark. The one with Billy and Mary interesting to him again. I know on their parents’ backs was a Ordway wrote the animated-style Captain Marvel adventure this didn’t sit well with some of the “The Scarab Necklace” for Superman & Batman Magazine #4, Spring 1994. favorite of mine too, though easily older fans, but I thought it was a Art by Mike Parobeck & Rick Burchett. [©2001 DC Comics] the one that gave me he most valid way of portraying an trouble; I wound up doing that immortal. mostly in opaque paints, because I painted over the watercolor parts I PC: I appreciated your homages to the Marvel Family creators of the didn’t like. Again, I had time to fiddle with each cover. I tried to get DC past, with their names popping up in the background on buildings, to do a card set or a poster book of the covers, but it fell on deaf ears. street signs, etc. Were these last minute additions, or did a script say, for Their marketing department was focused elsewhere. DC always does example, to put “Raboy” on the side of a truck? things to the exclusion of everyone else. That’s just the way things are.

PC: The Power of Shazam! series was noted for your exquisitely painted covers. I particularly enjoyed the great cover featuring your ode to Master Comics (Power of Shazam! #8), the fine Raboy-like cover depicting Captain Marvel Jr. flying past the Statue of Liberty (Power of Shazam! #14), and the outstanding cover of Billy and Mary on the backs of their parents (Power of Shazam! #26). How long would it take to create a cover, or did it vary?

PC: Were there any Shazam! stories that you wrote which you are especially proud of?

JO: Penciler Peter Krause added a lot of those, but occasionally I would specify them.

JO: My favorite one was the alternate universe story where the Batson parents were alive and part of the Marvel Family.

PC: Comment briefly on the talent who worked with you on Power of Shazam!.

PC: Was it an editorial decision, or your decision, to write scripts co-

JO: Peter Krause is a great guy, and one of those artists who can draw

“We’re All Part Of This Brotherhood”

anything I asked of him. Inker Mike Manley is also a friend and a really versatile artist; I liked the job he did on the Power of Shazam! Annual. Dick Giordano is like a mentor to me. He was the head guy at DC during my formative years in the business, and was always looking out for other freelancers and me. He was the heart of the DC that I enjoyed working for and I was honored to have him on the book. Gil Kane was another hero of mine and he is greatly missed. I wished he had been able to do more work on the book. The same with Curt Swan, another great guy who is missed. John Costanza is my favorite letterer, and editors Mike Carlin and Chris Duffy both contributed greatly, as did Jonathan Peterson, who got the ball rolling in the first place with the graphic novel.

just that there was no follow-up after that, like they’ve done for other books. It’s sink or swim. When we made up Mr. Mind decoder cards and sent them out ourselves, without any advertising, the response was phenomenal! It proved to me there was a strong market for Shazam! merchandise, which could help promote the series, but DC didn’t do anything about it. We planned to offer a “Sivana For Mayor” bumper sticker, which was created but ended up never getting printed. PC: If you could do a Captain Marvel series again, what would you do different? Or, perhaps I should ask, would you ever do a Captain Marvel series again?

JO: If I did it again, I would Ordway’s ode to Fawcett’s Master Comics. Cover of The Power of Shazam! #8, Oct 1995 start the series differently; more [©2001 DC Comics] action; bigger action panels; more Cap in costume. Storywise, similar to what I did, but knowing what happened, I’d have PC: I enjoyed the Captain tried harder to reach and keep those readers. I was working in a nice Marvel story you wrote for Superman/Batman Magazine #4, illusprotective bubble, and the editor let me do the stories I wanted to do; trated by the late Mike Parobeck. Do you feel perhaps that Captain but if he had expressed the danger of cancellation more urgently, I Marvel might find greater appeal today if done in the cartoony/animated would’ve thrown everything I had at the readers. As it was, I was pretty style? surprised to hear Power of JO: I don’t think the audience Shazam! was being cancelled, we were trying to reach would as I had been told up front that have supported a simple, they wanted to keep the cartoon style of the Marvel franchise going, like Wonder Family any better. Woman, where they kept the book going through good PC: Besides the Marvel Family, times and bad. I was wrong. I which Fawcett characters did believe they just didn’t have an you enjoy reviving? emotional investment in keeping Captain Marvel in JO: To be honest, I enjoyed print, because there’s no one them all! They made for a Ordway’s unreleased Sivana bumper sticker. [Dr. Sivana ©2001 DC Comics] there now to appreciate the strong supporting cast and I fact that Cap once sold tried to make every one millions; which happened to be for Fawcett, not DC. They viewed the important to the mythos. The Fawcett heroes have a lot to offer and I property, in the end, like a poor relative, not worthy of the same tried to get DC to do more with them, such as a Fawcett heroes special, treatment as their favored sons: Superman, Batman, and the others. but they weren’t interested. I pitched a Bulletgirl series after Power of

Shazam! was cancelled, but DC told me to distance myself from the Fawcett heroes. I knew what they meant: They and I were considered damaged goods after Power of Shazam!’s cancellation. PC: What elements do you feel led to the cancellation of the series? JO: Aside from editor Mike Carlin, I just didn’t think DC had a vested interest in The Power of Shazam!. I practically had to beg to get a fourth year contract, and then took over the art to help keep it going, but DC at the time was pushing me hard to do something that to them was more worthwhile. I turned them down and things were never the same for me at DC. I was made to feel that Shazam! was a horrible failure, something I should distance myself from, which I would not do. I didn’t feel I was treated very well, especially after so many years of loyalty working for DC (I had been there since 1980). PC: Why wouldn’t DC further promote Power of Shazam!? JO: They did a good initial push for it, and the series started well; it’s

PC: Thank you for giving your best on Captain Marvel, and thank you for your time today, Jerry. JO: Thank you, P.C.—We’re all part of this brotherhood. It was fun to know the wonderful inhabitants of Fawcett City. I wish Captain Marvel and his family good luck in finding the next lucky creators to steer them towards a new generation of fans. [A new painting rendered by Jerry Ordway will be featured in the upcoming book, Fawcett Companion— The Best of FCA, edited by P.C. Hamerlinck and published by A recent photo of Jerry Ordway TwoMorrows.] with his son James.

“We’re All Part Of This Brotherhood”

Power Of Shazam! Artist

Peter Krause By P.C. Hamerlinck Peter Krause, the artist who penciled DC’s Power of Shazam! monthly series for the majority of its run, likes to joke about the fact that he’s built a small comics career on inheriting jobs that other people had left, and The Power Of Shazam! was no exception: The series’ original penciler was to be Mike Wieringo before Krause stepped in. The Minneapolis-based artist had not been a fan of Captain Marvel A rare glimpse from Krause’s rejected while growing up, but Captain Marvel Jr. mini-series proposal. he knew that Cap was [Captain Marvel Jr. ©2001 DC Comics] one of the great icons of super-hero comics; he also knew the assignment would be a lot of fun to do. For the series, Krause built around the foundation planted by Jerry Ordway in his Power Of Shazam! graphic novel. As Krause worked on the series, he got to see firsthand how unique the Marvel Family environment truly was, along with the great fantasy element involving a boy’s capability of changing into a super-hero. Krause, a fan of comic art master Alex Toth, but also an admirer of Mac Raboy’s work, took great joy in drawing Captain Marvel Jr. as well as the entire Marvel Family cast. However, it was ultimately the World War II hero Spy Smasher that became one of Krause’s favorite old Fawcett characters to draw. He found drawing the talking tiger Mr. Tawny a challenge, but he was determined to keep Tawny’s look as close as possible to the original C.C. Beck/Otto Binder stories. Ordway was receptive to alterations in some characters, such as Krause’s redesign of the villainous robot Mr. Atom. Spy Smasher was one of Krause’s favorite Fawcett Heroes to draw. Art from the Power of Shazam! #24, March 1997. [©2001 DC Comics]

Krause modestly gives a great deal of credit

to the artists who inked his work: “I’ve never had an inker who didn’t bail me out at some point!” Having studied the work of Frank Lloyd Wright, Krause was delighted to draw the art deco stylings of Fawcett City. While drawing those very backgrounds of the city, Krause subtly inserted the names of Captain Marvel creators from the past onto the buildings and street signs as a special tribute. When Krause met renowned Marvel Family artist Kurt Schaffenberger at a Mary and Captain Marvel take on Mr. Atom. comic convention, he Krause redesigned the character in told Kurt that they Power of Shazam! #23, February 1997. made the airport in [©2001 DC Comics.] Power of Shazam! the ‘Schaffenberger Airport’. Kurt remarked, “Well, it’s a hell of a name for an airport!” After Krause left and shortly after the cancellation of the series, he pitched a Captain Marvel Jr. mini-series to DC but his proposal was, not surprisingly, rejected. Krause was honored to have worked on the legendary Captain Marvel. “It was fun and Jerry Ordway was great to work for. If it turns out that Power of Shazam! is my only legacy in comics, then it’s a good legacy to have!”

Edited by ROY THOMAS

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ALTER EGO #4

ALTER EGO #5

ALTER EGO #1

ALTER EGO #2

ALTER EGO #3

STAN LEE gets roasted by SCHWARTZ, CLAREMONT, DAVID, ROMITA, BUSCEMA, and SHOOTER, ORDWAY and THOMAS on INFINITY, INC., IRWIN HASEN interview, unseen H.G. PETER Wonder Woman pages, the original Captain Marvel and Human Torch teamup, FCA with MARC SWAYZE, “Mr. Monster”, plus plenty of rare and unpublished art!

Featuring a never-reprinted SPIRIT story by WILL EISNER, the genesis of the SILVER AGE ATOM (with GARDNER FOX, GIL KANE, and JULIE SCHWARTZ), interviews with LARRY LIEBER and Golden Age great JACK BURNLEY, BOB KANIGHER, a new Fawcett Collectors of America section with MARC SWAYZE, C.C. BECK, and more! GIL KANE and JACK BURNLEY flip-covers!

Unseen ALEX ROSS and JERRY ORDWAY Shazam! art, 1953 interview with OTTO BINDER, the SUPERMAN/CAPTAIN MARVEL LAWSUIT, GIL KANE on The Golden Age of TIMELY COMICS, FCA with SWAYZE, BECK, and SCHAFFENBERGER, rare art by AYERS, BERG, BURNLEY, DITKO, RICO, SCHOMBURG, MARIE SEVERIN and more! ALEX ROSS & BILL EVERETT covers!

(80-page magazine) SOLD OUT (Digital Edition) $2.95

(100-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #6

ALTER EGO #7

ALTER EGO #8

Interviews with KUBERT, SHELLY MOLDOFF, and HARRY LAMPERT, BOB KANIGHER, life and times of GARDNER FOX, ROY THOMAS remembers GIL KANE, a history of Flash Comics, MOEBIUS Silver Surfer sketches, MR. MONSTER, FCA section with SWAYZE, BECK, and SCHAFFENBERGER, and lots more! Dual color covers by JOE KUBERT!

Celebrating the JSA, with interviews with MART NODELL, SHELLY MAYER, GEORGE ROUSSOS, BILL BLACK, and GIL KANE, unpublished H.G. PETER Wonder Woman art, GARDNER FOX, an FCA section with MARC SWAYZE, C.C. BECK, WENDELL CROWLEY, and more! Wraparound cover by CARMINE INFANTINO and JERRY ORDWAY!

GENE COLAN interview, 1940s books on comics by STAN LEE and ROBERT KANIGHER, AYERS, SEVERIN, and ROY THOMAS on Sgt. Fury, ROY on All-Star Squadron’s Golden Age roots, FCA section with SWAYZE, BECK, and WILLIAM WOOLFOLK, JOE SIMON interview, a definitive look at MAC RABOY’S work, and more! Covers by COLAN and RABOY!

Companion to ALL-STAR COMPANION book, with a JULIE SCHWARTZ interview, guide to JLA-JSA TEAMUPS, origins of the ALL-STAR SQUADRON, FCA section with MARC SWAYZE, C.C. BECK (on his 1970s DC conflicts), DAVE BERG, BOB ROGERS, more on MAC RABOY from his son, MR. MONSTER, and more! RICH BUCKLER and C.C. BECK covers!

WALLY WOOD biography, DAN ADKINS & BILL PEARSON on Wood, TOR section with 1963 JOE KUBERT interview, ROY THOMAS on creating the ALL-STAR SQUADRON and its 1940s forebears, FCA section with SWAYZE & BECK, MR. MONSTER, JERRY ORDWAY on Shazam!, JERRY DeFUCCIO on the Golden Age, CHIC STONE remembered! ADKINS and KUBERT covers!

(100-page magazine) $5.95 (Digital Edition) $2.95

(100-page magazine) SOLD OUT (Digital Edition) $2.95

(100-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #9

ALTER EGO #10

ALTER EGO #11

ALTER EGO #12

ALTER EGO #13

JOHN ROMITA interview by ROY THOMAS (with unseen art), Roy’s PROPOSED DREAM PROJECTS that never got published (with a host of great artists), MR. MONSTER on WAYNE BORING’S life after Superman, The Golden Age of Comic Fandom Panel, FCA section with GEORGE TUSKA, C.C. BECK, MARC SWAYZE, BILL MORRISON, & more! ROMITA and GIORDANO covers!

Who Created the Silver Age Flash? (with KANIGHER, INFANTINO, KUBERT, and SCHWARTZ), DICK AYERS interview (with unseen art), JOHN BROOME remembered, never-seen Golden Age Flash pages, VIN SULLIVAN Magazine Enterprises interview, FCA, interview with FRED GUARDINEER, and MR. MONSTER on WAYNE BORING! INFANTINO and AYERS covers!

Focuses on TIMELY/MARVEL (interviews and features on SYD SHORES, MICKEY SPILLANE, and VINCE FAGO), and MAGAZINE ENTERPRISES (including JOE CERTA, JOHN BELFI, FRANK BOLLE, BOB POWELL, and FRED MEAGHER), MR. MONSTER on JERRY SIEGEL, DON and MAGGIE THOMPSON interview, FCA with SWAYZE, BECK, and DON NEWTON!

DC and QUALITY COMICS focus! Quality’s GILL FOX interview, never-seen ‘40s PAUL REINMAN Green Lantern story, ROY THOMAS talks to LEN WEIN and RICH BUCKLER about ALL-STAR SQUADRON, MR. MONSTER shows what made WALLY WOOD leave MAD, FCA section with BECK & SWAYZE, & ‘65 NEWSWEEK ARTICLE on comics! REINMAN and BILL WARD covers!

1974 panel with JOE SIMON, STAN LEE, FRANK ROBBINS, and ROY THOMAS, ROY and JOHN BUSCEMA on Avengers, 1964 STAN LEE interview, tributes to DON HECK, JOHNNY CRAIG, and GRAY MORROW, Timely alums DAVID GANTZ and DANIEL KEYES, and FCA with BECK, SWAYZE, and MIKE MANLEY! Covers by MURPHY ANDERSON and JOE SIMON!

(100-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #14

ALTER EGO #15

ALTER EGO #16

ALTER EGO #17

ALTER EGO #18

A look at the 1970s JSA revival with CONWAY, LEVITZ, ESTRADA, GIFFEN, MILGROM, and STATON, JERRY ORDWAY on All-Star Squadron, tributes to CRAIG CHASE and DAN DeCARLO, “lost” 1945 issue of All-Star, 1970 interview with LEE ELIAS, MR. MONSTER on GARDNER FOX, FCA with SWAYZE, BECK, & JAY DISBROW! MIKE NASSER & MICHAEL GILBERT covers!

JOHN BUSCEMA ISSUE! BUSCEMA interview (with UNSEEN ART), reminiscences by SAL BUSCEMA, STAN LEE, INFANTINO, KUBERT, ORDWAY, FLO STEINBERG, and HERB TRIMPE, ROY THOMAS on 35 years with BIG JOHN, FCA tribute to KURT SCHAFFENBERGER, plus C.C. BECK and MARC SWAYZE, and MR. MONSTER revisits WALLY WOOD! Two BUSCEMA covers!

MARVEL BULLPEN REUNION (BUSCEMA, COLAN, ROMITA, and SEVERIN), memories of the JOHN BUSCEMA SCHOOL, FCA with ALEX ROSS, C.C. BECK, and MARC SWAYZE, tribute to CHAD GROTHKOPF, MR. MONSTER on EC COMICS with art by KURTZMAN, DAVIS, and WOOD, and more! Covers by ALEX ROSS and MARIE SEVERIN & RAMONA FRADON!

Spotlighting LOU FINE (with an overview of his career, and interviews with family members), interview with MURPHY ANDERSON about Fine, ALEX TOTH on Fine, ARNOLD DRAKE interviewed about DEADMAN and DOOM PATROL, MR. MONSTER on the non-EC work of JACK DAVIS and GEORGE EVANS, FINE and LUIS DOMINGUEZ COVERS, FCA and more!

STAN GOLDBERG interview, secrets of ‘40s Timely, art by KIRBY, DITKO, ROMITA, BUSCEMA, MANEELY, EVERETT, BURGOS, and DeCARLO, spotlight on sci-fi fanzine XERO with the LUPOFFS, OTTO BINDER, DON THOMPSON, ROY THOMAS, BILL SCHELLY, and ROGER EBERT, FCA, and MR. MONSTER on WALLY WOOD ghosting Flash Gordon! KIRBY and SWAYZE covers!

(100-page magazine) $5.95 (Digital Edition) $2.95

(108-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #19

ALTER EGO #20

ALTER EGO #21

ALTER EGO #22

ALTER EGO #23

Spotlight on DICK SPRANG (profile and interview) with unseen art, rare Batman art by BOB KANE, CHARLES PARIS, SHELLY MOLDOFF, MAX ALLAN COLLINS, JIM MOONEY, CARMINE INFANTINO, and ALEX TOTH, JERRY ROBINSON interviewed about Tomahawk and 1940s cover artist FRED RAY, FCA, and MR. MONSTER on WALLY WOOD’s Flash Gordon, Part 2!

Timely/Marvel art by SEKOWSKY, SHORES, EVERETT, and BURGOS, secrets behind THE INVADERS with ROY THOMAS, KIRBY, GIL KANE, & ROBBINS, BOB DESCHAMPS interviewed, 1965 NY Comics Con review, panel with FINGER, BINDER, FOX and WEISINGER, MR. MONSTER, FCA with SWAYZE, BECK, RABOY, SCHAFFENBERGER, and more! MILGROM and SCHELLY covers!

The IGER “SHOP” examined, with art by EISNER, FINE, ANDERSON, CRANDALL, BAKER, MESKIN, CARDY, EVANS, BOB KANE, and TUSKA, “SHEENA” section with art by DAVE STEVENS & FRANK BRUNNER, ROY THOMAS on JSA & All-Star Squadron, MR. MONSTER on GARDNER FOX, UNSEEN 1946 ALL-STAR ART, FCA, and more! DAVE STEVENS and IRWIN HASEN covers!

BILL EVERETT and JOE KUBERT interviewed by NEAL ADAMS and GIL KANE in 1970, Timely art by BURGOS, SHORES, NODELL, and SEKOWSKY, RUDY LAPICK, ROY THOMAS on Sub-Mariner, with art by EVERETT, COLAN, ANDRU, BUSCEMAs, SEVERINs, and more, FCA, MR. MONSTER on WALLY WOOD at EC, ALEX TOTH, and CAPT. MIDNIGHT! EVERETT & BECK covers!

Unseen art from TWO “LOST” 1940s H.G. PETER WONDER WOMAN STORIES (and analysis of “CHARLES MOULTON” scripts), BOB FUJITANI and JOHN ROSENBERGER, VICTOR GORELICK discusses Archie and The Mighty Crusaders, with art by MORROW, BUCKLER, and REINMAN, FCA, and MR. MONSTER on WALLY WOOD! H.G. PETER and BOB FUJITANI covers!

(108-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #24

ALTER EGO #25

ALTER EGO #26

ALTER EGO #27

ALTER EGO #28

X-MEN interviews with STAN LEE, DAVE COCKRUM, CHRIS CLAREMONT, ARNOLD DRAKE, JIM SHOOTER, ROY THOMAS, and LEN WEIN, MORT MESKIN profiled by his sons and ALEX TOTH, rare art by JERRY ROBINSON, FCA with BECK, SWAYZE, and WILLIAM WOOLFOLK, MR. MONSTER, and BILL SCHELLY on Comics Fandom! MESKIN and COCKRUM covers!

JACK COLE remembered by ALEX TOTH, interview with brother DICK COLE and his PLAYBOY colleagues, CHRIS CLAREMONT on the X-Men (with more never-seen art by DAVE COCKRUM), ROY THOMAS on AllStar Squadron #1 and its ‘40s roots (with art by ORDWAY, BUCKLER, MESKIN and MOLDOFF), FCA, MR. MONSTER, and more! Covers by TOTH and SCHELLY!

JOE SINNOTT interview, IRWIN DONENFELD interview by EVANIER & SCHWARTZ, art by SHUSTER, INFANTINO, ANDERSON, and SWAN, MARK WAID analyzes the first Kryptonite story, JERRY SIEGEL and HARRY DONENFELD, JERRY IGER Shop update, ALEX TOTH, MR. MONSTER, and FCA with SWAYZE, BECK, and KEN BALD! Covers by SINNOTT and WAYNE BORING!

VIN SULLIVAN interview about the early DC days with art by SHUSTER, MOLDOFF, FLESSEL, GUARDINEER, and BURNLEY, MR. MONSTER’s “Lost” KIRBY HULK covers, 1948 NEW YORK COMIC CON with STAN LEE, SIMON & KIRBY, JULIUS SCHWARTZ, HARVEY KURTZMAN, and ROY THOMAS, ALEX TOTH, FCA, and more! Covers by JACK BURNLEY and JACK KIRBY!

Spotlight on JOE MANEELY, with a career overview, remembrance by his daughter and tons of art, Timely/Atlas/Marvel art by ROMITA, EVERETT, SEVERIN, SHORES, KIRBY, and DITKO, STAN LEE on Maneely, LEE AMES interview, FCA with SWAYZE, ISIS, and STEVE SKEATES, MR. MONSTER, BILL SCHELLY, and more! Covers by JOE MANEELY and DON NEWTON!

(108-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #29

ALTER EGO #30

ALTER EGO #31

ALTER EGO #32

ALTER EGO #33

FRANK BRUNNER interview, BILL EVERETT’S Venus examined by TRINA ROBBINS, Classics Illustrated “What ifs”, LEE/KIRBY/DITKO Marvel prototypes, JOE MANEELY’s monsters, BILL FRACCIO interview, ALEX TOTH, MR. MONSTER, JOHN BENSON on EC, The Heap by ERNIE SCHROEDER, and FCA! Covers by FRANK BRUNNER and PETE VON SHOLLY!

ALEX ROSS on his love for the JLA, BLACKHAWK/JLA artist DICK DILLIN, the super-heroes of 1940s-1980s France (with art by STEVE RUDE, STEVE BISSETTE, LADRÖNN, and NEAL ADAMS), KIM AAMODT & WALTER GEIER on writing for SIMON & KIRBY, ALEX TOTH, MR. MONSTER, and FCA! Covers by ALEX ROSS and STEVE RUDE!

DICK AYERS on his 1950s and ‘60s work (with tons of Marvel Bullpen art), HARLAN ELLISON’s Marvel Age work examined (with art by BUCKLER, SAL BUSCEMA, and TRIMPE), STAN LEE’S Marvel Prototypes (with art by KIRBY and DITKO), Christmas cards from comics greats, MR. MONSTER, & FCA with SWAYZE and SCHAFFENBERGER! Covers by DICK AYERS and FRED RAY!

Timely artists ALLEN BELLMAN and SAM BURLOCKOFF interviewed, MART NODELL on his Timely years, rare art by BURGOS, EVERETT, and SHORES, MIKE GOLD on the Silver Age (with art by SIMON & KIRBY, SWAN, INFANTINO, KANE, and more), FCA, ALEX TOTH, BILL SCHELLY on comics fandom, and more! Covers by DICK GIORDANO and GIL KANE!

Symposium on MIKE SEKOWSKY by MARK EVANIER, SCOTT SHAW!, et al., with art by ANDERSON, INFANTINO, and others, PAT (MRS. MIKE) SEKOWSKY and inker VALERIE BARCLAY interviewed, FCA, 1950s Captain Marvel parody by ANDRU and ESPOSITO, ALEX TOTH, BILL SCHELLY, MR. MONSTER, and more! Covers by FRENZ/SINNOTT and FRENZ/BUSCEMA!

(108-page magazine) $5.95 (Digital Edition) $2.95

(108-page magazine) SOLD OUT (Digital Edition) $2.95

(108-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #34

ALTER EGO #35

ALTER EGO #36

ALTER EGO #37

ALTER EGO #38

Quality Comics interviews with ALEX KOTZKY, AL GRENET, CHUCK CUIDERA, & DICK ARNOLD (son of BUSY ARNOLD), art by COLE, EISNER, FINE, WARD, DILLIN, and KANE, MICHELLE NOLAN on Blackhawk’s jump to DC, FCA, MICHAEL T. GILBERT on HARVEY KURTZMAN, & ALEX TOTH on REED CRANDALL! Covers by REED CRANDALL & CHARLES NICHOLAS!

Covers by JOHN ROMITA and AL JAFFEE! LEE, ROMITA, AYERS, HEATH, & THOMAS on the 1953-55 Timely super-hero revival, with rare art by ROMITA, AYERS, BURGOS, HEATH, EVERETT, LAWRENCE, & POWELL, AL JAFFEE on the 1940s Timely Bullpen (and MAD), FCA, ALEX TOTH on comic art, MR. MONSTER on unpublished 1950s covers, and more!

JOE SIMON on SIMON & KIRBY, CARL BURGOS, and LLOYD JACQUET, JOHN BELL on World War II Canadian heroes, MICHAEL T. GILBERT on Canadian origins of MR. MONSTER, tributes to BOB DESCHAMPS, DON LAWRENCE, & GEORGE WOODBRIDGE, FCA, ALEX TOTH, and ELMER WEXLER interview! Covers by SIMON and GILBERT & RONN SUTTON!

WILL MURRAY on the 1940 Superman “KMetal” story & PHILIP WYLIE’s GLADIATOR (with art by SHUSTER, SWAN, ADAMS, and BORING), FCA with BECK, SWAYZE, and DON NEWTON, SY BARRY interview, art by TOTH, MESKIN, INFANTINO, and ANDERSON, and MICHAEL T. GILBERT interviews AL FELDSTEIN on EC and RAY BRADBURY! Covers by C.C. BECK and WAYNE BORING!

JULIE SCHWARTZ TRIBUTE with HARLAN ELLISON, INFANTINO, ANDERSON, TOTH, KUBERT, GIELLA, GIORDANO, CARDY, LEVITZ, STAN LEE, WOLFMAN, EVANIER, & ROY THOMAS, never-seen interviews with Julie, FCA with BECK, SCHAFFENBERGER, NEWTON, COCKRUM, OKSNER, FRADON, SWAYZE, and JACKSON BOSTWICK! Covers by INFANTINO and IRWIN HASEN!

(108-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #39

ALTER EGO #40

ALTER EGO #41

ALTER EGO #42

ALTER EGO #43

Full-issue spotlight on JERRY ROBINSON, with an interview on being BOB KANE’s Batman “ghost”, creating the JOKER and ROBIN, working on VIGILANTE, GREEN HORNET, and ATOMAN, plus never-seen art by Jerry, MESKIN, ROUSSOS, RAY, KIRBY, SPRANG, DITKO, and PARIS! Plus FCA, MR. MONSTER on AL FELDSTEIN Part 2, and more! Two JERRY ROBINSON covers!

RUSS HEATH and GIL KANE interviews (with tons of unseen art), the JULIE SCHWARTZ Memorial Service with ELLISON, MOORE, GAIMAN, HASEN, O’NEIL, and LEVITZ, art by INFANTINO, ANDERSON, TOTH, NOVICK, DILLIN, SEKOWSKY, KUBERT, GIELLA, ARAGONÉS, FCA, MR. MONSTER and AL FELDSTEIN Part 3, and more! Covers by GIL KANE & RUSS HEATH!

Halloween issue! BERNIE WRIGHTSON on his 1970s FRANKENSTEIN, DICK BRIEFER’S monster, the campy 1960s Frankie, art by KALUTA, BAILY, MANEELY, PLOOG, KUBERT, BRUNNER, BORING, OKSNER, TUSKA, CRANDALL, and SUTTON, FCA #100, EMILIO SQUEGLIO interview, ALEX TOTH, MICHAEL T. GILBERT, and more! Covers by WRIGHTSON & MARC SWAYZE!

A celebration of DON HECK, WERNER ROTH, and PAUL REINMAN, rare art by KIRBY, DITKO, and AYERS, Hillman and Ziff-Davis remembered by Heap artist ERNIE SCHROEDER, HERB ROGOFF, and WALTER LITTMAN, FCA with MARC SWAYZE, MR. MONSTER, BILL SCHELLY, and ALEX TOTH! Covers by FASTNER & LARSON and ERNIE SCHROEDER!

Yuletide art by WOOD, SINNOTT, CARDY, BRUNNER, TOTH, NODELL, and others, interviews with Golden Age artists TOM GILL (Lone Ranger) and MORRIS WEISS, exploring 1960s Mexican comics, FCA with MARC SWAYZE and C.C. BECK, MR. MONSTER, ALEX TOTH, BILL SCHELLY on comics fandom, and more! Flip covers by GEORGE TUSKA and DAVE STEVENS!

(108-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #44

ALTER EGO #45

ALTER EGO #46

ALTER EGO #47

ALTER EGO #48

JSA/All-Star Squadron/Infinity Inc. special! Interviews with KUBERT, HASEN, ANDERSON, ORDWAY, BUCKLER, THOMAS, 1940s Atom writer ARTHUR ADLER, art by TOTH, SEKOWSKY, HASEN, MACHLAN, OKSNER, and INFANTINO, FCA, and MR. MONSTER’S “I Like Ike!” cartoons by BOB KANE, INFANTINO, OKSNER, and BIRO! Wraparound ORDWAY cover!

Interviews with Sandman artist CREIG FLESSEL and ‘40s creator BERT CHRISTMAN, MICHAEL CHABON on researching his Pulitzer-winning novel Kavalier & Clay, art by EISNER, KANE, KIRBY, and AYERS, FCA with MARC SWAYZE and C.C. BECK, OTTO BINDER’s “lost” Jon Jarl story, MR. MONSTER, BILL SCHELLY on comics fandom, and ALEX TOTH! CREIG FLESSEL cover!

The VERY BEST of the 1960s-70s ALTER EGO! 1969 BILL EVERETT interview, art by BURGOS, GUSTAVSON, SIMON & KIRBY, and others, 1960s gems by DITKO, E. NELSON BRIDWELL, JERRY BAILS, and ROY THOMAS, LOU GLANZMAN interview, tributes to IRV NOVICK and CHRIS REEVE, MR. MONSTER, FCA, TOTH, and more! Cover by EVERETT and MARIE SEVERIN!

Spotlights MATT BAKER, Golden Age cheesecake artist of PHANTOM LADY! Career overview, interviews with BAKER’s half-brother and nephew, art from AL FELDSTEIN, VINCE COLLETTA, ARTHUR PEDDY, JACK KAMEN and others, FCA, BILL SCHELLY talks to comic-book-seller (and fan) BUD PLANT, MR. MONSTER on missing AL WILLIAMSON art, and ALEX TOTH!

WILL EISNER discusses Eisner & Iger’s Shop and BUSY ARNOLD’s ‘40s Quality Comics, art by FINE, CRANDALL, COLE, POWELL, and CARDY, EISNER tributes by STAN LEE, GENE COLAN, & others, interviews with ‘40s Quality artist VERN HENKEL and CHUCK MAZOUJIAN, FCA, MR. MONSTER on EISNER’s Wonder Man, ALEX TOTH, and more with BUD PLANT! EISNER cover!

(100-page magazine) SOLD OUT (Digital Edition) $2.95

(100-page magazine) $5.95 (Digital Edition) $2.95

ALTER EGO #49

ALTER EGO #50

ALTER EGO #51

ALTER EGO #52

ALTER EGO #53

Spotlights CARL BURGOS! Interview with daughter SUE BURGOS, art by BURGOS, BILL EVERETT, MIKE SEKOWSKY, ED ASCHE, and DICK AYERS, unused 1941 Timely cover layouts, the 1957 Atlas Implosion examined, MANNY STALLMAN, FCA, MR. MONSTER and more! New cover by MARK SPARACIO, from an unused 1941 layout by CARL BURGOS!

ROY THOMAS covers his 40-YEAR career in comics (AVENGERS, X-MEN, CONAN, ALL-STAR SQUADRON, INFINITY INC.), with ADAMS, BUSCEMA, COLAN, DITKO, GIL KANE, KIRBY, STAN LEE, ORDWAY, PÉREZ, ROMITA, and many others! Also FCA, & MR. MONSTER on ROY’s letters to GARDNER FOX! Flip-covers by BUSCEMA/ KIRBY/ALCALA and JERRY ORDWAY!

Golden Age Batman artist/BOB KANE ghost LEW SAYRE SCHWARTZ interviewed, Batman art by JERRY ROBINSON, DICK SPRANG, SHELDON MOLDOFF, WIN MORTIMER, JIM MOONEY, and others, the Golden and Silver Ages of AUSTRALIAN SUPER-HEROES, Mad artist DAVE BERG interviewed, FCA, MR. MONSTER on WILL EISNER, BILL SCHELLY, and more!

JOE GIELLA on the Silver Age at DC, the Golden Age at Marvel, and JULIE SCHWARTZ, with rare art by INFANTINO, GIL KANE, SEKOWSKY, SWAN, DILLIN, MOLDOFF, GIACOIA, SCHAFFENBERGER, and others, JAY SCOTT PIKE on STAN LEE and CHARLES BIRO, MARTIN THALL interview, ALEX TOTH, MR. MONSTER, BILL SCHELLY, and more! GIELLA cover!

GIORDANO and THOMAS on STOKER’S DRACULA, never-seen DICK BRIEFER Frankenstein strip, MIKE ESPOSITO on his work with ROSS ANDRU, art by COLAN, WRIGHTSON, MIGNOLA, BRUNNER, BISSETTE, KALUTA, HEATH, MANEELY, EVERETT, DITKO, FCA with MARC SWAYZE, BILL SCHELLY, ALEX TOTH, and MR. MONSTER! Cover by GIORDANO!

(100-page magazine) $5.95 (Digital Edition) $2.95

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #54

ALTER EGO #55

ALTER EGO #56

ALTER EGO #57

ALTER EGO #58

MIKE ESPOSITO on DC and Marvel, ROBERT KANIGHER on the creation of Metal Men and Sgt. Rock (with comments by JOE KUBERT and BOB HANEY), art by ANDRU, INFANTINO, KIRBY, SEVERIN, WINDSOR-SMITH, ROMITA, BUSCEMA, TRIMPE, GIL KANE, and others, plus FCA, ALEX TOTH, BILL SCHELLY, MR. MONSTER, and more! ESPOSITO cover!

JACK and OTTO BINDER, KEN BALD, VIC DOWD, and BOB BOYAJIAN interviewed, FCA with SWAYZE and EMILIO SQUEGLIO, rare art by BECK, WARD, & SCHAFFENBERGER, Christmas Cards from CRANDALL, SINNOTT, HEATH, MOONEY, and CARDY, 1943 Pin-Up Calendar (with ‘40s movie stars as superheroines), ALEX TOTH, more! ALEX ROSS and ALEX WRIGHT covers!

Interviews with Superman creators SIEGEL & SHUSTER, Golden/Silver Age DC production guru JACK ADLER interviewed, NEAL ADAMS and radio/TV iconoclast (and comics fan) HOWARD STERN on Adler and his amazing career, art by CURT SWAN, WAYNE BORING, and AL PLASTINO, plus FCA, MR. MONSTER, ALEX TOTH, and more! NEAL ADAMS cover!

Issue-by-issue index of Timely/Atlas superhero stories by MICHELLE NOLAN, art by SIMON & KIRBY, EVERETT, BURGOS, ROMITA, AYERS, HEATH, SEKOWSKY, SHORES, SCHOMBURG, MANEELY, and SEVERIN, GENE COLAN and ALLEN BELLMAN on 1940s Timely super-heroes, FCA, MR. MONSTER, and BILL SCHELLY! Cover by JACK KIRBY and PETE VON SHOLLY!

GERRY CONWAY and ROY THOMAS on their ‘80s screenplay for “The X-Men Movie That Never Was!”with art by COCKRUM, ADAMS, BUSCEMA, BYRNE, GIL KANE, KIRBY, HECK, and LIEBER, Atlas artist VIC CARRABOTTA interview, ALLEN BELLMAN on 1940s Timely bullpen, FCA, 1966 panel on 1950s EC Comics, and MR. MONSTER! MARK SPARACIO/GIL KANE cover!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #59

ALTER EGO #60

ALTER EGO #61

ALTER EGO #62

ALTER EGO #63

Special issue on Batman and Superman in the Golden and Silver Ages, featuring a new ARTHUR SUYDAM interview, NEAL ADAMS on DC in the 1960s-1970s, SHELLY MOLDOFF, AL PLASTINO, Golden Age artist FRAN (Doll Man) MATERA interviewed, SIEGEL & SHUSTER, RUSS MANNING, FCA, MR. MONSTER, SUYDAM cover, and more!

Celebrates 50 years since SHOWCASE #4! FLASH interviews with SCHWARTZ, KANIGHER, INFANTINO, KUBERT, and BROOME, Golden Age artist TONY DiPRETA, 1966 panel with NORDLING, BINDER, and LARRY IVIE, FCA, MR. MONSTER, never-before-published color Flash cover by CARMINE INFANTINO, and more!

History of the AMERICAN COMICS GROUP (1946 to 1967)—including its roots in the Golden Age SANGOR ART SHOP and STANDARD/NEDOR comics! Art by MESKIN, ROBINSON, WILLIAMSON, FRAZETTA, SCHAFFENBERGER, & BUSCEMA, ACG writer/editor RICHARD HUGHES, plus AL HARTLEY interviewed, FCA, MR. MONSTER, and more! GIORDANO cover!

HAPPY HAUNTED HALLOWEEN ISSUE, featuring: MIKE PLOOG and RUDY PALAIS on their horror-comics work! AL WILLIAMSON on his work for the American Comics Group—plus more on ACG horror comics! Rare DICK BRIEFER Frankenstein strips! Plus FCA, MR. MONSTER, BILL SCHELLY on the 1966 KalerCon, a new PLOOG cover—and more!

Tribute to ALEX TOTH! Never-before-seen interview with tons of TOTH art, including sketches he sent to friends! Articles about Toth by TERRY AUSTIN, JIM AMASH, SY BARRY, JOE KUBERT, LOU SAYRE SCHWARTZ, IRWIN HASEN, JOHN WORKMAN, and others! Plus illustrated Christmas cards by comics pros, FCA, MR. MONSTER, and more!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #64

ALTER EGO #65

ALTER EGO #66

ALTER EGO #67

ALTER EGO #68

Fawcett Favorites! Issue-by-issue analysis of BINDER & BECK’s 1943-45 “The Monster Society of Evil!” serial, double-size FCA section with MARC SWAYZE, EMILIO SQUEGLIO, C.C. BECK, MAC RABOY, and others! Interview with MARTIN FILCHOCK, Golden Age artist for Centaur Comics! Plus MR. MONSTER, DON NEWTON cover, plus a FREE 1943 MARVEL CALENDAR!

NICK CARDY interviewed on his Golden & Silver Age work (with CARDY art), plus art by WILL EISNER, NEAL ADAMS, CARMINE INFANTINO, JIM APARO, RAMONA FRADON, CURT SWAN, MIKE SEKOWSKY, and others, tributes to ERNIE SCHROEDER and DAVE COCKRUM, FCA with MARC SWAYZE, MICHAEL T. GILBERT and MR. MONSTER, new CARDY COVER, and more!

Spotlight on BOB POWELL, the artist who drew Daredevil, Sub-Mariner, Sheena, The Avenger, The Hulk, Giant-Man, and others, plus art by WALLY WOOD, HOWARD NOSTRAND, DICK AYERS, SIMON & KIRBY, MARTIN GOODMAN’s Magazine Management, and others! FCA with MARC SWAYZE and C.C. BECK, MICHAEL T. GILBERT and MR. MONSTER, and more!

Interview with BOB OKSNER, artist of Supergirl, Jimmy Olsen, Lois Lane, Angel and the Ape, Leave It to Binky, Shazam!, and more, plus art and artifacts by SHELLY MAYER, IRWIN HASEN, LEE ELIAS, C.C. BECK, CARMINE INFANTINO, GIL KANE, JULIE SCHWARTZ, etc., FCA with MARC SWAYZE & C.C. BECK, MICHAEL T. GILBERT on BOB POWELL Part II, and more!

Tribute to JERRY BAILS—Father of Comics Fandom and founder of Alter Ego! Cover by GEORGE PÉREZ, plus art by JOE KUBERT, CARMINE INFANTINO, GIL KANE, DICK DILLIN, MIKE SEKOWSKY, JERRY ORDWAY, JOE STATON, JACK KIRBY, and others! Plus STEVE DITKO’s notes to STAN LEE for a 1965 Dr. Strange story! And ROY reveals secrets behind Marvel’s STAR WARS comic!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #69

ALTER EGO #70

ALTER EGO #71

ALTER EGO #72

ALTER EGO #73

PAUL NORRIS drew AQUAMAN first, in 1941—and RAMONA FRADON was the hero’s ultimate Golden Age artist. But both drew other things as well, and both are interviewed in this landmark issue—along with a pocket history of Aquaman! Plus FCA, MICHAEL T. GILBERT, and more! Cover painted by JOHN WATSON, from a breathtaking illo by RAMONA FRADON!

Spotlight on ROY THOMAS’ 1970s stint as Marvel’s editor-in-chief and major writer, plus art and reminiscences of GIL KANE, BOTH BUSCEMAS, ADAMS, ROMITA, CHAYKIN, BRUNNER, PLOOG, EVERETT, WRIGHTSON, PÉREZ, ROBBINS, BARRY SMITH, STAN LEE and others, FCA, MR. MONSTER, a new GENE COLAN cover, plus an homage to artist LILY RENÉE!

Represents THE GREAT CANADIAN COMIC BOOKS, the long out-of-print 1970s book by MICHAEL HIRSH and PATRICK LOUBERT, with rare art of such heroes as Mr. Monster, Nelvana, Thunderfist, and others, plus new INVADERS art by JOHN BYRNE, MIKE GRELL, RON LIM, and more, plus a new cover by GEORGE FREEMAN, from a layout by JACK KIRBY!

SCOTT SHAW! and ROY THOMAS on the creation of Captain Carrot, art & artifacts by RICK HOBERG, STAN GOLDBERG, MIKE SEKOWSKY, JOHN COSTANZA, E. NELSON BRIDWELL, CAROL LAY, and others, interview with DICK ROCKWELL, Golden Age artist and 36-year ghost artist on MILTON CANIFF’s Steve Canyon! Plus FCA, MR. MONSTER, and more!

FRANK BRUNNER on drawing Dr. Strange, interviews with CHARLES BIRO and his daughters, interview with publisher ROBERT GERSON about his 1970s horror comic Reality, art by BERNIE WRIGHTSON, GRAHAM INGELS, HOWARD CHAYKIN, MICHAEL W. KALUTA, JEFF JONES, and others FCA, MR. MONSTER, a FREE DRAW! #15! PREVIEW, and more!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #74

ALTER EGO #75

ALTER EGO #76

ALTER EGO #77

ALTER EGO #78

STAN LEE SPECIAL in honor of his 85th birthday, with a cover by JACK KIRBY, classic (and virtually unseen) interviews with Stan, tributes, and tons of rare and unseen art by KIRBY, ROMITA, the brothers BUSCEMA, DITKO, COLAN, HECK, AYERS, MANEELY, SHORES, EVERETT, BURGOS, KANE, the SEVERIN siblings—plus FCA, MR. MONSTER, and more!

FAWCETT FESTIVAL—with an ALEX ROSS cover! Double-size FCA (Fawcett Collectors of America) with P.C. HAMERLINCK on the many “Captains Marvel” over the years, unseen Shazam! proposal by ALEX ROSS, C.C. BECK on “The Death of a Legend!”, MARC SWAYZE, interview with Golden Age artist MARV LEVY, MR. MONSTER, and more!

JOE SIMON SPECIAL! In-depth SIMON interview by JIM AMASH, with neverbefore-revealed secrets behind the creation of Captain America, Fighting American, Stuntman, Adventures of The Fly, Sick magazine and more, art by JACK KIRBY, BOB POWELL, AL WILLIAMSON, JERRY GRANDENETTI, GEORGE TUSKA, and others, FCA, MR. MONSTER, and more!

ST. JOHN ISSUE! Golden Age Tor cover by JOE KUBERT, KEN QUATTRO relates the full legend of St. John Publishing, art by KUBERT, NORMAN MAURER, MATT BAKER, LILY RENEE, BOB LUBBERS, RUBEN MOREIRA, RALPH MAYO, AL FAGO, special reminiscences of ARNOLD DRAKE, Golden Age artist TOM SAWYER interviewed, and more!

DAVE COCKRUM TRIBUTE! Great rare XMen cover, Cockrum tributes from contemporaries and colleagues, and an interview with PATY COCKRUM on Dave’s life and legacy on The Legion of Super-Heroes, The X-Men, Star-Jammers, & more! Plus an interview with 1950s Timely/Marvel artist MARION SITTON on his own incredible career and his Golden Age contemporaries!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #79

ALTER EGO #80

ALTER EGO #81

ALTER EGO #82

ALTER EGO #83

SUPERMAN & HIS CREATORS! New cover by MICHAEL GOLDEN, exclusive and revealing interview with JOE SHUSTER’s sister, JEAN SHUSTER PEAVEY—LOU CAMERON interview—STEVE GERBER tribute—DWIGHT DECKER on the Man of Steel & Hitler’s Third Reich—plus art by WAYNE BORING, CURT SWAN, NEAL ADAMS, GIL KANE, and others!

SWORD-AND-SORCERY COMICS! Learn about Crom the Barbarian, Viking Prince, Nightmaster, Kull, Red Sonja, Solomon Kane, Bran Mak Morn, Fafhrd and Gray Mouser, Beowulf, Warlord, Dagar the Invincible, and more, with art by FRAZETTA, SMITH, BUSCEMA, KANE, WRIGHTSON, PLOOG, THORNE, BRUNNER, LOU CAMERON Part II, and more! Cover by RAFAEL KAYANAN!

New FRANK BRUNNER Man-Thing cover, a look at the late-’60s horror comic WEB OF HORROR with early work by BRUNNER, WRIGHTSON, WINDSOR-SMITH, SIMONSON, & CHAYKIN, interview with comics & fine artist EVERETT RAYMOND KINTSLER, ROY THOMAS’ 1971 origin synopsis for the FIRST MAN-THING STORY, plus FCA, MR. MONSTER, and more!

MLJ ISSUE! Golden Age MLJ index illustrated with vintage images of The Shield, Hangman, Mr. Justice, Black Hood, by IRV NOVICK, JACK COLE, CHARLES BIRO, MORT MESKIN, GIL KANE, & others—behind a marvelous MLJ-heroes cover by BOB McLEOD! Plus interviews with IRV NOVICK and JOE EDWARDS, FCA, MR. MONSTER, and more!

SWORD & SORCERY PART 2! Cover by ARTHUR SUYDAM, with a focus on Conan the Barbarian by ROY THOMAS and WILL MURRAY, a look at WALLY WOOD’s Marvel sword-&-sorcery work, the Black Knight examined, plus JOE EDWARDS interview Part 2, FCA, MICHAEL T. GILBERT and MR. MONSTER, and more!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #84

ALTER EGO #85

ALTER EGO #86

ALTER EGO #87

ALTER EGO #88

Unseen JIM APARO cover, STEVE SKEATES discusses his early comics work, art & artifacts by ADKINS, APARO, ARAGONÉS, BOYETTE, DITKO, GIORDANO, KANE, KELLER, MORISI, ORLANDO, SEKOWSKY, STONE, THOMAS, WOOD, and the great WARREN SAVIN! Plus writer CHARLES SINCLAIR on his partnership with Batman co-creator BILL FINGER, FCA, and more!

Captain Marvel and Superman’s battles explored (in cosmic space, candy stores, and in court), RICH BUCKLER on Captain Marvel, plus an in-depth interview with Golden Age great LILY RENÉE, overview of CENTAUR COMICS (home of BILL EVERETT’s Amazing-Man and others), FCA, MR. MONSTER, new RICH BUCKLER cover, and more!

Spotlighting the Frantic Four-Color MAD WANNABES of 1953-55 that copied HARVEY KURTZMAN’S EC smash (see Captain Marble, Mighty Moose, Drag-ula, Prince Scallion, and more) with art by SIMON & KIRBY, KUBERT & MAURER, ANDRU & ESPOSITO, EVERETT, COLAN, and many others, plus Part 1 of a talk with Golden/ Silver Age artist FRANK BOLLE, and more!

The sensational 1954-1963 saga of Great Britain’s MARVELMAN (decades before he metamorphosed into Miracleman), plus an interview with writer/artist/co-creator MICK ANGLO, and rare Marvelman/ Miracleman work by ALAN DAVIS, ALAN MOORE, a new RICK VEITCH cover, plus FRANK BOLLE, Part 2, FCA, MR. MONSTER, and more!

First-ever in-depth look at National/DC’s founder MAJOR MALCOLM WHEELERNICHOLSON, and pioneers WHITNEY ELLSWORTH and CREIG FLESSEL, with rare art and artifacts by SIEGEL & SHUSTER, BOB KANE, CURT SWAN, GARDNER FOX, SHELDON MOLDOFF, and others, focus on DC advisor DR. LAURETTA BENDER, FCA, MR. MONSTER, and more!

(100-page magazine) $6.95 (Digital Edition) $2.95

ALTER EGO #89

ALTER EGO #90

ALTER EGO #91

ALTER EGO #92

ALTER EGO #93

HARVEY COMICS’ PRE-CODE HORROR MAGS OF THE 1950s! Interviews with SID JACOBSON, WARREN KREMER, and HOWARD NOSTRAND, plus Harvey artist KEN SELIG talks to JIM AMASH! MR. MONSTER presents the wit and wisdom (and worse) of DR. FREDRIC WERTHAM, plus FCA (Fawcett Collectors of America) with C.C. BECK & MARC SWAYZE, & more! SIMON & KIRBY and NOSTRAND cover!

BIG MARVEL ISSUE! Salutes to legends SINNOTT and AYERS—plus STAN LEE, TUSKA, EVERETT, MARTIN GOODMAN, and others! A look at the “Marvel SuperHeroes” TV animation of 1966! 1940s Timely writer and editor LEON LAZARUS interviewed by JIM AMASH! Plus FCA, MR. MONSTER, the 1960s fandom creations of STEVE GERBER, and more! JACK KIRBY holiday cover!

FAWCETT FESTIVAL! Big FCA section with Golden Age artists MARC SWAYZE & EMILIO SQUEGLIO! Plus JERRY ORDWAY on researching The Power of Shazam, Part II of “The MAD Four-Color Wannabes of the 1950s,” more on DR. LAURETTA BENDER and the teenage creations of STEVE GERBER, artist JACK KATZ spills Golden Age secrets to JIM AMASH, and more! New cover by ORDWAY and SQUEGLIO!

SWORD-AND-SORCERY, PART 3! DC’s Sword of Sorcery by O’NEIL, CHAYKIN, & SIMONSON and Claw by MICHELINIE & CHAN, Hercules by GLANZMAN, Dagar by GLUT & SANTOS, Marvel S&S art by BUSCEMA, CHAN, KAYANAN, WRIGHTSON, et al., and JACK KATZ on his classic First Kingdom! Plus FCA, MR. MONSTER, STEVE GERBER’s fan-creations (part 3), and more! Cover by RAFAEL KAYANAN!

(NOW WITH 16 COLOR PAGES!) “EarthTwo—1961 to 1985!” with rare art by INFANTINO, GIL KANE, ANDERSON, DELBO, ANDRU, BUCKLER, APARO, GRANDENETTI, and DILLIN, interview with Golden/Silver Age DC editor GEORGE KASHDAN, plus MICHAEL T. GILBERT and MR. MONSTER, STEVE GERBER, FCA (Fawcett Collectors of America), and a new cover by INFANTINO and AMASH!

(100-page magazine) $6.95 (Digital Edition) $2.95

(84-page magazine with COLOR) $7.95 (Digital Edition) $2.95

ALTER EGO #94

ALTER EGO #95

ALTER EGO #96

ALTER EGO #97

ALTER EGO #98

“Earth-Two Companion, Part II!” More on the 1963-1985 series that changed comics forever! The Huntress, Power Girl, Dr. Fate, Freedom Fighters, and more, with art by ADAMS, APARO, AYERS, BUCKLER, GIFFEN, INFANTINO, KANE, NOVICK, SCHAFFENBERGER, SIMONSON, STATON, SWAN, TUSKA, our GEORGE KASHDAN interview Part 2, FCA, and more! STATON & GIORDANO cover!

Marvel’s NOT BRAND ECHH madcap parody mag from 1967-69, examined with rare art & artifacts by ANDRU, COLAN, BUSCEMA, DRAKE, EVERETT, FRIEDRICH, KIRBY, LEE, the SEVERIN siblings, SPRINGER, SUTTON, THOMAS, TRIMPE, and more, GEORGE KASHDAN interview conclusion, FCA, MICHAEL T. GILBERT and MR. MONSTER, and more! Cover by MARIE SEVERIN!

Focus on Archie’s 1960s MIGHTY CRUSADERS, with vintage art and artifacts by JERRY SIEGEL, PAUL REINMAN, SIMON & KIRBY, JOHN ROSENBERGER, tributes to the Mighty Crusaders by BOB FUJITANE, GEORGE TUSKA, BOB LAYTON, and others! Interview with MELL LAZARUS, FCA, MICHAEL T. GILBERT and Mr. Monster’s Comic Crypt, and more! Cover by MIKE MACHLAN!

The NON-EC HORROR COMICS OF THE 1950s! From Menace and House of Mystery to The Thing!, we present vintage art and artifacts by EVERETT, BRIEFER, DITKO, MANEELY, COLAN , MESKIN, MOLDOFF, HEATH, POWELL, COLE, SIMON & KIRBY, FUJITANI, and others, plus FCA , MR. MONSTER and more, behind a creepy, eerie cover by BILL EVERETT!

Spotlight on Superman’s first editor WHITNEY ELLSWORTH, longtime Kryptoeditor MORT WEISINGER remembered by his daughter, an interview with Superman writer ALVIN SCHWARTZ, tributes to FRANK FRAZETTA and AL WILLIAMSON, art by JOE SHUSTER, WAYNE BORING, CURT SWAN, and NEAL ADAMS, plus MR. MONSTER, FCA, and a new cover by JERRY ORDWAY!

(84-page magazine with COLOR) $7.95 (Digital Edition) $2.95

ALTER EGO: CENTENNIAL (AE #100)

ALTER EGO #99

GEORGE TUSKA showcase issue on his career at Lev Gleason, Marvel, and in comics strips through the early 1970s—CRIME DOES NOT PAY, BUCK ROGERS, IRON MAN, AVENGERS, HERO FOR HIRE, & more! Plus interviews with Golden Age artist BILL BOSSERT and fan-artist RUDY FRANKE, MR. MONSTER’S COMIC CRYPT, FCA (Fawcett Collectors of America), and more! (84-page magazine with COLOR) $7.95 (Digital Edition) $2.95

ALTER EGO: CENTENNIAL is a celebration of 100 issues, and 50 years, of ALTER EGO, Roy Thomas’ legendary super-hero fanzine. It’s a double-size triple-threat BOOK, with twice as many pages as the regular magazine, plus special features just for this anniversary edition! Behind a RICH BUCKLER/JERRY ORDWAY JSA cover, ALTER EGO celebrates its 100th issue and the 50th anniversary of A/E (Vol. 1) #1 in 1961—as ROY THOMAS is interviewed by JIM AMASH about the 1980s at DC! Learn secrets behind ALL-STAR SQUADRON—INFINITY, INC.—ARAK, SON OF THUNDER—CAPTAIN CARROT—JONNI THUNDER, a.k.a. THUNDERBOLT— YOUNG ALL-STARS—SHAZAM!—RING OF THE NIBELUNG—and more! With rare art and artifacts by GEORGE PÉREZ, TODD McFARLANE, RICH BUCKLER, JERRY ORDWAY, MIKE MACHLAN, GIL KANE, GENE COLAN, DICK GIORDANO, ALFREDO ALCALA, TONY DEZUNIGA, ERNIE COLÓN, STAN GOLDBERG, SCOTT SHAW!, ROSS ANDRU, and many more! Plus special anniversary editions of Alter Ego staples MR. MONSTER’S COMIC CRYPT, FAWCETT COLLECTORS OF AMERICA (FCA)—and ALEX WRIGHT’s amazing color collection of 1940s DC pinup babes! Edited by ROY THOMAS. (NOTE: This book takes the place of ALTER EGO #100, and counts as TWO issues toward your subscription.) (160-page trade paperback with COLOR) $19.95 (Digital Edition) $5.95 • ISBN: 9781605490311 Diamond Order Code: JAN111351

ALTER EGO #101

Fox Comics of the 1940s with art by FINE, BAKER, SIMON, KIRBY, TUSKA, FLETCHER HANKS, ALEX BLUM, and others! “Superman vs. Wonder Man” starring EISNER, IGER, SIEGEL, LIEBERSON, MAYER, DONENFELD, and VICTOR FOX! Plus, Part I of an interview with JACK MENDELSOHN, plus FCA, MR. MONSTER’S COMIC CRYPT, and new cover by Marvel artist DAVE WILLIAMS!

NEW!

(84-page magazine with COLOR) $7.95 (Digital Edition) $2.95

ALTER EGO #102

ALTER EGO #103

ALTER EGO #104

ALTER EGO: THE CBA COLLECTION

Spotlight on Green Lantern creators MART NODELL and BILL FINGER in the 1940s, and JOHN BROOME, GIL KANE, and JULIUS SCHWARTZ in 1959! Rare GL artwork by INFANTINO, REINMAN, HASEN, NEAL ADAMS, and others! Plus JACK MENDELSOHN Part II, FCA, MR. MONSTER’S COMIC CRYPT, and new cover by GIL KANE & TERRY AUSTIN, and MART NODELL!

The early career of comics writer STEVE ENGLEHART: Defenders, Captain America, Master of Kung Fu, The Beast, Mantis, and more, with rare art and artifacts by SAL BUSCEMA, STARLIN, SUTTON, HECK, BROWN, and others. Plus, JIM AMASH interviews early artist GEORGE MANDEL (Captain Midnight, The Woman in Red, Blue Bolt, Black Marvel, etc.), FCA, MR. MONSTER’S COMIC CRYPT, and more!

Celebrates the 50th anniversary of FANTASTIC FOUR #1 and the birth of Marvel Comics! New, never-before-published STAN LEE interview, art and artifacts by KIRBY, DITKO, SINNOTT, AYERS, THOMAS, and secrets behind the Marvel Mythos! Also: JIM AMASH interviews 1940s Timely editor AL SULMAN, FCA, MR. MONSTER’S COMIC CRYPT, and a new cover by FRENZ and SINNOTT!

Compiles the ALTER EGO flip-sides from COMIC BOOK ARTIST #1-5, plus 30 NEW PAGES of features & art! All-new rare and previously-unpublished art by JACK KIRBY, GIL KANE, JOE KUBERT, WALLY WOOD, FRANK ROBBINS, NEAL ADAMS, & others, ROY THOMAS on X-MEN, AVENGERS/ KREE-SKRULL WAR, INVADERS, and more! Cover by JOE KUBERT!

(84-page magazine with COLOR) $7.95 (Digital Edition) $2.95

(160-page trade paperback) SOLD OUT (Digital Edition) $4.95

HUMOR MAGAZINES (BUNDLE ALL THREE FOR JUST $14.95)

ALTER EGO:

BEST OF THE LEGENDARY COMICS FANZINE

Collects the original 11 issues of JERRY BAILS and ROY THOMAS’ ALTER EGO fanzine (from 1961-78), with contributions from JACK KIRBY, STEVE DITKO, WALLY WOOD, JOHN BUSCEMA, MARIE SEVERIN, BILL EVERETT, RUSS MANNING, CURT SWAN, and others—and illustrated interviews with GIL KANE, BILL EVERETT, & JOE KUBERT! Plus major articles on the JUSTICE SOCIETY, the MARVEL FAMILY, the MLJ HEROES, and more! Edited by ROY THOMAS and BILL SCHELLY with an introduction by JULIE SCHWARTZ. (192-page trade paperback) $21.95 ISBN: 9781893905887 Diamond Order Code: DEC073946

COMIC BOOK NERD

PETE VON SHOLLY’s side-splitting parody of the fan press, including our own mags! Experience the magic(?) of such publications as WHIZZER, the COMICS URINAL, ULTRA EGO, COMICS BUYER’S GUISE, BAGGED ISSUE!, SCRAWL!, COMIC BOOK ARTISTE, and more, as we unabashedly poke fun at ourselves, our competitors, and you, our loyal readers! It’s a first issue, collector’s item, double-bag, slab-worthy, speculator’s special sure to rub even the thickest-skinned fanboy the wrong way! (64-page COLOR magazine) $8.95 • (Digital Edition) $2.95

CRAZY HIP GROOVY GO-GO WAY OUT MONSTERS #29 & #32

PETE VON SHOLLY’s spoofs of monster mags will have you laughing your pants off— right after you soil them from sheer terror! This RETRO MONSTER MOVIE MAGAZINE is a laugh riot lampoon of those GREAT (and absolutely abominable) mags of the 1950s and ‘60s, replete with fake letters-to-the-editor, phony ads for worthless, wacky stuff, stills from imaginary films as bad as any that were really made, interviews with their “creators,” and much more! Relive your misspent youth (and misspent allowance) as you dig the hilarious photos, ads, and articles skewering OUR FAVORITE THINGS of the past! Get our first issue (#29!), the sequel (#32!), or both!

DIEDGITIIOTANSL E

BL AVAILA

(48-page magazines) $5.95 EACH • (Digital Editions) $1.95 EACH

These sold-out books are now available again in DIGITAL EDITIONS:

NEW!

MR. MONSTER, VOL. 0

TRUE BRIT

DICK GIORDANO: CHANGING COMICS, ONE DAY AT A TIME

Collects hard-to-find Mr. Monster stories from A-1, CRACK-A-BOOM! and DARK HORSE PRESENTS (many in COLOR for the first time) plus over 30 pages of ALLNEW MR. MONSTER art and stories! Can your sanity survive our Lee/Kirby monster spoof by MICHAEL T. GILBERT and MARK MARTIN, or the long-lost 1933 Mr. Monster newspaper strip? Or the terrifying TRENCHER/MR. MONSTER slug-fest, drawn by KEITH GIFFEN and MICHAEL T. GILBERT?! Read at your own risk!

GEORGE KHOURY’s definitive book on the rich history of British Comics Artists, their influence on the US, and how they have revolutionized the way comics are seen and perceived! It features breathtaking art, intimate photographs, and in-depth interviews with BRIAN BOLLAND, ALAN DAVIS, DAVE GIBBONS, KEVIN O’NEILL, DAVID LLOYD, DAVE McKEAN, BRYAN HITCH, BARRY WINDSOR-SMITH and other fine gents! Sporting a new JUDGE DREDD cover by BRIAN BOLLAND!

MICHAEL EURY’s biography of comics’ most prominent and affable personality! It covers his career as illustrator, inker, and editor—peppered with DICK’S PERSONAL REFLECTIONS—and is illustrated with RARE AND UNSEEN comics, merchandising, and advertising art! Plus: an extensive index of his published work, comments and tributes by NEAL ADAMS, DENNIS O’NEIL, TERRY AUSTIN, PAUL LEVITZ, MARV WOLFMAN, JULIUS SCHWARTZ, JIM APARO and others, a Foreword by NEAL ADAMS, and an Afterword by PAUL LEVITZ!

(136-page Digital Edition with COLOR) $4.95

(204-page Digital Edition with COLOR) $6.95

(176-page Digital Edition with COLOR) $5.95

SECRETS IN THE SHADOWS: GENE COLAN

TOM FIELD’s amazing COLAN retrospective, with rare drawings, photos, and art from his 60-year career, and a comprehensive overview of Gene’s glory days at Marvel Comics! MARV WOLFMAN, DON McGREGOR and other writers share script samples and anecdotes of their Colan collaborations, while TOM PALMER, STEVE LEIALOHA and others show how they approached inking Colan’s famously nuanced penciled pages! Plus: a NEW PORTFOLIO of never-seen collaborations between Gene and masters such as BYRNE, KALUTA and PÉREZ, and all-new artwork created just for this book! (192-page Digital Edition with COLOR) $6.95

ART OF GEORGE TUSKA

A comprehensive look at GEORGE TUSKA’S personal and professional life, including early work at the Eisner-Iger shop, producing controversial crime comics of the 1950s, and his tenure with Marvel and DC Comics, as well as independent publishers. Includes extensive coverage of his work on IRON MAN, X-MEN, HULK, JUSTICE LEAGUE, TEEN TITANS, BATMAN, T.H.U.N.D.E.R. AGENTS, and others, a gallery of commission art and a thorough index of his work, original art, photos, sketches, unpublished art, interviews and anecdotes from his peers and fans, plus the very personal and reflective words of George himself! Written by DEWEY CASSELL. (128-page Digital Edition) $4.95

OTHER BOOKS FROM TWOMORROWS PUBLISHING

PENCILER, PUBLISHER, PROVOCATEUR

COMICS’ FAST & FURIOUS ARTIST

THE ART OF GLAMOUR

MATT BAKER

EXTRAORDINARY WORKS OF ALAN MOORE

Shines a light on the life and career of the artistic and publishing visionary of DC Comics!

Explores the life and career of one of Marvel Comics’ most recognizable and dependable artists!

Biography of the talented master of 1940s “Good Girl” art, complete with color story reprints!

Definitive biography of the Watchmen writer, in a new, expanded edition!

(224-page trade paperback) $26.95

(176-page trade paperback with COLOR) $26.95

(192-page hardcover with COLOR) $39.95

(240-page trade paperback) $29.95

QUALITY COMPANION

BATCAVE COMPANION

ALL- STAR COMPANION

AGE OF TV HEROES

The first dedicated book about the Golden Age publisher that spawned the modern-day “Freedom Fighters”, Plastic Man, and the Blackhawks!

Unlocks the secrets of Batman’s Silver and Bronze Ages, following the Dark Knight’s progression from 1960s camp to 1970s creature of the night!

Roy Thomas has four volumes documenting the history of ALL-STAR COMICS, the JUSTICE SOCIETY, INFINITY, INC., and more!

(256-page trade paperback with COLOR) $31.95

(240-page trade paperback) $26.95

(224-page trade paperbacks) $24.95

Examining the history of the live-action television adventures of everyone’s favorite comic book heroes, featuring the in-depth stories of the shows’ actors and behind-the-scenes players!

CARMINE INFANTINO

SAL BUSCEMA

(192-page full-color hardcover) $39.95

MARVEL COMICS

An issue-by-issue field guide to the pop culture phenomenon of LEE, KIRBY, DITKO, and others, from the company’s fumbling beginnings to the full maturity of its wild, colorful, offbeat grandiosity!

IN THE 1960s

(224-page trade paperback) $27.95

MODERN MASTERS

HOW TO CREATE COMICS

Covers how Stan Lee went from writer to publisher, Jack Kirby left (and returned), Roy Thomas rose as editor, and a new wave of writers and artists came in!

20+ volumes with in-depth interviews, plus extensive galleries of rare and unseen art from the artist’s files!

(224-page trade paperback) $27.95

Shows step-by-step how to develop a new comic, from script and art, to printing and distribution!

(128-page trade paperbacks) $14.95 each

(108-page trade paperback) $15.95

IN THE 1970s

A BOOK SERIES DEVOTED TO THE BEST OF TODAY’S ARTISTS

FROM SCRIPT TO PRINT

FOR A FREE COLOR CATALOG, CALL, WRITE, E-MAIL, OR LOG ONTO www.twomorrows.com

TwoMorrows—A New Day For Comics Fandom! TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 E-mail: twomorrow@aol.com • Visit us on the Web at www.twomorrows.com