Back Issue #27

“COMIC BOOK ROYALTY” ISSUE, STARRING AQUAMAN!

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AQUAMAN, MERA, AND CAMELOT 3000 TM & © DC COMICS. DR. DOOM TM & © MARVEL CHARACTERS, INC. ALL RIGHTS RESERVED.

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PRO2PRO: Mike W. Barr & Brian Bolland

Doctor Doctor Doom: Doom: Monarch Monarch or or Monster?

Monster?

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Why Jack Kirby was King!

ALAN WEISS ART GALLERY SUB-MARINER ARION, LORD OF ATLANTIS DON McGREGOR’S BLACK PANTHER WOLFMAN AND COLAN’S NIGHT FORCE ELVIS AND SHAZAM JR. and PRINCE in comics!

Volume 1, Number 27 April 2008

The Retro Comics Experience!

Celebrating the Best Comics of the '70s, '80s, and Today!

EDITOR Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Nick Cardy

BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

COVER COLORIST Glenn Whitmore

FLASHBACK: The Roiling Seas of Aquaman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 The Sea King’s on-again, off-again ’70s/’80s adventures

COVER DESIGNER Michael Kronenberg

FLASHBACK: Sub-Mariner: Proud Prince or Perennial Punching Bag? . . . . . . . . . . . . . . .15 The anti-social Sovereign of the Seas as a superteam social butterfly

CIRCULATION DIRECTOR Bob Brodsky, Cookiesoup Productions

ALAN WEISS ART GALLERY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Eye-popping illos from the artist of Spider-Man, Steelgrip Starkey, and Tom Strong

SPECIAL THANKS Joe Ahearn Jim Alexander Roger Ash Mike W. Barr Al Bigley Brian Bolland Randy Bowen Tom Brevoort John Byrne Nick Cardy Joe Casey Dewey Cassell Sean Clarke Gene Colan Gerry Conway DC Comics Mike DeCarlo Angela Fowlks Keith Giffen Grand Comic-Book Database Dave Guiterrez Heritage Comics Auctions Eric Houston Tony Isabella Dan Johnson Rob Kelly Jim Kingman David Anthony Kraft Joe Kulbiski Paul Kupperberg Erik Larsen Bob Layton Stan Lee

Paul Levitz Steve Lipsky Bruce MacIntosh Andy Mangels Yoram Matzkin Dwayne McDuffie Don McGregor Sean Menard David Michelinie Bernie Mireault Allen Milgrom Brian K. Morris Tomas Pardo Robby Reed Rico Renzi Bob Rozakis Jaynelle Rude Steve Rude Rose Rummel-Eury Jim Salicrup John Schwirian Jim Shooter Steve Skeates Anthony Snyder Tom Stewart Roy Thomas Tusky the Walrus Mark Waid Jim Warden Alan Weiss Brett Weiss Pauline Weiss Marv Wolfman

BRING ON THE BAD GUYS: Doctor Doom: Monarch or Monster? . . . . . . . . . . . . . . . . . .30 The lethal Lord of Latveria and his unusual role as supervillain monarch BRING ON THE BAD GUYS BONUS: All Hail Baron Zemo! . . . . . . . . . . . . . . . . . . . . . . . .36 An astounding pinup of the Captain America rogue by Genial Gene Colan BEYOND CAPES: Arion: From Atlantis to New York and Beyond . . . . . . . . . . . . . . . . . . .37 The story of DC’s Lord of Atlantis, with a special tribute to colorist Bob LeRose PRO2PRO: Mike W. Barr and Brian Bolland Return to Camelot . . . . . . . . . . . . . . . . . . . .45 A lavishly illustrated interview exploring King Arthur’s return in Camelot 3000 FLASHBACK: Black Panther: Don McGregor in the Jungles of Wakanda . . . . . . . . . . . . .57 The groundbreaking writer recalls his collaboration with artist Billy Graham FLASHBACK BONUS: Jungle Adventure! Jack Kirby Arrives . . . . . . . . . . . . . . . . . . . . . . . .62 Kirby’s return to Prince T’Challa, the Black Panther OFF MY CHEST: Why Jack Kirby Was King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 An all-star lineup of artists, writers, and editors discusses comics’ real-life “King” BEYOND CAPES: Forces of the Night, What Horrors They Faced: Marv Wolfman and Gene Colan’s Night Force . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 The co-creators remember Baron Winters and his supernatural superteam BACKSTAGE PASS: Elvis and Captain Marvel, Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 How the World’s Mightiest Boy inspired the King of Rock and Roll WHAT THE--?!: The Most Famous Prince in the History of Comics . . . . . . . . . . . . . . . . . .82 The pompadoured purple performer’s comics moonlighting gigs BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Reader feedback on “Men of Steel” issue #25 BACK ISSUE™ is published bimonthly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor, 118 Edgewood Avenue NE, Concord, NC 28025. E-mail: euryman@msn.com. Six-issue subscriptions: $40 Standard US, $54 First Class US, $66 Canada, $90 Surface International, $108 Airmail International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office.

Cover art by Nick Cardy. Aquaman and Mera TM & © DC Comics. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2008 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in Canada. FIRST PRINTING. C o m i c

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Voyage to the bottom of the sea with the queen of Atlantis, Mera. Sketch by Nick Cardy, courtesy of Bruce MacIntosh. TM & © DC Comics.

PROOFREADERS John Morrow and Eric Nolen-Weathington

by

He may not be royalty, but our cover artist Nick Cardy is one prince of a fellow! Mr. Cardy is seen in the above photo from June 2007’s HeroesCon in Charlotte, North Carolina; the guy at the right of the photo, in the Aquaman orange shirt (for those of you not reading this issue in its color-packed downloadable PDF format), is yours truly. While many of you are familiar with Nick’s unforgettable art on Aquaman, Teen Titans, Bat Lash, The Brave and the Bold, and 1970s DC covers, fewer are aware of his work as a comic-strip artist. I enthusiastically recommend Nick Cardy: Comic Strips, a trade paperback collecting his strips (some of which never saw print) on features including Tarzan and Lady Luck.

This collection was published in summer 2007 by Frecklebean Press, and its editor/publisher Sean Menard did a phenomenal job of gathering these rarities.

Last issue’s cover artist, peerless Paul Gulacy, is involved with another project that will interest many of you: Moonstone Books’ Captain Action #0. © 2006 Sean Menard.

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Yes, the chameleonic champion yours truly dubbed “the original superhero action figure” in my 2002 TwoMorrows book, Captain Action, has returned to the comics stands after a long absence. Cap’s all-new comics adventures are written by Fabian Nicieza and illustrated by Mark (Heroes for Hire) Sparacio. Sparacio and Gulacy offer flip covers to Captain Action #0, shipping in April 2008 and retailing for only $1.99!

Before I close and allow you to ogle Paul Gulacy’s Captain Action cover art, two corrections: First, in BI #25’s Six Million Dollar Man and Bionic Woman article, I wrote the caption “He’s No Fall Guy” to accompany an illo from what I was told was an issue of Charlton’s Six Million Dollar Man magazine. Delmo (The Saint) Walters informs us that “the art by Bob Larkin on page 4 was for an episode of The Fall Guy, not an illo from an issue of the B&W magazine.” That explains Lee Majors’ ’80s perm in that spot-on Larkin likeness. Second, I owe Ben Herman an apology!

Ben, not Anthony Snyder, contributed the amazing Black Widow commissioned sketch by Hannibal King which appeared on page 4 of BI #26. (Hopefully this issue’s page 4 is caption-error-free.)

© 2008 Captain Action Enterprises.

Our preoccupation with Princess Paris notwithstanding, there is no royalty here in the United States. Yet with the kings, queens, princes, barons, and lords holding court in the world of comic books, one might get the notion that the American Revolution was erased from continuity along with the marriage of Peter Parker and Mary Jane Watson. Whether they swagger above us or toil among us, “Comic Book Royalty” offer no end of fascination to the poor, huddled masses who scurry to the comics shops, and in this issue we examine some of their exalted number. (No bowing necessary.)

Of course, outside of the fictional world of comics, one of its real-life creative talents has been crowned a royal—sorry, Mike Baron, I’m talking Jack “King” Kirby. And while TwoMorrows also produces the definitive publication exploring his work, The Jack Kirby Collector, in this issue we invite some of the master’s loyal subjects to tell us “Why Jack Kirby Was King.”

Michael Eury

TM

by

John Schwirian

I still vividly remember my first Aquaman comic book!

It was Adventure Comics #442 (Nov.–Dec. 1975), with Aquaman on the cover leaping over the heads of a group of scroungy sailors as they launched a nuclear missile into the sky—complete with the caption “Can Aquaman Stop a Nuclear Nightmare? H is for Holocaust!” My 11-year-old pulse pounded—how in the world can Aquaman do it? I had to know, and thus began my love affair with the world of Aquaman.

My timing could not have been any better. In 1975, Aquaman was undergoing a renaissance—a second surging in his on-again, off-again popularity. Every Saturday morning, he appeared on television as one of the core Super Friends, battling misguided scientists.

And every day after school, he (along with Superman and Batman) starred in the half-hour syndicated reruns of the classic 1967 Filmation animated series, where he faced deadly menaces like Black Manta, the Fisherman, the Torpedo, and the Brain! Yet, oddly enough, while I was thrilled daily by Aquaman’s televised exploits, I could not find him on the comicbook rack! What was going on here?

For the answer, one has to travel back to 1971.

Aquaman had his own bimonthly title, produced by the fan-favorite team of writer Steve Skeates, artist Jim Aparo, and editor Dick Giordano, all transplanted to DC Comics from small-time competitor Charlton Comics. The SAG team (as they were called by the fans) had taken Aquaman to new heights. Providing fast action pacing in the manner of rival Marvel Comics, SAG successfully infused a sense of excitement and energy into the series in a long-running epic storyline

Unseen Aquaman Aquaman—in his totally ’80s blue suit— battles the fish-monster Sreng in this unpublished version of the cover for issue #2 of the 1986 Aquaman miniseries, penciled

by Craig Hamilton and inked by Rick Bryant.

The art was watercolored in 1992 by Lurene Haines. Courtesy of Jim Warden of Distinctive Original Art (www.doasales.com).

TM & © DC Comics.

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King-Sized Egos The “SAG” (Skeates/Aparo/Giordano) team evolved the formerly bland Aquaman into a realistic monarch often torn between devotions to his family and kingdom. Page 7 from Aquaman #53 (Sept.–Oct. 1970), with arch-enemy Black Manta; special thanks to Heritage Comics Auctions.

TM & © DC Comics.

which sent Aquaman globe-hopping in search of his missing wife, Mera, also separating the Sea King from his sidekick, Aqualad. Additionally, they had finally given Aquaman a personality. No longer was he the bland cookie-cutter superhero. Now he was the impatient king—used to giving orders and to being obeyed. Aquaman’s easily aroused temper first emerged here, an outgrowth perhaps of Skeates’ personal issues with superheroes as being too self-righteous in their use of Might to enforce their personal views of Right. However, Skeates was able to carefully craft a balance between the angry hero and the clear-thinking king. Skeates explains that “in order to make him even more heroic, I decided to portray him as a good king, a worthy leader, and I honestly saw no conflict betwixt that and my own political beliefs. Still, our hero here did come off by the end of our first story arc a bit stodgy, something I tried to offset a couple of issues later via portraying the more liberal aspects of Aquaman’s leadership, more specifically his belief in free speech, a belief that remained intact even when the speech that was

“Big Argument” Cover The rejected, unpublished version of Nick Cardy’s cover to Aquaman #43 (Jan.–Feb. 1969).

Original art scan courtesy of Heritage Comics Auctions (www.ha.com).

TM & © DC Comics.

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going on constituted a personal attack upon his own royal self!”

Yet while the SAG approach was a hit with the fans, it still could not save Aquaman from cancellation.

Giordano decided to step down from his editorial position at DC in order to go into business with fellow artist Neal Adams, leaving editorial director Carmine Infantino to decide the fates of the books under Giordano’s guidance. Steve Skeates recounts his theories as to what happened: “Even though he was leaving, Dick wanted to keep the Aquaman book going, wanted to edit it on a freelance basis. However, Carmine, who had had problems with Dick—for example, a big argument over the cover to Aquaman #43 (Jan.–Feb. 1969) which Carmine had designed while Dick was on a vacation and in doing so had broken one of Dick’s primary editorial rules, that the cover of a book should not emphasize a scene that isn’t even in the story itself—figured Dick would be even harder to deal with as a freelance editor, and therefore (despite sales figures that weren’t really all that bad) he cancelled the book!”

AQUAMAN AND HIS SUPER FRIENDS

Ramona Returns (below) Detail from the cover of DC’s Super Friends #5 (June 1977), penciled by Silver Age Aqua-artist Ramona Fradon, who also sketched the Sea King (at left) for collector Rob Kelly.

TM & © DC Comics.

TM & © DC Comics.

Other than appearing in Justice League of America, a guest-shot as “Aquaboy” in Superboy #171 (Jan. 1971), a team-up with Superman in World’s Finest Comics #203 (June 1971), and the Aquaman “Annual” in Super DC Giant #S-26 (July–Aug. 1971), Aquaman fell out of public view. That is, until 1973, when the Hanna-Barbera-produced Super Friends cartoon hit ABC television’s Saturday morning line-up, featuring the roster of Superman, Batman (and Robin), Wonder Woman, and Aquaman! Yes, thanks to the success of the Filmation Studios’ Aquaman animated series of the late 1960s, the H-B producers felt that Aquaman, out of all the possible DC superheroes, had the recognition factor necessary to be a member of their new cartoon show. After a four-year absence since Filmation’s DC-inspired cartoons faded from the airwaves, DC’s greatest heroes were back on television, and Super Friends stayed on the air in one form or another for 14 years. [Editor’s note: BACK ISSUE #30, shipping in September 2008, will examine both the Super Friends TV show and DC’s spin-off comic series.]

Thus began the greatest, and worst, thing to ever happen to the Marine Marvel. Most people recognize Aquaman instantly due to his lengthy run as one of the Super Friends. Unfortunately, people also remember how poorly he was portrayed on the series. Aquaman is frequently the butt of a joke, as comedians pose questions like: “What good are Aquaman’s powers?

I mean, he’s great if you need someone to talk to fish, but how many crimes happen underwater?” Sadly, this makes it hard to be an Aquaman fan!

Oddly enough, the initial success of the Super Friends did not have a direct impact on the return of Aquaman to his own series. According to Paul Levitz, president and publisher of DC Comics, the editors were not influenced by the animated series: “On some level it was in the psyche but I don’t think there was a lot of spillover at the time.” Instead, other factors were at work, bringing the Sea King back to the newsstand.

AQUAMAN’S ORLANDO ADVENTURE Looking back to 1973, Paul Levitz recalls the factors involved: “Joe Orlando had taken over [editing] Adventure Comics after Supergirl was pulled out, or I guess Joe did the last issues with Supergirl as well, but when Supergirl moved over to [editor] Dorothy Woolfolk, Joe was casting about for what to do in the book. It was the company’s oldest surviving title, I think, at that point. There was no great passion for canceling it, but nobody had a really good idea of what to with it. So Joe tried out a number of different features and progressively moved more towards the borders of the superhero—things like the Black Orchid.” [Editor’s note: Other features appearing in the Orlando Adventure issues were the “Adventurers’ Club”, the “Vigilante”, and the pirate strip “Captain Fear”.] “By ’73,” Levitz continues, “I was working as Joe’s assistant, and as an old superhero fan [I was] agitating for things that moved more in a direction that I had enjoyed or that I thought belonged in the missing superhero titles, [and] Joe started “Aquaman” while I was there. So either Steve Skeates had come in saying, ‘Gee, I enjoyed writing this, can I do some for you,’ or I had nudged Joe about Aquaman and one way or another he kind of stumbled on it and tried it out.”

At this point, “The Spectre”, written by Michael Fleisher and illustrated by one-time Aquaman artist Jim Aparo, was the lead feature in Joe Orlando’s Adventure C o m i c

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Aquaman’s Back Page one of Aquaman’s first new backup in Adventure #435 (Sept.–Oct. 1974); this story was artist Mike Grell’s first pro work for DC Comics. Scan courtesy of John Schwirian.

TM & © DC Comics.

Cardy’s Sea King A 1998 sketch by Nick Cardy, from the Kelly collection.

TM & © DC Comics.

Comics. Orlando decided to give Aquaman a threeissue backup run starting in Adventure #435 and hired Steve Skeates to write the Aquaman stories; Aparo was busy drawing the Spectre lead and thus unavailable. Enter Mike Grell, literally.

Earlier that year, Grell attended the 1973 New York Comic Convention, where he showed his portfolio to then-Batman artist Irv Novick and editorial assistant Allan Asherman. Impressed, they convinced him to go to the DC offices and see Julius Schwartz. According to Paul Levitz, “Mike showed his portfolio to Julie [Schwartz] and then he was walked down the hall to Joe. It was very fortuitous, because Joe had the first script ready right as Mike Grell came in with his portfolio.

I think the first story Mike did was that first Aquaman backup.” Excited at the opportunity, Grell finished the job in seven days, picking up the script on one Monday and dropping off the art the next.

“As the Undersea City Sleeps,” the first Skeates/Grell Aquaman story in Adventure #435 (Sept.–Oct. 1974), is a deceptively simple tale.

Black Manta is raiding farms and disrupting food production for the domed city. Aquaman sets a trap for his foe and handily defeats Black Manta, but unknowingly, writer Steve Skeates foreshadows two themes that will emerge in days ahead. In the first panel, as Aquaman approaches his kingdom, he states that “these JLA missions seem to take longer and longer each time! Been away too long!”

Similarly, in the last panel, Aquaman thinks, “Might as well face it! Sooner or later, this is going to build up into one big, final showdown between Manta and myself, from which only one of us will emerge alive!” Eerily enough, sometime later Paul Levitz would use the absentee-king theme as the focus of his first Aquaman story arc. And as for that fatal,

TM & © DC Comics.

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final confrontation … let’s just say that Aquaman’s prediction would nearly fulfill itself several times in the years to come.

Skeates’ second story (Adventure #436, Nov.–Dec. 1974), “The King is Dead—Long Live the King,” is a clever tale of deception, building the reader up for a dramatic and desperate battle with the familiar monstrous menace of the Bugala, only to reveal the threat to be false, a mere robotic distraction used to lure Aquaman away from the city so that Black Manta and his forces could invade. Other than evoking warm memories of the old SAG stories, this tale does not contribute anything to the Aquaman mythos.

PASSING THE TORCH… Despite having written the first two stories, Skeates did not involve himself in the third. “I had taken the job writing the Aquaman story that appeared in Adventure #435 in order to prove (to myself as much as anyone else) that I could still write a worthy Aquaman tale,” Skeates says, “and I still believe that I quite nicely accomplished what I set out to do! After that, though, with nothing more to prove, I simply could no longer get into this character. I was young, innocent, energetic, and optimistic when I worked for Dick (and I’ve often figured that this helps explain the success of my Aquaman stories—that they were written during a period when I still quite honestly believed in the possibility of there actually being superheroes), but by the time I started working for Joe, enough had happened to me within the wonderful world of comics itself to make me bitter and cynical (better suited, then, for writing humor and horror, rather than superdudes)!”

With Skeates’ withdrawal, the third of the Aquaman backups wound up in the hands of youthful assistant editor Paul Levitz, ready and eager to write

his first superhero story. Levitz explains the circumstances that made this possible: “Bill Finger was writing for us at the time and was doing a couple of six-page Weird War Stories. He came in one Friday—Joe had taken the day off, I was in—with only one of the two stories, wanting his check for the two. It was normal practice that multiple assignments came out on the same check.

Well, I’m a 16-year-old assistant editor and this is the guy who helped create the Batman. On the other hand, this is also the guy who is literally the industry’s legend for blowing deadlines and beating editors out of checks. But he is still the guy who co-created Batman! So I let him have the check and Bill came up with the best excuse of his entire long career— he died before he could turn in the second story. By the rules of the time, that left me on the hook for the six pages—I guess I had written three or four mystery stories by that time in my career, none of them very notable—so I whimpered to Joe, ‘Please, sir, if I have to do something free, can I at least do a superhero story?’ And Joe being a noble soul said, ‘Sure.’ So I got to do that first Aquaman tale, and Mike [Grell] was quite a gentleman—he gave me the original art, which is still sitting around the house.” That Levitz/ Grell tale, “A Quiet Day in Atlantis,” appeared in Adventure #437 (Jan.–Feb. 1975) and concluded Aquaman’s backup run.

Around the time of the first two Aquaman backups, the Sea King gained additional attention with a Batman team-up in Brave and the Bold #114 (Aug.–Sept. 1974) and the reprinting of his 1941 first appearance in Secret Origins #7 (Oct.–Nov. 1974).

The series opened in #441 with Levitz pitting the Sea King against Captain Demo in “The Pirate Who Plundered Atlantis,” followed by terrorists in “H is for Holocaust” (Adventure #442) and the updated Fisherman in “The Dolphin Connection” (#443), all leading into the pivotal Karshon arc beginning in #444 (Mar.–Apr. 1976). In an effort to resolve the conflict writers faced with Aquaman’s duties as a king interfering with his adventures as a superhero, Levitz had the people of Atlantis vote to remove Aquaman as their king, replacing him with the newcomer Karshon.

Dethroned, Aquaman reestablished headquarters in the Aquacave; battled arch-nemeses Ocean Master, Black Manta, and the Fisherman; and even found time to team up with Batman again in Brave and the Bold #126 (Apr. 1976). Along the way, with help from Aqualad and Aquagirl, he uncovered Karshon’s true motives. Karshon was actually the Shark in disguise, a long-time foe of Green Lantern who had chosen Aquaman as his new prey.

Hooked!

The Fisherman ensnares the Sea King in Adventure #443 (Sept.–Oct. 1976), from the Levitz/ Pasko/Aparo team.

Original art coutesy of Heritage Comics Auctions.

TM & © DC Comics.

AQUAMAN MAKES A SPLASH Aquaman took over as the lead feature with Adventure Comics #441 (Sept.–Oct. 1975). At long last, Aquaman was back as a headliner, gracing the covers of Adventure for the first time.

Paul Levitz recalls how the series moved from the back of Adventure to being the lead feature: “Must have been that the book was still just sort of tepidly moving along with the Spectre. We had three more Spectre stories done, I think, scripted and ready to go out to Aparo. And so it must have been that sales reports were coming in unimpressively, a consistent factor with Adventure in that period, sort of pretty much no matter what we did. And either Carmine or Joe or the combination of them decided it was time to try something else. The Aquaman stories had worked out okay, and I was sitting there panting with my tongue hanging out, ‘Please, more work, please!’

So we gave it a shot.”

Levitz was tapped to be the writer and Jim Aparo would stay on the book as the artist, shifting from the Spectre—which ended its Adventure run in #440— back to familiar waters with Aquaman. Mike Grell had been willing to continue with Aquaman, but just as he was finishing the second “Aquaman” assignment Orlando called him up to see if would mind being recommended to editor Murray Boltinoff to take over for Dave Cockrum on Legion of Super-Heroes. Grell did the third “Aquaman” story and then moved on to greater fame with Legion.

This Aquaman run in Adventure Comics was a rollercoaster ride of sheer excitement as the Marine Marvel faced new foes and menaces as well as dealing with the return of the Fisherman, Ocean Master, and Black Manta. Aquaman’s comfortable role of king, father, and husband was about to be rocked to the core.

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WRITERS OF THE ROUND TABLE Excitement and intrigue were plentiful in these Adventure stories, all dynamically drawn by the unparalleled Jim Aparo, but the writing credits seemed to change with every issue. Regular readers scratched their heads as Paul Levitz shared writing credits with David Michelinie, then Gerry Conway, then Michelinie again, then Conway again, then Michelinie yet again … and eventually with Martin Pasko. Confusing readers even more, by 1977 Levitz was no longer writing the series but was editing it, and Michelinie as well as the returning Steve Skeates solo-scripted Aquaman tales!

Why the frequent change in writers? “Well, it’s a fairly convoluted story,” Levitz explains. “I was scheduled to be the writer for the book. The practice at that time was that covers were designed after the issue was completed and the editor would bring the full completed issue in to Carmine, and Carmine would thumb through and talk out what the cover might be and, most of the time, sketch it himself. In the case of an artist/editor like Joe Orlando or Joe Kubert, they might both have dueling pencils in the course of discussion. When the first Adventure with Aquaman as a lead, #441, went in to Carmine, he thumbed through and he felt the dialogue wasn’t up to snuff. Plausibly, as I was well at the beginning of my career. So he asked Joe to get it re-dialogued and I think that was the one we asked David [Michelinie] to do. He cleaned it up, and then I wrote one or two more, but Carmine didn’t get much happier with my work. So at some point, he finally said, ‘Look, he’s a tolerable assistant editor, a nice enough kid, but you know, really, take the typewriter away from him.’ I had already done some plot work on the next couple of stories. So Joe was able to buy the plots for the next couple … David and Gerry Conway were pinch-hitting. I had started plotting the issue, then Gerry finished #442. David handled #443. I then split #444 with Gerry again, with David returning for #445. So, basically, everyone is pinchhitting for me during this period. And then I come back in on #448, and then, yeah, Marty [Pasko]’s there … I didn’t finish any of these.

“And when Carmine left [his executive position at DC], we juggled the editorial team. I was back to doing writing, but I didn’t go back on Aquaman,” Levitz continues. “I picked up some of Gerry’s assignments—Justice Society [in All-Star Comics], most notably at that time, and a moment or two later, Legion. I inherited Adventure as the editor and brought David on.”

David Michelinie confirms this: “My memory is really fuzzy on those early issues. I was credited with ‘additional dialogue’ on Adventure #441, so I assume that was pretty complete by the time it got to me.

And I only wrote the scripts for issues #443 and 445

Atlantean Scribes Five Aquaman writers swam through the Sea King’s mid-1970s Adventure Comics stories: Steve Skeates, Paul Levitz, David Michelinie, Gerry Conway, and Martin Pasko.

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(on which the credits were inadvertently left off) over Paul’s plots, so it seems likely that he was directing the storyline at that time. Since the writing credit skipped around so much from Adventure #441–449, I assume stories were scripted by whoever had time in their schedule. Both Marty Pasko and Steve Skeates were regulars in the Orlando/Levitz writer pool, as was I at the time, so I imagine we all just picked up a story here and there when needed. However, with Adventure #450 (Mar. 1977) on, I’m the sole credited writer and was handling both plots and scripts by that time, though with Paul’s editorial direction, of course.” Michelinie landed the full-time assignment mainly because he simply was available at the time. “I don’t know that I specifically sought out Aquaman, but I was happy to have a chance to write the character,” Michelinie says.

“Up until then I’d pretty much stuck to war stories (Unknown Soldier, “Codename: Gravedigger” in Men of War) and horror characters (Swamp Thing, Phantom Stranger). So it was a welcome opportunity to handle a superpowered character for a change.”

A note of interest: Neatly sandwiched between Levitz’s Karshon epic and the start of Michelinie’s run is the final Aquaman story written by former scribe Steve Skeates. In Adventure #449 (Jan. 1977), Skeates recycled several ideas that he planned to use as the follow-up to 1971’s Aquaman #56. Enter the Marine Marauder, a new supervillain who has “stolen” Aquaman’s ability to communicate with sea life.

The stolen-powers concept was originally the centerpiece of what would have been a titanic tale teaming Aquaman with Green Arrow as they sought out the thief with Aquaman’s abilities. In the new version, Green Arrow is absent and Aquaman has not lost his powers, but must compete with a foe that has electronically enhanced his mind to communicate with marine mammals. Unfortunately, the script never really comes together and is riddled with problems.

“Paul Levitz did in fact ask me to write one fill-in issue,” adds Skeates, “and I just re-read that issue (Adventure #449), thus reacquainting myself with the fact that, after the experience I had writing this adventure, I no longer wanted to have anything to do with the Sea King!

It’s not all that bad a story—’twas in fact a variation upon the tale I had originally planned for Aquaman #57— but Paul and I just couldn’t see eye to eye on anything here. He saw my ideas as being too clichéd; I saw his as being too fannish! It was a struggle and a half to get it done, and, though I don’t dislike it as much today as I did when it was published, I do find that much of my dialogue comes off as stilted, unnatural, and confusing, and all due to various changes Paul made.”

FAMILY CRISES Following the Karshon saga might seem daunting to some, but David Michelinie not only matched the drama of his predecessor, he upped the ante!

He opened his run by pitting Aquaman against the classic Flash rogue the Weather Wizard, only to follow the next issue with Starro the Conqueror (who previously had taken on the entire fledgling Justice League!).

Meanwhile, a subplot involving Aqualad’s search for his past ran through the two issues, leading into the dramatic Adventure Comics #452 (July 1977)! Black Manta, having conquered the valley of the Idyllists, had captured Aqualad and kidnapped Arthur, Jr. (a.k.a. Aquababy), the infant son of Aquaman and Mera. Aquaman and Aqualad were forced to fight in a duel to the death before Manta would release the child.

Desperately, the two old friends battled for their lives, eventually freeing the imprisoned infant, but too late!

Aquababy was kept in his prison too long and died of oxygen deprivation.

The issue ended with Aquaman holding the lifeless body of his son, swearing vengeance on Black Manta.

The death of Arthur, Jr. was shocking and unexpected, but apparently not unwelcome. The letters pages in the issues that followed only had one missive of protest.

The remaining comments spoke of gratitude that the annoying character of Aquababy was gone.

However, it is difficult, if not impossible, to truly gauge fan TM & © DC Comics. reaction to the story. “You know, you’re dealing in a different era,” says Paul Levitz.

“You didn’t have Internets and message boards, so your reaction was thirty or forty fan letters that came in.

I don’t remember anything being particularly vituperative.” Still, death was uncommon in comic books at the time, and it was an event that still influences every writer who takes on Aquaman.

ASK THE ANSWER MAN! While graced with the delicate pencils of Don Newton, the scripts by Paul Kupperberg were lackluster, especially when compared with the wild ride Michelinie provided. Adding to the confusion was the change in editors, as Paul Levitz ended his five-year stint with the Sea King. Artist Ross Andru assumed the editorial reins with Adventure Comics #462, only to lose the “Aquaman” feature when Adventure Comics dropped the Dollar Comics anthology format with issue #466. Five months later, Aquaman found a new home in World’s Finest Comics #262 (Apr.–May 1980) under editor Jack C. Harris, only to relocate again after three issues, returning to familiar waters as the lead in Adventure Comics.

During this period, the series struggled to find a direction. Bob Rozakis, who stepped in as writer with Adventure Comics #464 (July–Aug. 1979), tries to

Sea King and Queen When drawing this 2001 birthday sketch for Rob Kelly, longtime Aquaman artist Jim Aparo evoked the Aqua-couple’s happier days.

TM & © DC Comics.

AQUAMAN’S CHANGES OF RESIDENCE So, how do you top a story this significant? By moving Aquaman back into his own book, that’s how!

“Back in his own magazine at last!” read the banner atop the cover to Aquaman #57 (Aug.–Sept. 1977).

Unfortunately, Aquaman’s new lease on life would only last for seven issues, through which the Sea King underwent even more dramatic changes.

After confronting and nearly killing Black Manta, Aquaman would become entangled in a diabolical plot of world conquest that would lead him straight to the international terrorist Kobra and would require the assistance of Batman and Green Lantern to save the day. With the end of the Kobra story arc in Aquaman #61, Michelinie left the book and was replaced by scribe Paul Kupperberg, who had written Aqualad’s origin in Adventure #453–455 and the backup feature for Mera in Aquaman #58–61. Kupperberg reunited the Aquafamily in Aquaman #61 and 62, and stayed on as scripter when the series was demoted back to a short feature in Adventure Comics, which in 1978 was altered into a 64-page anthology in DC’s short-lived “Dollar Comics” format.

Meanwhile, another major change occurred in the series: Jim Aparo left as artist! After a decade as the primary Aquaman artist, Jim Aparo left the seven seas behind him for the dark alleys of Gotham City, ending his Aquaman run with issue #59 (Dec. 1977–Jan. 1978). While no one could replace the incomparable Jim Aparo, Don Newton clearly showed us that he could present a new and welcome look to the Aquaman feature. Following a long run at Charlton Comics, Newton made his DC debut in 1977 with the Aquaman tale in DC Special #28’s “Earth Shattering Disasters.” Six months later, he took over the art chores on the Aquaman book (with issue #60), albeit, to his understanding, temporarily. Aparo, who remained the cover artist, was supposed to return to Aquaman, but somehow this never happened.

Instead, Newton continued on as the regular penciler for two years until he, like Aparo before him, moved on to the world of the Darknight Detective.

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explain the frequent changes: “Aquaman was a secondstring character. DC did not think he could carry his own book, but wanted him to be appearing regularly.

So he got shuffled from title to title.” Rozakis also points out that, unlike today, it was common practice for the writers to move around from series to series.

“I think we traded assignments on the backup features fairly regularly back then. When I gave up “Aquaman”, I’m pretty sure I took over “Hawkman”. Different editors had their favorite writers, and so we sometimes followed the characters and other times followed the editors.”

Rozakis brought fresh ideas to the series. His stories pitted Aquaman against a wide variety of menaces including Dr. Light, Nazi geneticists, a ghostly sea siren, alien octopi-people, and the sorceress V’lana of Mera’s homeworld. Additionally, Rozakis established a new home and community for the former Atlantean royal family in the semi-submerged city of New Venice, Florida. “I thought he needed a base with people in it and New Venice, which had been used in a story twenty years earlier, seemed the logical place,” says Rozakis.

“I had wanted to build a community around Aquaman in New Venice, but we never got that far.” Rozakis also provided a sense of stability during a period when the series bounced between titles, artists, and editors.

Upon answering the call to duty on Aquaman, Rozakis

Half-Breed An unwelcome Aquaman, as seen on the DeMatteis/ Giordano splash of Adventure #477 (Nov. 1980).

Art coutesy of Anthony Snyder (www.anthonysnyder. com/art).

TM & © DC Comics.

“wrapped up a few plot threads Paul [Kupperberg] had left, but then I was on to my own approach to the character. The idea was that Aquaman was just one of the features in the book and that the stories should be entertaining. That’s what I was going for.”

The change in editors did not alter Rozakis’ plans, but did influence how the stories developed.

“Jack [C. Harris] was a bit more hands-on as an editor than Ross was,” Rozakis recalls. “Also, being a writer, he was more interested in the plot. Ross, being an artist, liked the stories to have some interesting visuals.

I think my plans stayed pretty much intact with the switch, but I was probably working out a tighter plot on the front end with Jack than I did with Ross.”

Rozakis’ run on the series was briefly interrupted when it jumped from World’s Finest Comics after only three issues to return to familiar waters in Adventure Comics #475 (Sept. 1980). Now edited by Len Wein, the adventures of Aquaman were scripted by J.M. DeMatteis and illustrated by the incomparable Dick Giordano. The story in this Adventure return, however, was rather strange, telling of the return of Aquaman’s parents from the dead and their alliance with his half-brother Orm, the villainous Ocean Master.

Somehow, Aquaman’s mother Atlanna had not really died and recently awakened from a death-like sleep into a state of madness. She built an android that resembled the Greek god Poseidon and somehow programmed it with the memories and personality of Aquaman’s dead father. Atlanna then used the android Poseidon, Ocean Master, and an army of android-versions of Aquaman’s many enemies to try to destroy Aquaman. The plot ran through Adventure #475–478, only to shift to the “Action-Plus” backup slot in Action Comics #517 (Mar. 1981) when Adventure once again changed formats.

Don Heck stepped in as the artist and the concept muddled along until Action Comics #520 (June 1981), when Schwartz decided a change was needed. Rozakis was reinstated as writer with Alex Saviuk assuming the penciling duties, and this team remained intact for the duration of the Action-Plus featurettes. “My first story in Action was called ‘The End’ because it wrapped up what J.M. DeMatteis had been doing,” Rozakis reveals.

Rozakis’ next arc was an unusual excursion into outer space, reminiscent of an old Adam Strange tale.

He then followed with a flashback to the Silver Age and a menace from Mera’s home world. “I was trying to come up with interesting and entertaining stories that put Aquaman into different types of situations,” Rozakis explains. “At the same time, I was trying to keep some amount of continuity, but not at the expense of having a story that a casual reader couldn’t understand or enjoy. Virtually everything I did with Aquaman was in some way related to the world of water around us.”

Unfortunately, changes in DC Comics led to the cancellation of “Aquaman” and the other Action-Plus series in 1983 with Action Comics #540.

A LEAGUE OF HIS OWN Suddenly, the only place Aquaman fans could find their favorite hero was in the pages of Justice League of America. It was déjà vu all over again! Writer Gerry Conway admits to being fond of the character, and often found ways to include Aquaman in League adventures.

However, the shadow of change loomed ominously over the future of the Justice League, and no member’s position on the team was secure. A huge shake up was about to occur, transforming the traditional Justice League of America into the Justice League of … Detroit?

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“I guess it goes under the heading of ‘it seemed like a good idea at the time,’” laughs Conway. “There was a feeling at DC (not one I necessarily shared) that the Justice League ‘formula’ had grown stale. For myself, I’d always preferred writing the ‘second string’ characters (like Red Tornado, and, before he got his own series again, Firestorm) who had no regular ongoing storyline outside the JLA; it gave me more freedom to develop character arcs without fear of stumbling over what other writers were doing. (It’s hard to imagine in these days of multi-book, multi-character story arcs that it used to be pretty difficult to coordinate stories between series back in the ’70s and ’80s.) When pressure began to be applied from upper management to shake things up, I decided to try something that I felt was reminiscent of what Stan Lee did with The Avengers back in the early days of that title. He dropped the mainline characters (Thor, Hulk, and Iron Man) and brought several second-tier characters into the book as regulars— Scarlet Witch, Quicksilver, and Hawkeye, with Captain America to provide marquee value. I tried to do something similar with JLA Detroit. Didn’t work out, though; I don’t think any of us who were involved were all that happy with the outcome. Before I was fired off the title I did suggest going back to the mainstream team, but by that point the powers-that-be wanted to go in a different direction that didn’t involve me.”

In a bizarre twist of circumstances, the lack of an ongoing series worked in Aquaman’s favor. Since he was not appearing anywhere else, he was free to be used by Conway in his new Justice League. In fact, Conway planned to use Aquaman as the leader of the new team—the marquee player. But when asked why Aquaman and not Martian Manhunter, or Green Arrow, or Hawkman, or any number of other Justice Leaguers, Conway replies, “Well, I’d always liked Aquaman, and as the King of the Seven Seas, he does seem to be leader material, don’t you think? And while today he’s considered something of a joke (particularly as a punch line on Entourage), back in the day he was actually a fairly popular character in the League—more so than Green Arrow or Hawkman, though maybe not quite as popular as Martian Manhunter.”

So Aquaman landed on his feet and became the star of the Justice League. Well, not exactly. Just as the Detroit team was starting to come together, Conway had to write Aquaman out of the script in order to accommodate the upcoming Aquaman miniseries by Neal Pozner and Craig Hamilton.

far-reaching it was.” In addition to making major changes in the DC Universe, Aquaman’s world likewise suffered great tragedy with the deaths of Aqualad’s girlfriend Tula (Crisis #10) and Superman’s mermaid acquaintance Lori Lemaris (#12), who were granted particularly dramatic demises compared to so many others who only received a one-panel finish (or whose passing was relegated to a footnote reference).

Meanwhile, amidst all this world-shattering drama, Aquaman at long last returned to his own title.

I GOT THE BLUES To learn the origins of the 1986 miniseries, one need look no further than the text page in the second issue.

Here, Neal Pozner explained the genesis and development from concept to production. It all began in 1983, shortly after the Action-Plus feature had been dropped.

Pozner, who was DC’s design director at the time, had a discussion with executive editor Dick Giordano and several others as to why Wonder Woman did not sell as well as Batman or Superman. Giordano, impressed with Pozner’s ideas and suggestions, challenged him to write them up as a formal proposal. Since Wonder Woman was in good hands with its current writer, Pozner knew that any proposal he wrote for the character would never be used. Therefore, he looked at other characters currently lacking an ongoing series. Focusing on members of the Justice League, Pozner settled on Aquaman.

To quote the essay in Aquaman #2: “Aquaman.

Potentially a very neat character. This guy had a rich history and heritage in the DC Universe, and no one had done anything revolutionary with him in the last fifteen years.”

Aquaman by Alex Saviuk A sketch of the Sea King by the hero’s “Action-Plus” artist.

From the collection of Rob Kelly.

TM & © DC Comics.

THE END OF THE WORLD AS WE KNEW IT Before we look at the 1986 Aquaman miniseries, we need to pause and remember that an industry-altering event was underway at the same time: The 12-issue maxiseries Crisis on Infinite Earths was reshaping the very nature of the DC Universe. No character was safe as entire worlds were destroyed, forever changing the lives of even the most prominent characters in the DC stable. Compared to many other notable DC characters, Aquaman seemed to get a lot of attention during the Crisis maxiseries. He appeared frequently, whether it was in Atlantis as it was rocked by quakes, joining countless heroes aboard the Monitor’s satellite, or battling supervillains on alternate Earths. Crisis tied in with Aquaman and his problems with Mera and the Justice League, and Black Manta and the Ocean Master were used to foreshadow upcoming plot developments.

According to Crisis writer Marv Wolfman, “This had to do with showing the extent of the Crisis and how

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Pozner’s proposal included these significant ideas: 1) incorporate all the various Atlantis settings in the DC Universe into one integrated concept and have Aquaman explore it; 2) update Aquaman’s costume from the bland and unexciting orange and green; and 3) examine Aquaman’s personality and redevelop it into one people would care about. In an interview in Amazing Heroes Special #1 (Summer 1985), Pozner said, “I’ve never found him a very likeable character the way he is now. He’s been a snotty, arrogant person.”

Pozner’s goal was to make Aquaman re-examine himself and grow into a more three-dimensional and likeable person.

With the proposal accepted and the scripts well underway, all Pozner needed at this time was an illustrator. In Aquaman #2, he stated that he “wanted an artist who could draw moody, romantic, art-nouveau inspired fantasy.” Initially, Alan Davis was to draw the book, an opportunity he eagerly anticipated, but he was taken off Aquaman to do Batman and the Outsiders, which Giordano thought was a better showcase for his talents. After nearly a year since the search for an artist began, newcomer Craig Hamilton was awarded the job.

Finally, in 1986, nearly three years since its inception, the miniseries hit the comic-book racks and was a success. Fans everywhere were debating Aquaman’s new, blue camouflage suit—should it stay or should it go? DC scheduled a follow-up series of four or five issues and Pozner set to work developing the script.

In an interview with Andy Mangels in the 1986 Amazing Heroes Summer Special, Pozner related the plot

Camouflaged Costume Aquaman’s 1986 miniseries unveiled a short-lived blue, water-motif uniform, as seen in this beautiful illo by the series’ artist, Craig Hamilton. From the collection of Rob Kelly.

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for Aquaman II. Picking up right where the first series left off, the second series would deal more with the rest of the Aquaman family. “The whole theme of the series is change,” Pozner said. “There have been radical changes in the lives of all the players, and we’ll be looking at how those changes manifest themselves, and how each character deals with them.” The series would open with King Vulko injured and his wife Makaira ruling in his place. Atlantis would be seen in a state of culture shock, dealing with the results of its new trade agreements with the surface world. Religious zealots, who oppose any contact with the surface, would create conflicts in Atlantis. Meanwhile, Aquaman would wrestle with mixed emotions. He loves his wife Mera, but now he finds himself attracted to Nuada, the sorceress who aided him in the first series. Mera, who saved New Venice without Aquaman’s aid, would be “portrayed more heroically. In her own way, she is more powerful than Aquaman.” Aqualad, still in mourning over Tula’s death, was to meet and fall in love with a surface girl named Tawna. Additionally, Aquaman would have to deal with the sinister motivations behind the involvement of the Sunderland Corporation (from Swamp Thing) in Atlantean affairs.

The same creative team as before was assigned the new miniseries, and production did start, but somehow, the story never reached the stores. Mark Waid attempts to explain the problem. “My memory is that Hamilton, gifted as he was, just wasn’t able to produce in a timely manner. I could be mistaken, but that’s my recollection,” Waid says. “Also, Aquaman’s

future was wildly in flux in the mid-1980s—for a time, DC had planned to turn him into an anti-hero as part of a Crisis sequel that never happened.

(Batman was also gonna get the power to fly. Don’t look at me; I’m just reporting.)”

Instead of the Pozner sequel, DC delivered a singleissue Aquaman Special in 1988 written by Dan Mishkin and Gary Cohn with art by George Freeman and Mark Pacella. One can’t help but look at this special as a half-hearted attempt to resolve the loose ends dangling from the Pozner miniseries and a quick way to explain the change back from the new blue to the classic orange-and-green uniform. About the only thing worth noting in this tale is the final page, where Aquaman and Mera are reunited and resolved to make their lives together happy and harmonious. Thus, with a promise of hope, ended the career of the Earth-One Aquaman, clearing the way for his relaunch in 1989.

AQUAMAN: THE SOLO STORIES Checklist compiled by John Wells 1941–1945 More Fun Comics #73–107 World’s Finest Comics #6

1979 Adventure Comics #461–466 1980 Adventure Comics #475–478 World’s Finest Comics #262–264

1946–1960 Adventure Comics #103–117, 119–152, 154, 156, 158, 160, 162, 164, 167–168, 170–206, 208–279

1981 Action Comics #517–521 The Secret Origin of Aquaman mini-comic

1961 Adventure Comics #280, 282, 284 Detective Comics #293–298 Showcase #30–33

TARZAN OF THE DOLPHINS As the changes wrought by the Crisis slowly manifested in the various DC titles, Aquaman stayed out of view, appearing primarily in flashbacks in other characters’ redevelopments. However, Aquaman returned to the spotlight in 1989 in a new Aquaman miniseries under the tender care of writer Keith Giffen, with an assist from editors Barbara Kesel and Mark Waid.

1982–1983 Action Comics #527–531, 535–540 1984 Super Powers mini-comic

1962 Aquaman vol. 1 #1–6 Detective Comics #299, 300 World’s Finest Comics #125–130

We Can Wish, Can’t We? Rob Kelly created this fantasy cover for an Aquaman tabloid that wasn’t—but should have been—published during the BACK ISSUE era.

(Fans of ’70s tabloid-sized comics are encouraged to check out Rob’s terrific “Treasury Comics” site, www.treasurycomics.com.)

1986 Aquaman vol. 2 #1–4 1988 Aquaman Special vol. 1 #1

1963 Aquaman vol. 1 #7–12 World’s Finest Comics #131–133, 135, 137

1989 Aquaman vol. 3 #1–5 Aquaman Special vol. 2 (The Legend of Aquaman) #1

1964 Aquaman vol. 1 #13–18 World’s Finest Comics #139

TM & © DC Comics.

1991–1992 Aquaman vol. 4 #1–13

1965–1970 Aquaman vol. 1 #19–54

1994–2000 Adventures in the DC Universe #6, 15 Aquaman vol. 5 #1–2, 0, 3–75 Aquaman Annual #1–5 Aquaman Secret Files #1 Aquaman: Time and Tide #1–4 Aquaman: Time and Tide (reprints) Sins of Youth: Aquaboy/ Lagoon Man #1

1971 Aquaman vol. 1 #55, 56 Super DC Giant #S-26 (text piece, reprints) 1974–1975 Adventure Comics #435–437, 441, 442 1976 Adventure Comics #443–448 DC Super-Stars #7 (reprints)

2003–present Aquaman vol. 6 #1–39 (retitled Aquaman: Sword of Atlantis with issue #40) Aquaman: Sword of Atlantis #40–57 Aquaman Archives #1 (reprints) Aquaman Secret Files 2003 Aquaman: The Waterbearer (reprints)

1977 Adventure Comics #449–452 Aquaman vol. 1 #57–59 DC Special #28 DC Special Series #1 1978 Adventure Comics #460 Aquaman vol. 1 #60–63 TM & © DC Comics.

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One might think that, in the early post-Crisis days, there was an overall plan for the re-introduction of DC characters into the new continuity. However, as Mark Waid recalls, it seemed like anything but… “Overall plan?” laughs Waid. “Dear God, no. It was the Wild West.

DC was just stupid with relaunches. Because Byrne got to reinvent Superman, suddenly every editor and writer at DC ran around screaming, ‘Well, if he’s going to reinvent Superman, I’m gonna have my guys reinvent [fill in character name here]!’ Chaos. As a matter of fact, the project that began the downfall of continuity wasn’t Man of Steel, actually. It was Hawkworld, the first (of many) ego-driven ‘everything you know is wrong’ reinventions after Superman. It was a great project, well-written, by savvy pros, a thing of beauty, a great tale—but the editor at the time adamantly refused, despite our pleas, to slap the one three-word caption on page one that would have not changed that story one iota but would have saved DC its last twenty years of Hawkman continuity headaches: ‘Ten years ago.’

Domestic Disturbance Another shake up for the beleaguered Justice Leaguer, from issue #4 of the 1989 Aquaman miniseries.

Art by Curt Swan and Al Vey; courtesy of Jim “Tusky” Alexander.

TM & © DC Comics.

Post-Hawkworld, it was anything goes. DC history was suddenly being rewritten on the fly by anyone who could pound a keyboard. So, no, there was no grand plan. There were a lot of egos and a lot of blind madness at work. Not that I’m bitter. [laughs]” Waid elaborates further as to how this affected the Aquaman book: “We weren’t given any specific directions on how to relaunch Aquaman; remember, Keith Giffen was still riding the wave of Justice League’s success at this time and was DC’s primary creative force.

The message from the DC execs was, ‘Let Keith do whatever he likes,’ which made for some great comics.”

And what Keith wanted to do, was develop a story around the idea of a “feral child,” a human child cut off from human contact at a very young age and maturing with no concept of human care, appropriate social behavior, or language skills. The feral child is more animallike in behavior, and has appeared in popular literature like Edgar Rice Burrough’s Tarzan of the Apes and Rudyard Kipling’s Mowgli of The Jungle Book.

According to Giffen, “the whole feral-child thing came first and just sort of attached itself to Aquaman. Never been a big Burroughs fan so I know that didn’t factor in. Again, I started with feral child and kind of worked my way up to Aquaman. Not a lot of DC characters lend themselves to the whole feral-child thing. I actually thought it was pretty cool to apply the concept to sea life.”

Waid adds, “I remember being a little taken aback by the ‘Tarzan of the Dolphins’ approach myself, but again, Keith had free rein at DC at the time and it wasn’t too far afield of the Silver Age origin.” And speaking of origins, just how did the new origin wind up as a stand-alone one-shot—1989’s Aquaman Special #1, a.k.a. The Legend of Aquaman, by Giffen, Robert Loren Fleming, Curt Swan, and Eric Shanower—and not part of the miniseries? Waid explains that “the Giffen/Fleming/Swan Aquaman miniseries, edited by Barbara Kesel, was already on the schedule when I, as editor of Secret Origins, proposed that we do a Secret Origins issue tying into it. Because Eric Shanower was and is one of my favorite artists, I put him on Curt Swan to ink, and as the pages came in, they were so breathtakingly beautiful that the higher-ups at DC decided we could break it out of Secret Origins and issue it as its own one-shot so it could be on better paper with better production values.”

With a revised origin firmly in place, Giffen’s five-issue Aquaman miniseries (June–Oct. 1989) made a few more alterations to the Aquaman mythos— most notably, the near-death of Aquaman’s estranged wife Mera. Giffen recalls, “I think I wanted her dead, but memory fails. I’ve always had a problem with married heroes. The book then becomes ‘the adventures of your parents,’ and even I’m not interested in that.” Over the course of five issues, Giffen reconnected Aquaman to Atlantis as her champion (not her king) and cut ties to most of Aquaman’s past.

With the series’ end, Aquaman was free to swim in whatever direction the 1990s and beyond held in store for him.

By day, JOHN SCHWIRIAN is a mildmannered high school English/ special ed teacher, but by night, he dons the role of comic-book historian, exploring the sunken regions of the DC Universe in his self-published fanzine The Aquaman Chronicles.

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by

Bruce MacIntosh Admit it: At some point you’ve called Marvel Comics’ aquatic anti-hero “Sub-muh-REEN-er.” Well, in spite of the pronunciation of that undersea vehicle with a periscope, Sub-Mariner’s creator, Bill Everett, says that the character was inspired by the epic poem by Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” (MARE-ih-ner).

Prince Namor, the Sub-Mariner, was not only one of comics’ first superheroes, he was unquestionably the premier anti-hero. His unique blend of equal parts angst and anger made him an irresistible subject for editors and writers of Timely Comics in the ’40s and ’50s, as well as its progeny—Marvel— in the ’60s and beyond. The problem was, however, that there were only so many times he could attack America for revenge for the crimes of Man against Atlantis, so sadly he was often portrayed as the spoiled bully getting his come-uppance.

Writers struggled to keep Subby relevant as the anger of the Revolutionary ’60s gave way to the experimentation of the ’70s and the “Me Generation” of the ’80s.

His focus changed in the span of those latter two decades, as the Sub-Mariner moved from being the Avenging Scion of his undersea kingdom—Atlantis—to contrite exile, to Crown Prince, and back again to exile. In the process, the avowed loner became the social butterfly, joining almost every team and making frequent guest appearances in most Marvel superhero titles.

A QUICK DIP THROUGH NAMOR’S HISTORY Before examining Namor’s appearances in the 1970s and 1980s (the BACK ISSUE era), we should start by briefly visiting his origins. The Sub-Mariner was originally “published” in a movie-theater giveaway called Motion Picture Funnies Weekly. Only eight of these promotional comics are known to exist, having been discovered in the estate of their deceased publisher in 1974, so it is uncertain whether they ever reached the public. That story, and the character Sub-Mariner, came from the mind of creator Bill Everett, who at the time worked for Funnies, Inc., a studio that created comics and sold them to comic publishers. Everett soon re-used the character, packaged with other stories, in Timely’s first comic, appropriately dubbed Marvel Comics #1 (1939). Sub-Mariner soon became one of the “Big Three” characters at Timely, the others being the (original) Human Torch and Captain America.

The Burden of the Throne The Prince’s pondering won’t last for long … Marvelites know Sub-Mariner will be in a brawl in just a matter of panels. Detail from the splash of Sub-Mariner #60 (Apr. 1973), laid out by Sam Kweskin and finished by Jim Mooney. © 2008 Marvel Characters, Inc.

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Sub-Mariner Comics ran 32 issues, until superhero titles from all comics publishers sank like a rock in 1949.

The title was resumed in 1954 and ran for another nine issues until it was harpooned for good after issue #42 (Oct. 1955). Following the immediate success of Stan Lee’s and Jack Kirby’s Fantastic Four (which had already put a new face on another Golden Age character, the Human Torch), Marvel Comics dusted off Subby in FF #4 (May 1962).

There was magic in the Marvel “Bullpen” and money in revitalized Golden Age characters, so the Prince of Atlantis was included in as many comics as possible during the 1960s (including what turned out to be a 1967 one-shot shared mag with Iron Man) until publishing and distribution restrictions were lifted and Marvel granted him another eponymous series in 1968.

Sub-Mariner #1 (May 1968) recounted the story of his origin: He was born of a human seafaring captain and blue-skinned Atlantean mother. His father, Leonard McKenzie, was supposedly killed when his mother’s protectors came to find their Princess Fen. The pinkskinned Namor was born nine months later, and though he was the heir by blood to the throne of the underwater

Avenging Hubby Subby Two issues after the murder of his beloved Lady Dorma, Namor cries out for vengeance on this powerful Roy Thomas/Ross Andru/ Jim Mooney splash from Sub-Mariner #39 (July 1971).

Courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

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kingdom, suffered the disrespect of his contemporaries and taunts of “halfbreed.” He was thus tempered in his formative years by the competing expectations of royalty and the need to defend his rightful claim— both verbally and physically—against those of full (literally) blue-blooded pretenders. This imbued Namor with selfassurance to the point of arrogance, and a persecution complex tightly wound around his hair-trigger temper. This explosive combination led to an unending series of tragedies for the Maritime Monarch in the ’70s and ’80s.

Time and tide wait for no man—not even the Sub-Mariner—and as the ’60s turned into the ’70s, Namor was restored the ability to breathe underwater, which had literally grounded him a couple years earlier (in issue #22, the first to appear on the stands in the ’70s). Then, after US Army poisonous gas canisters wiped out some Atlantean outposts, Namor waged war against America. He ordered a deadly missile fired at soldiers in New York, but physically diverted it himself when he saw civilians present. He was still mad, however, so he sought to ally with Earth’s other undersea civilization, Lemuria.

(They had green skin.) Unfortunately, he arrived after Lemuria’s throne was overthrown by the evil Llyra, who desired to conquer sea and land alike. Llyra was supposedly killed in a brief battle with Namor.

In a tale with as many turns as a seahorse race, Namor finally got to the altar in Sub-Mariner #37 (May 1971), only to find out that his beloved Lady Dorma was the evil Llyra in disguise. She thought that having said his vows to her—though she was dissembled as his bride—would have resulted in an unbreakable marriage.

She was wrong, however, because Dorma had actually said her vows earlier and the ceremony was merely a formality. This angered Llyra, who returned to her lair and killed Dorma. Following the funeral, the Sub-Mariner abdicated the throne of Atlantis and proceeded to take out his remorse on New York. Later, he found out that his father, long thought dead, was very much alive and had been kidnapped by that nasty Llyra and Tiger Shark.

Tragedy followed Namor like a shark to the scent of blood, and naturally Dad got killed within minutes of meeting his long-lost son.

One of the most interesting events of the SubMariner’s “Marvel Age” series actually happened near its conclusion: Due to exposure to deadly nerve gas, Namor was in danger of suffocating because he couldn’t process his own natural moistures. In Sub-Mariner #67 (Nov. 1973), Reed Richards of the Fantastic Four replaced Namor’s scaly green swim trunks with a black leather costume that would have made him the pride of any biker bar if it weren’t for the half-calf leggings and booties (designed to allow his ankle wings room to flap).

The costume wasn’t just a fashion statement, as Richards explained the “wetsuit” was designed to recycle moisture from Subby’s own pores while out of water.

Why give him a “hero” costume at all? Roy Thomas lamented in his own Alter Ego magazine (vol. 3 #70, July 2007) that Sub-Mariner “was always #3 of the ‘Big Three’ in the 1940s. I suspect it’s partly because he didn’t have a costume… I hate to come up with something as crass as that, but that’s part of the reason for John Romita and me giving him that costume near the end.”

Then, an unusual inter-company “crossover” occurred as the Sub-Mariner series drew to a close

Subby’s New Wetsuit Detail from John Romita, Sr.’s cover to Sub-Mariner #67 (Nov. 1973), unveiling Namor’s leather threads. © 2008 Marvel Characters, Inc.

with issue #72 (Sept. 1974) and a two-part story started at DC was concluded at Marvel! In 1971, writer Steve Skeates—then writing Aquaman for DC Comics—started a tale in issue #56 (Mar.–Apr. 1971) called “The Creature That Devoured Detroit.” That story was part one of two, and told of a new superhero with bad eyesight who invented a satellite that would shed light at night so he could fight nocturnal crime and still see what was going on! The unexpected side effect was that it caused explosive growth in algae that threatened to devour the city, until Aquaman broke into the satellite’s control center and—according to the murky final panels—was about to push the button to destroy it…

…but unfortunately, Aquaman was cancelled after the first part of the story, with issue #56, so readers never got to see the conclusion. That is, until Skeates moved over to Marvel and coincidentally scripted the final issue of that company’s aquatic adventurer.

This provided him a unique opportunity to finally conclude the tale he had been waiting over three years to tell. Sub-Mariner #72 picked up right where Aquaman #56 left off: An unidentified glove presses the satellite destruct button, the resulting explosion sending a green, protoplasmic alien life form hurtling to Earth.

The original “Aquaman” version was to be that he was to have learned that he had lost both his ability of communicating telepathically with aquatic creatures and the ability to breathe underwater. Now it was Subby, and instead he briefly lost his sight! In spite of the temporary disability, he was still able to squeeze the algae-being hard enough to squirt its glutinous head off into space, and wander off lamenting his ability to ever restore his comatose Atlantean subjects to life.

Subby did regain his eyesight within a couple of pages, just in time to conclude his series and ponder his fate. Roy Thomas, in his final editorial text box on the “Send It to Subby” letters page, confidently advised, “[S]hed no salty tears for the Avenging Son … because we have other plans for him—big plans.” Before we find out what those big plans were, let’s backtrack about a year— to one of Roy’s most enduring and beloved creations: C o m i c

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Namor by Bill Everett A 1970 Subby convention sketch by the character’s creator. Courtesy of Heritage Comics Auctions (www.ha.com). © 2008 Marvel Characters, Inc.

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In his final appearance in the first incarnation of the team—er…, “unofficial gathering of superheroes”—the Defenders and the Squadron Sinister beat Nebulon (a monstrous aquatic alien disguised as the guy on the cover of every romance novel) from using an ice cap–melting device to flood the planet. While this might have solved at least one of Namor’s problems (humans), he still assisted in the mission, and together they saved the world and fellow hero Nighthawk.

Good thing, too, because the Sub-Mariner was about to create a vacancy on the team. “Remember, Strange— I did not wish to partake in this battle just past—you brought me here against my will—and no man controls the actions of Prince Namor the First! Do not seek to summon me again, Strange—for if I come—it will not be as an ally!”

It would be a cold day before you ever joined that team again, right, Subby? Besides, you got a new Best Friend Forever, and if anyone could understand the problems of the lonely monarch it would be Dr. Doom.

SUPER-VILLAIN TEAM-UP

THE DEFENDERS—Part I

DC and Marvel Kinda Sorta Present…

In the Marvel Universe of the ’70s, one character couldn’t fly past another without finding themselves teaming up against a common foe. In spite of Subby’s inherent anti-social nature, he became a social butterfly, making many guest appearances and joining every team that even sat down for coffee together. Inevitably, he would soldier on with his new comrades until he learned about a fresh crisis in Atlantis, or suffered a messy breakup with the latest wife/girlfriend/monster, or until he simply felt claustrophobic.

Fans of the original incarnation of the Defenders may not realize that the official formation of comics’ first “non-team” took a tortuous path through at least four different titles over three years before Defenders #1 (cover-dated Aug. 1972) finally hit the stands.

For example, issues #34 and 35 of Sub-Mariner found him recruiting the Defenders’ other two charter members—Hulk and Silver Surfer—for a mission to stop activation of a surface-dweller weather-controlling device.

All the previous guest-starring and crossovers finally culminated in the first “official” appearance of the Defenders in Marvel Feature #1 (Dec. 1971), when Dr. Strange, Hulk, and Sub-Mariner gathered to stop the infamous Omegatron from destroying the world.

Ultimately, we learned that this group of misfits were cursed by a mystical spell to always gather whenever an appropriate crisis arose.

Subby took center stage again in Defenders #7–8 (Aug.–Sept. 1973). The Avenging Son’s Atlantean arch-nemesis, Attuma, must have read the map wrong, because this time he attacked Atlantic City.

Here, Solitary Subby succinctly stated his hostility toward superteams: “Jump to no conclusions, archer … the Defenders is merely a name, and no more.

At times we battle together against a common foe … but the Defenders is not an alliance.”

Next, former WWII compatriots Captain America and Sub-Mariner battled each other in an epic crossover between the Avengers and Defenders, when Dormammu duped both teams into gathering the six pieces of the Evil Eye that had been distributed hither and yon, and whose re-assembly—of course—would lead to the end of the world. [Avengers #115–117 (Sept.–Nov. 1973), and Defenders #9–10 (Oct.–Nov. 1973)]

Writer Steve Skeates’ sneaky “crossover” started in DC’s Aquaman #56 (Mar.–Apr. 1971) and concluded in Sub-Mariner #72 (Sept. 1974).

Aquaman TM & © DC Comics.

Sub-Mariner © 2008 Marvel Characters, Inc.

© 2008 Marvel Characters, Inc.

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Editor Roy Thomas stressed Marvel’s commitment to his favorite anti-hero, in spite of the lackluster sales of his own book, leading to its cancellation: “There were so many other books fighting for attention that Sub-Mariner got lost in the shuffle. But he was too good a character not to stick around. We kept trying different things. That was the whole idea of Super-Villain Team-Up (SVTU), too, which was probably Stan’s idea—to team up Dr. Doom and Sub-Mariner permanently.”

Subby spent the next three years dancing with Dr. Doom in this new title. Although it sounded good at the time, trusting Victor von Doom turned out to be simply another big step in the Maritime Monarch’s plunge to rock bottom. The series, however, suffered from a similar inconsistency that may have likewise doomed the Sub-Mariner series itself: In the span of just the 15 issues in which Subby appeared, the series had five writers and 19 different artists. With so many cooks in the kitchen, it was difficult to get a taste for what Marvel was trying to serve its readers.

The title of the book was somewhat misleading, however, for several reasons: First, Doom and Sub-Mariner never really “teamed up.” Sure, Subby toyed with the idea at the very beginning of allying himself with the psychotic in the suit of armor, and in a couple of issues Doom strained his thought balloons with considerations that the Atlantean monarch might be a useful ally. However, in the end they were certainly never a “team”: Namor is too credulous and Dr. Doom simply can’t be trusted!

Second, readers were probably expecting something along the lines of Marvel Team-Up, which usually teamed Spider-Man with another of the company’s characters. This wasn’t the case with SVTU, and readers may have felt a little burned. In truth, although the idea of a less-popular villain teaming with Marvel’s main bad guy sounds like a good idea, it clearly didn’t work.

After word got around that Dr. Doom doesn’t work and play well with others (i.e., killing you if you are no longer useful), no one was going to pick him for their team!

Subby did, and we’ll see what happened to him.

Third: Admittedly, Subby is a hothead and is the type to punch first and ask questions later. Sure, he’s thought long and hard about taking over America or the world, and he even acted on that once or twice.

But over the previous 35 years, he had saved the world more than once and saved countless lives. So while the negatives make it difficult to call him a superhero, it really is difficult to call him a “super-villain.”

Anyway, the series started with Namor saving Doom’s life and proposing to Doom that they ally, ostensibly because he was sick of the surface-dwellers pushing around his proud princely-ness. Doom thought about it (in the form of two reprints) and then kicked Subby out of Latveria. Later, Doom reconsidered and sought out the Avenging Son in ailing Atlantis to accept his proposal. This time, it was Sub-Mariner who was reticent: “You’ve not changed, von Doom. Even your business propositions are laced heavy with the air of threats.”

The Sovereign of the Seas was attacked by three of his arch-enemies, and Doom came to save the day.

The now-aged Betty Dean Prentiss (Subby’s Golden Age love interest) was killed, and Doom vowed to help Subby avenge her death (so that his head would be clear when they finally set out for their mutual plans of world domination). The next issue, however, they were again at each other’s throats. Doom disabled Subby’s cool, black leather uniform, rendering its life-giving effects inoperable, forcing Namor to rely on the Latverian monarch for survival. As if that were not enough, Doom started blasting away at Atlantis’ buildings, threatening to level the city unless Subby vowed undying allegiance to the evil monarch.

Once he had Subby under his thrall, the good Doctor agreed to provide him with the daily requisite dose of the breathing formula and shed the leather S&M suit.

Doom also promised to work on a cure which would restore the comatose Atlanteans.

With a (forced) alliance between Latveria and Atlantis, Doom wrangled a Non-Aggression Pact with the US Secretary of State at the time, Henry Kissinger: “From this moment on, no Americans may interfere in this nation’s internal affairs!” A new hero called the Shroud seemingly caused Doom to fall to his death, theoretically releasing Namor from his blood vow to the armored menace. While Subby tried to find a replacement breathing cure, Doom (very much alive) tried to manipulate the few conscious Atlanteans.

Interestingly for a book with “Team-Up” in the title, the two characters listed on the masthead did not even see each other from issue #7 through 11.

The last issue of SVTU with Subby (#16, May 1979) proved that there is honor among thieves, as Doom upheld his vow to cure Namor and the Atlanteans of their nerve-gas-induced malady. The aquatic autocrat was restored to his rightful place on Atlantis’ throne, and now had time to ponder the lessons of SuperVillain Team-Up. What did he learn? Surely that he, of all Marvel characters, was not suited for the social life of a superteam. He’d finally learned that he is better off alone, manning the throne in his undersea kingdom.

Right? Wrong: Some guys never learn.

In Defenders #84 (June 1980), some traitors from Black Panther’s country, Wakanda, were caught in mid-treachery by the Black Panther, attempting to buy stolen technology from Atlantean traitors. T’Challa impulsively hijacked an Atlantean vessel to follow another escaping underwater vehicle. It was good to see a surface-dwelling hero (or two) literally out of their element in Atlantis, rather than the obverse as is so often the case with Namor’s adventures on land.

Upon learning of the hijacked pirate ship, the Scion of the Seas ordered it captured and brought into the airlock of the undersea civilization’s naval forces.

Naturally, Prince Namor (who had taken charge of seeing to Bruce Banner’s recovery following the Defenders’ previous story) overreacts, ordering around and several times insulting his fellow monarch: “Insolent upstart!” and “Foolish Surface Dweller!”

T’Challa thinks to himself what many readers probably thought at the time, “The man’s arrogance is unbearable!

Is he unable to negotiate rationally?”

Non-Teammates The prototypical Defenders rally on this Thomas/ Sal Buscema/ Mooney page from Sub-Mariner #35 (Mar. 1971).

Courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

THE DEFENDERS—Part II Following the failure of his relationship with fellow Type-A personality Dr. Doom, Namor decided he was better off with his once-and-future teammates in the Defenders.

Unfortunately, in the stories in which Subby appeared between issues #52 through 125, his contributions were generally limited either to standing around looking grim with his arms crossed or overreacting to a threat and throwing the first punch. He was truly a fish out of water in these stories which were designed to take advantage of the special abilities of the team’s magical leader, Dr. Strange. There were a few notable exceptions to this rule.

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The Black Panther then awakened the sedated Bruce Banner with a slap in the face—which only makes him mad. Subby then learned that he doesn’t like Banner when he’s mad. The Hulk burst through the formerly airlocked building, and the onrushing waters sweep T’Challa out into the Atlantic Ocean.

A rescue party from Wakanda saved him, but the officers in the war room of the African nation mistook the Hulk bursting up from the water as an Atlantean missile attack. T’Challa’s generals loosed a nuclear missile to annihilate Atlantis. T’Challa managed to interrupt Namor’s chest-thumping long enough to convince him to intercept the missile. Readers didn’t get to see Namor’s apology to Wakanda, but I’m sure it was forthcoming.

It was another 31 issues before the Sub-Mariner took part in significant action with the Defenders.

Sub-Mariner, Valkyrie, Beast, and Gargoyle were accidentally sent to a dimension of rhyme-speaking

Maritime History Tour Signed by the artist, Rich Buckler’s cover artwork to the first issue (Nov. 1988) of The Saga of the Sub-Mariner, the Roy Thomas–written “autobiography” of Namor.

Courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

characters who seem vaguely familiar (if for no other reason because of two of their names: Greeneggs & Annham). The good news was that Namor finally got to swim in a Defenders story… Unfortunately for him, it was in a sea of strawberry malted. However, he did get to save the day and return his group to their home dimension—by donning a pair of ruby sneakers, clicking them together, and chanting, “There’s no place like the place I came from before I came here!” It seems that writer J.M. DeMatteis may have greatly enjoyed giving the brash Sub-Mariner his comeuppance in this story.

Subby’s call to action was usually Dr. Strange’s astral projection enlisting Namor to battle some mystical menace. Said paranormal peril was usually in the astral plane or another universe altogether, and never near water! So what role did Subby have to play in all this, other than name recognition or nostalgia?

(Even Namor himself began asking why Strange kept calling him away from his duties in Atlantis, when his particular skills weren’t needed.)

This was what inevitably led to the repurposing of the Defenders into the New Defenders in issue #125 (Nov. 1983). In a story appropriately titled “Hello, I Must Be Going,” DeMatteis turned the Defenders into a real team—à la the Avengers—instead of an uneasy coalition of stragglers and malcontents.

He also gave the Sub-Mariner and his fellow charter “members” a way out and a convincing reason why they could never return. A time-travelling elf showed Subby and his teammates a “movie” about 24thCentury Earth—or what would be left of it—should the original quartet ever get together again as the Defenders. This time, to prevent the destruction of the planet, they vowed not only to quit the team, but never again meet in any official superheroing capacity.

ALPHA FLIGHT You could just sense that things were not going to end well for Subby when he first dropped in to help Alpha Flight save a member and their own aquatic alien from “the Master.” As punctilious as he presented himself, Namor’s head was easily turned by the ladies—and this failure of judgment often led to his undoing. He fell head over winged heels with the chartreuse-skinned Marrina, and blindly ignored the tale of her coming to Earth 40,000 years past as one of millions of eggs whose sole function was to overrun the planet.

Subby invited his lime-green girlfriend under the sea to wow her with his palatial digs, and then popped the … question? “I am king of Atlantis, Marrina, but a king without a queen is a lonely man.

I need a queen, Marrina. I have chosen you!” Before she could respond to the silver-tongued Scion of the Seas, the bug-eyed babe was signaled by Alpha Flight and hot-flippered it out of there.

In Alpha Flight #15 (Oct. 1984), Marrina was beckoned by the siren call of an unknown underwater creature and she transformed into a ferocious and unthinking beast. It was the Master again, still trying to pair her up with her original intended antediluvian mate (a big pile of quasi-sentient seaweed) to overrun the planet.

Sub-Mariner and Alpha Flight defeated the Master, and Marrina returned to normal. Knowing discretion to be the better part of valor, she hid from Subby.

She knew that hers was bad medicine, but stubborn Subby wasn’t too bright when faced with matters of love, and continued to search for her. And find her he did, when he decided it was time to settle down and join…

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THE AVENGERS In 1984, Marvel began experimenting with four-issue miniseries to highlight characters who didn’t have their own series, and Prince Namor, the Sub-Mariner was one of the first. The series was a decent read, especially because it accurately portrayed the title character’s wanderlust and impatience with statesmanship.

When an underling announces his pending departure for preliminary talks with the United Nations about Atlantis’ proposed entry into that diplomatic body, the monarch cast aside the affairs of state and took the mission for himself. A day trip to the bright lights and big city would quench his thirst for adventure.

Naturally, he botched the whole mission with his arrogance and temper, and while he was absent Atlantis was attacked and nearly destroyed. Upon returning, his people asked Namor to abdicate his throne in favor of a monarch who would at least be there to see to their needs. Uncharacteristically, he accepted and immediately vacated his former undersea kingdom.

We next saw the despondent, beachcombing Namor in front of Hydrobase, former home of Betty Dean Prentiss’ scaly green scientists, and future home of the Avengers. Seeing that his former WWII comrade could use a job, Captain America offered Subby membership in his team in Avengers #262 (Dec. 1985). Namor at first declined, because he was still moping, but some tough love from Hercules and an appeal by Cap to their prior friendship finally convinced him.

In contrast to some of Subby’s earlier team books, the creators remained remarkably consistent during this period, possibly resulting in a much more enjoyable experience for faithful Sub-Mariner.

During most of this time, Subby’s contribution to the Avengers was minimal. However, one main plot thread was the presence of picketers outside the Avengers Mansion, protesting Namor’s induction into the team. “Heroes Yes, Outlaws No!” read signs, recalling the time Sub-Mariner and his Atlantean troops marched on New York, vowing to eradicate mankind. At the same time, Subby was served with a two billion dollar lawsuit for property damages, and he learned that his beloved Marrina had been kidnapped by the villainous Attuma to lure Subby to Atlantis.

He called upon his Avengers teammates to help, and after almost a year of membership in that team we finally saw some knock-down, drag-out Sub-Mariner action! Subby versus Attuma, just like in the old days. Throw in the combined forces of Alpha Flight and the Avengers, and you had a good old-fashioned superhero brouhaha. That is, until the former Prince of Atlantis abruptly and uncharacteristically sat down for a chat with his longtime sparring partner to tell him that he has given up on leading Atlantis, and just wanted his girlfriend back. Namor did finally find Marrina, only to learn that she had become ugly, due to the alien’s previous entrapment with a “monster” that altered her body chemistry.

Although this was a bit of an anti-climax to a story that started with so much action, it did prove to be significant. Subby officially resigned from the Avengers to find Marrina and helped “cure” her ugliness (after a scare that she might have been “pregnant” from exposure to her atavistic seaweedy soul mate). After all that, Subby should have known better and avoided Marrina like the plague, but no.

They married at the end of Alpha Flight #40 (Nov. 1986).

He returned to the Avengers less than a year later in issue #282 (Aug. 1987). A despondent Zeus up in Olympus was angry over the delirious ravings of his semi-comatose son Hercules, about the latter’s “mistreatment” by his former Avengers teammates. It took several battles to convince Zeus that it was all a misunderstanding, but as the dust was settling Marrina disclosed to Subby that his few remaining followers abandoned him when he was kidnapped by Neptune.

The two again resigned themselves to living on land.

Things finally came to a head when Marrina returned to her monstrous form at a cocktail party thrown in the Avengers’ honor.

Amidst scattered hors d’oeuvres and party guests, she jumped in the ocean and grew to Leviathan size, destroying every ship in her path. Finally, hubby Subby was forced to put her down between the eyes with Black Knight’s sword. Understandably, he was distraught and left the Avengers.

CHECKLIST OF SUB-MARINER MAIN APPEARANCES 1970 through 1989 SOLO SERIES Sub-Mariner (1968 series) #22–72 (Feb. 1970–Sept. 1974) Prince Namor, the Sub-Mariner #1–4 (Sept. 1984–Dec. 1984) The Saga of the Sub-Mariner #1–12 (Nov. 1988–Oct. 1989)

THE DEFENDERS Marvel Feature #1–3 (Dec. 1971–Jun. 1972) Avengers #116–118 (Oct. 1973–Dec. 1973) Defenders #1–14 (Aug. 1972–July 1974) Giant-Size Defenders #1, 3 (July 1974, Jan. 1975) Defenders #52–56 (Oct. 1977–Feb. 1978) Defenders #74, 78–85 (Aug. 1979, Dec. 1979–July 1980) Defenders #92–93, 98–101 (Feb. 1981–Mar. 1981, Aug. 1981–Nov. 1981) Defenders #107–116 (May 1982–Feb. 1983) Defenders #122–125 (Aug. 1983–Nov. 1983)

SUPER-VILLAIN TEAM-UP Giant-Size Super-Villain Team-Up #1–2 (Mar.–June 1975) Super-Villain Team-Up #1–13 (Aug. 1975–Aug. 1977) Avengers #155–156 (Jan. 1977–Feb. 1977)

ALPHA FLIGHT and AVENGERS Alpha Flight #12, 14–16 (July 1984, Sept. 1984–Nov. 1984) Avengers #262–272 (Dec. 1985–Oct. 1986) Alpha Flight #36–40 (July 1986–Nov. 1986) Avengers #282–293 (Aug. 1987–July 1988) Avengers #305–310 (July 1989–Nov. 1989) © 2008 Marvel Characters, Inc.

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SAGA OF THE SUB-MARINER For the Sub-Mariner, the 1980s closed out the same way the 1970s began—with Roy Thomas writing his adventures. The conceit of the 12-issue maxiseries, The Saga of the Sub-Mariner, was Namor writing his autobiography recounting the tales of past Golden, Silver, and Modern Age exploits. Thomas also consciously tied up some loose ends, solved some unresolved conflicts, and answered many lingering questions about how certain events in Namor’s past fit together.

One example of Namor’s apologia was to explain this easy use of (fish-related) slang and colloquialisms such as “Suffering Shad!” in his Golden Age adventures. (He was supposed to be the proud monarch of the Atlantean civilization.) His explanation was that English was not his native tongue, and when he first arrived on land, he learned English (remarkably fast) from the first humans to which he was exposed: the common man such as the New York dock workers. (This did not explain, however, why he did not therefore curse like a sailor.)

The first six issues of the series detailed Sub-Mariner’s Golden Age exploits, roughly from his first Timely appearance around 1939 to when his short-lived series was canceled in 1955. His origins were recounted, the reasons for his entry into WWII tweaked, and Namor’s modern appearances in the Invaders and All-Winners Squad were retconned into canon with these issues.

The final six issues covered Namor’s Silver and Modern Age escapades, from his reappearance in 1962’s Fantastic Four #4 through his recently concluded Avengers adventures. The series itself was thoroughly enjoyable and is a highly recommended read for even a casual fan of the Sub-Mariner. The only negative was that the final three issues rushed through the ’70s and ’80s—the most prolific period for the Avenging Son. Following the Sub-Mariner maxiseries, Marvel crossed over a storyline called “Atlantis Attacks” through all 14 of its summer Annuals.

The complicated story involved the Deviant race’s priesthood leader Ghaur and the Lemurean Princess Llyra (Lady Dorma’s killer, years earlier). The pair wanted to return the evil serpent god Set to Earth. The story was written in serial format (presumably to encourage readers to buy and read every “episode”), often with cliffhangers to be continued in the following Annual. Unfortunately, Subby himself was prominently featured in only a few of titles.

IN THE END

War Buff Rich Buckler pencil art from Saga of the Sub-Mariner #5, recapping Namor’s WWII adventures. © 2008 Marvel Characters, Inc.

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Sub-Mariner guest-starred in dozens of other titles throughout the two decades covered in this article, such as Marvel Team-Up and Marvel Two-in-One. Although many of these were interesting tales, there simply was no room to detail them here. Also absent from this article is Subby’s perennial participation in the 41-issue run with Invaders (1975–1979). This ground was already covered in BACK ISSUE’s sister publication, Alter Ego (vol. 2, #2). Although that issue is long out of print and difficult to obtain, it is available on TwoMorrows’ website, reprinted in Alter Ego: The Comic Book Artist Collection.

Namor’s adventures certainly did not conclude as the 1980s drew to a close. He was given another ongoing series in 1990, which is fondly remembered by many fans—especially those of the series’ creator John Byrne. If your interest (or nostalgia) has been piqued by the Sub-Mariner’s ’70s and ’80s adventures, you can easily and relatively cheaply find back issues. (At this time, the Essentials collections have collected only Super-Villain Team-Up, and Defenders vol. 1 contains all of the first 14 issues with Namor). Make haste!

Sub-Mariner grows impatient. Imperius Rex! In his secret identity, BRUCE MacINTOSH runs an online real-estate school in Colorado, though he much prefers teaching his Supergirl, Isabel, to fly. Read Bruce’s further exciting adventures in comics every week on the Pulse (www.comicon.com/pulse).

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Alan Weiss—whose artistic résumé includes Warlock, Shazam!, Spectacular Spider-Man, Steelgrip Starkey, War Dancer, Tom Strong, and the Elseworlds Batman: The Blue, the Grey, and the Bat—was scheduled to be interviewed in this issue, but circumstances beyond our control prohibited the interview’s completion. The interview will appear in a future issue. In the meantime, courtesy of the ultra-talented artist and his very helpful wife Pauline, we are proud to present this six-page gallery of Weiss wizardry.

No “Comic Book Royalty” issue would be complete without a curtsey to Prince Valiant, seen here in a 2004 pencil commission.

Alan’s pencil prowess is also on display in this stunning pinup of Michael Moorcock’s Elric of Melnibone.

Prince Valiant © 2008 King Features Syndicate. Elric © 2008 Michael Moorcock.

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Two of Marvel’s sexiest superheroines, Tigra (left) and Valkyrie (below left), get the Weiss treatment in recent commissions, as does a pairing of Prince T’Challa, the Black Panther (featured in this issue) and Alan’s own character (from Defiant Comics), War Dancer (below right).

Tigra, Valkyrie, and Black Panther © 2008 Marvel Characters, Inc. War Dancer © 2008 Alan Weiss.

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(opposite page) Here Alan reimagines the original Sue Storm-snatching cover of Fantastic Four #4 “One Minute Later.” (this page) Prince Namor and bashful Ben Grimm have made up in this 2005 commission.

(Fans of the Thing and Marvel-Two-inOne are invited back next issue for our interview with artist Ron Wilson.) © 2008 Marvel Characters, Inc.

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With an alter ego named Denny Colt, the Spirit lends himself quite well to a Western motif, don’t you think? We at BACK ISSUE also think that an issue or two of DC’s Will Eisner’s The Spirit title illustrated by Alan Weiss would be to die for! © 2008 Will Eisner Studios.

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Stag Spartan, Adventure Man! is Alan’s concept inspired by the “men’s sweat magazines” of the post-WWII era.

We hope to see it in print soon! For more of Alan Weiss’ art, including information about commissioned illustrations, visit his site at www.surrealdeal.net. © 2008 Alan Weiss.

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by

Eric Houston In the middle of Europe, surrounded by Transylvania, Symkaria, and the Carpathians, lies the tiny country of Latveria. Home to only 500,000, Latveria remains one of the most powerful nations in all of Europe—well, the Marvel Universe Europe, anyway. Its people appear peaceful and happy, and crime is relatively unheard of within Latverian borders. This peace and power are both gifts from the country’s unquestioned ruler, Victor von Doom. To the world at large, he is Doctor Doom, a villain—a monster, even—who has tried time and again to overthrow the Earth and kill the Fantastic Four, although not necessarily in that order. Yet, his relationship with his own people is never in question.

In the relatively rare visits to his homeland, Doom has been portrayed both as a gracious monarch to his people and as a power-mad monster, leaving readers to wonder, Which is the truth? If one were to look at those classic stories which saw the Fantastic Four face their greatest enemy within Latveria’s borders, would they find a monarch or a monster—or, as is so often the case with Doom, is the answer much more complex?

VILLAGE OF THE DAMNED

The Doctor is In Jack Kirby pencils to the “Doom’s Dispatch” section of Marvel’s house fanzine, Marvelmania #1 (Apr. 1970). Courtesy of Al Bigley. © 2008 Marvel Characters, Inc.

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Early within their legendary run on Fantastic Four, creators Stan Lee and Jack Kirby came up with the idea for Doctor Doom, a villain who they felt had a unique background: He was king of his own country. Stan Lee explains, “I had never read of a supervillain who was a king, so I thought it would be cool. It gave me lots of advantages because I could give him diplomatic immunity.” Still, in those early years, visits to Latveria were scarce. Indeed, outside of Doom’s origin story, in Fantastic Four Annual #2 (1964), most of the book’s visits to Latveria took place either within Doom’s castle walls or as single-panel shots of villagers cowering fearfully outside.

Of course, comic-book readers had met villains who ruled their own nations and even planets before.

Ming the Merciless of the planet Mongo from Alex Raymond’s Flash Gordon springs to mind immediately.

Such worlds, Mongo in particular, were horrifying visions of futures that could come to be on Earth, rife with oppressed, downtrodden citizens, cowering beneath the heel of a fascist government and all-powerful army. Thus, readers must have been surprised by what they saw of Latveria in those early appearances.

Doom’s nation was not some sort of futuristic, Orwellian dystopia, but a peaceful European village,

Ming the Merciless The prototypical malevolent monarch, as excerpted from master Alex Raymond’s Flash Gordon Sunday strip of March 13, 1936. © 2008 King Features Syndicate.

populated by smiling people. Looking at one of Jack Kirby’s panels of a typical Latverian street is almost like looking at a tourist brochure for Oktoberfest. There are no fascist armies marching the streets of Doom’s Latveria, nor is there a slave class of lizard men toiling in chains beneath the surface. It seemed from the start that Doom might be a different kind of villain king, one who might actually care for his people. Indeed, one of the final pages of Doom’s aforementioned origin story shows Doom walking the streets of a Latverian village. He is unaccompanied by guards, robot or human, as his citizens happily and fearlessly gather around him, wishing him well in word and thought.

From the very start, part of what made Doom stand out from other villains was the complexity of his character. “I always felt that the thing that set Doom apart from most other supervillains is the fact that he didn’t ever feel he was doing anything wrong,” explains Stan Lee. “To me, Victor von Doom was a very complex character and one that I cared about very much.” True enough, Stan and Jack went to great lengths in Doom’s origin story and elsewhere to create a truly sympathetic villain. He was, after all, a man with a tragic past and real motivations—as a youth he lost both of his parents to the same royal soldiers who constantly harassed his gypsy band, and spent much of his time and genius in learning spells and building devices designed to free his mother from Hell—but he was also the man who unapologetically tried to kill our heroes time and again. Still, this sympathetic side easily lead readers to believe that maybe the glimpses they saw of Latveria were true. Maybe the man who so terrorized the world truly loved and protected a small part of it. Finally, in Fantastic Four #84–87 (Mar.–June 1969), Stan and Jack sought to make their thoughts on Doom and Latveria clear once and for all.

In those landmark issues, the Fantastic Four enter Latveria on a mission from Nick Fury. Their orders: Find and destroy Doom’s secret army. Upon entering the country, the four heroes are shocked to find themselves welcomed with open arms. In fact, the local burgermeister has even declared it “Fantastic Four Fiesta Day” in their honor.

During the festivities, a television screen rises from the street and Doom welcomes the FF, declaring them citizens of Latveria and beckoning them, “Be eternally happy, or else, you die!”

As the FF struggle to discover Doom’s secret army and recover their missing powers, robbed via hypnosis, they also begin to discover the truth of Latveria. Initially, Reed, Ben, and Johnny are shocked discover what the readers had seen for years in those single-panel appearances: a quaint, happy European village. At first blush, Latverian life is positively idyllic. The people seem to want for nothing.

Ornate meals are even provided on demand, completely free of charge. Better yet, the food is so good that the Thing is forced to admit, “This joint’s got the Yancy Pizza Palace beat all to hallow!”

Meanwhile, elsewhere in the issue, Doom himself declares to a disloyal citizen, “Have I told you how dearly I love my subjects? The welfare of my people is ever closest to my heart!”

Yet, while readers had seen only those fleeting glimpses of Latveria, the Fantastic Four are now seeing the world between the panels, and all is not as happy as it seems. The smiles on the Latverian people seem false, almost painted-on. Even Johnny Storm, usually the last member of the FF to realize the obvious, is quick to comment, “Despite the banners and bands, the people move around like sleepwalkers!”

Reed continues the observation: “The mood of fear and oppression,” he says, “is so thick and heavy, you can almost touch it.” Still, Reed and Johnny don’t know how right they are. As the Fantastic Four enjoy their meal, the readers are whisked away to Castle Doom, only to learn a horrifying truth: Doom’s secret army,

I Can’t Drive 55 As the ruler of Latervia, Doom enjoys diplomatic immunity, as this panel from Daredevil #37 (Feb. 1968) reminds us. © 2008 Marvel Characters, Inc.

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consisting of ten nigh-unstoppable killer robots, will have their first field test the next day and their target will be the very village in which the FF find themselves feasting.

Doom has planned for the death of every man, woman, and child in that place without shedding a tear over his people. Instead, he only gloats.

Of course, by the end of the story, the Fantastic Four discover the robots’ Achilles heel and defeat them, saving the village, while Doom fails to even lift a finger in their aid. In the end, Doom even detonates a hidden bomb to destroy everything—and everyone— in the village rather than see the FF victorious. Only a miraculous appearance by the Invisible Girl, absent during the rest of the story, saves the villagers and the day.

So it seems that all of Doom’s talk of his great love for his people was just that: talk. Even if he believed it was in Latveria’s best interest to destroy the Fantastic Four, no true monarch would willingly kill so many innocents to achieve such a goal. Still, what does Stan Lee say of Doom’s so-called love for his people?

Homeward Bound The exotic Riviera holds no interest for Doom, who’s eager to head home to Latveria as seen in this splash from his solo series in Astonishing Tales #5 (Apr. 1971). Art by George Tuska and Mike Esposito. Original art scan courtesy of Dewey Cassell. © 2008 Marvel Characters, Inc.

“[Doom wants] Latveria to be a model nation, one that other nations would envy. He has a tremendous ego which would make him want to show that he can do anything better than anyone else, including ruling a nation and making his citizens love him.” Given that explanation, Doom’s actions do make sense. Doom’s love, according to Stan, is a selfish love: He only loves his country and people in as much as they can benefit him, and if their deaths benefit him more than their lives, so be it. And what of the people themselves, who move from appearing to love Doom to fearing him outright by the end of the story? Stan says, “They fear him, yet have a grudging respect for him. Just like the citizens of many [real] dictatorships.”

LATVERIA WITHOUT DOOM In the years that followed Stan and Jack’s run on Fantastic Four, many new writers and artists sought to expand on the Doom/Latveria saga. Several writers, including the likes of Roy Thomas and Marv Wolfman, seemed happy enough with Stan and Jack’s portrayal of the Doom/Latveria relationship and even chose to free the Latverians of Doom’s monstrous rule.

Enter Prince Zorba, created by Marv Wolfman in Fantastic Four #198 (Sept. 1978).

Prince Zorba was one of two sons of King Vladimir, the monarch whom Doom replaced on the Latverian throne. After the death of his brother Rudolfo, Zorba took command of a group of Latverian freedom fighters who, along with the Fantastic Four, drove Doom from power and sanity, granting Zorba the Latverian throne. Of course, King Zorba promised his people a new golden age and swore to remain king only until official elections could be held. As portrayed by Wolfman and artists like Keith Pollard and Joe Sinnott, Zorba was the sort of noble, heroic, and even levelheaded leader who might usher in a new future for Latveria. Yet, that old adage about absolute power soon reared its head and Zorba quickly became a worse ruler than Doom ever was.

Zorba the Great Doom’s Latverian successor, Zorba, from Fantastic Four #198 (Sept. 1978). © 2008 Marvel Characters, Inc.

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When John Byrne took over as writer and artist of Fantastic Four shortly after Zorba came to power, he quickly rescued Doom from the madness that had befallen him after losing his nation.

After that, it was only a matter of time before Byrne returned the deposed monarch to the Latverian throne.

From the very beginning of Fantastic Four #247 (Oct. 1982), which began Doom’s return to Latveria, it was clear that Byrne saw Doom’s relationship with his people very differently than Stan and Jack did. After all, Byrne would be the writer to truly humanize Doom, building on Stan and Jack’s foundation to create one of the most three-dimensional villains in all of comics. As that issue begins, Doom and the Fantastic Four stand in the very village square where Reed, Ben, and Johnny had enjoyed that meal years before. Now, though, the square is ruined, burned almost beyond recognition.

Amidst the rubble, an enraged Doom declares to a stunned Fantastic Four, “Once I ruled here, and while Doctor Doom was monarch, this tiny nation was the most prosperous in all Europe.”

He goes on to detail the love and prosperity he gave the nation and how the Fantastic Four brought about Latveria’s total downfall by allying themselves with Zorba, but they refuse to believe.

As Doom and the FF walk through the streets, they encounter a young woman who is overjoyed to see Doom. “Oh, Master,” she says, “how we prayed you might return to us.” At Doom’s behest, she then tells the sad tale of Latveria under Zorba’s rule. “When [Doctor Doom] ruled here, then was Latveria a happy kingdom, though we knew not how happy, free of all the strife which so troubles the rest of the world.” She goes on to tell of how the people would gather in the street to thank their monarch as he walked by, but how many were led astray by the arrival of Zorba and his promises of a happier life and free elections. She even tells of how happy the people were when Zorba first took the throne: “Zorba revoked the Master’s laws, but also the threat of the Master’s punishments. Within days, an almost forgotten weed sprouted in our garden country.

“Latveria was re-learning crime. And, worse and worse, we began to know poverty and hunger.” The free elections Zorba promised never came, and he soon declared martial law, unleashing Doom’s robot army, reprogrammed to be more lethal than ever, even for the most mundane infractions. In the past, Doom was accused of denying his people their freedom, but now, as he himself points out, it seems that, unlike Zorba, Doom only denied his people a single freedom: the freedom to commit evil. After a battle with a group of robots guards, during which the peasant woman is killed, Sue and Ben are left wondering for the first time if Latveria really was better under Doom’s rule.

By the issue’s end, Doom kills Zorba and retakes his throne, sharing a tender moment with his long-time manservant Boris and swearing to raise the murdered peasant woman’s child as his own ward. The Fantastic Four reluctantly leave Latveria, wondering along with the reader what is the truth of Latveria’s relationship with Doom.

Fantastic Four #247 is clearly meant to stand in contrast to Fantastic Four #84–87, telling, as it were, the other side of the argument and showing the many goods that came from Doom’s rule. That the two stories are meant to be paired together is clear not only from the setting and subject matter, but by the return of the same green killer robots of Doom’s secret army and by markedly similar covers: Byrne’s cover to issue #247 is very clearly a mix of Kirby’s covers to issues #84 and 86.

In issue #247, Doom’s earlier, cold-hearted plan to kill an entire village is countered by moments of genuine tenderness between Doom and the peasant woman and Doom and longtime manservant Boris, a fixture of Doom stories since his origin. The frightened and even rebellious citizens of #84-87 are likewise compared to the peasant woman and an entire legion of villagers who take Doom in, begging him to lead the fight against Zorba. This, then, is a glimpse of the Doom the people love: an armor-clad monarch who takes swift action to save his people and whose rule protects them from crime and rewards them with plenty.

Doom and “Son” Doom and Kristoff, from FF #258 (Sept. 1983). © 2008 Marvel Characters, Inc.

Of course, the peasant woman’s story must be taken with a grain of salt. Yes, she recalls Doom’s rule as a golden age, but only in comparison to the horrors she has recently seen. Further, she is arguably not worldly enough to know of any possibilities besides the two she has known: life under Zorba and life under Doom.

There is, for instance, no telling how she would react to a true democracy. Meanwhile, while it isn’t apparent in this issue, Byrne was always careful to balance his more sympathetic Doom with familiar acts of rage and villainy. After all, Doom would continue to try and kill the Fantastic Four throughout Byrne’s run, just as he always had. More subtly, though, readers would find Doom sharing a tender moment with Kristoff, the murdered peasant woman’s child, in Doom’s very next appearance, Fantastic Four #258 (Sept. 1983).

Here, all goes well as Kristoff bears witness to Doom’s day-to-day activities in running Latveria, even watching him hand down sentences and advice to his supplicants. Yet, when Kristoff dares suggest that Magneto’s power might rival Doom’s, Doom explodes: “No one rivals Doom!” he shouts, plucking Kristoff from the ground. “No one!

Doom is supreme! There is no power on Earth, no intellect in all creation to equal mine!”

Mark Waid, who wrote a fairly recent run on Fantastic Four, which, in part, reinvigorated Doom, brings these actions with Kristoff and, indeed, all of Latveria, into focus, saying, “He believes he cares for them. That’s one of his great blind spots—Doom is amazingly adept at fooling himself. At his core, he loves only those things that can be depended upon unfailingly to reflect his strengths, and he cannot abide anything or anyone that might expose any of his flaws.” Doom loves his people, but he loves himself more.

TODAY LATVERIA, TOMORROW THE WORLD Doom clearly demands unfailing loyalty from his people. Of course, the rewards for that loyalty are unquestionably high, so much so that one cannot help but wonder, Would the price be too high if Doom could bring that same prosperity to the entire world?

That very question is at the core of the forgotten classic Marvel Graphic Novel #27 (1987), Emperor Doom. In the story, plotted by Mark Gruenwald, Jim Shooter, and David Michelinie, with a script by Michelinie and art by Bob Hall, the Doom/Latveria relationship is examined on a grand scale as Doom finally realizes his dream and takes control of the entire world. Doom begins by kidnapping Zebediah Killgrave, the

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Purple Man, whose body secretes a chemical that forces others to do his will. Doom then creates a device to amplify the Purple Man’s powers and turns it on the entire world. After that, all it takes is a flick of the switch and Doom is the uncontested master of the Earth.

Only one man remains unaffected: Simon Williams, Wonder Man. Iron Man had placed Simon in a sensory-deprivation tank for an entire month, hoping to run some tests on Simon’s unique physiology. During that time, Doom took over. When Simon awoke, it was to a strange new world. He quickly learned that Doom was now in control and that his own physiology kept him immune from the Purple Man’s rays. With his fellow Avengers under Doom’s thrall, Simon escaped into the wilderness. There, he slowly learned more of this new world.

Under Doom’s rule, Russian troops unconditionally withdrew from Afghanistan, South Africa was turned over to black majority rule, deserts bloomed in Ethiopia, the stock market boomed, interest rates fell, and crime and hunger dwindled to nothingness. Doom accomplished all of this in days, and he did it all without taking a single life. Instead, he took the world’s freedom.

© 2008 Marvel Characters, Inc.

Needless to say, this doesn’t sit well with Wonder Man, nor should it. After all, one’s freedom is no small price to pay. Soon enough, Simon awakens some of his fellow Avengers, including Captain America, Iron Man, Hawkeye, and the Wasp, from Doom’s spell.

All now recall Doom’s past crimes and stand ready to oppose him. Still, something troubles them. As their Quinjet flies toward Doom’s stronghold, Iron Man cannot help but voice his concerns: “You know, it’s hard to be totally convinced that we’re doing the right thing. I mean war, famine, and political injustice are almost a thing of the past and there’s no question that Doom’s reign is the cause.”

Captain America, always the team’s moral compass, is quick to chime in: “War is an obscenity, Iron Man, but peace should be a people’s choice, not some dictator’s mandate. The people of the world are no more than contented slaves.” It is a difficult question to answer and one that, for the Avengers at least, has turned from philosophical to practical: Do Doom’s ends justify his means?

That his means require an end to freedom makes this seem like an easily answered question, but from within the reality of it, things remain far too gray, as Wasp states, “The means are wrong, but … I can’t help thinking of all the children who have food today because of Doom.”

Of course, the Avengers are ultimately able to put aside their concerns and take the battle to Doom, defeating him and freeing the world. The consequences of their actions are almost immediate, as everything Doom accomplished is undone. The Russian army returns to Afghanistan, apartheid returns to South Africa, and crime returns to the streets. The Avengers have won, but it seems like a hollow victory. In the book’s final panels, Hawkeye is left to sum up the adventure: “We’ve done humankind the greatest favor in history, or we’ve done it the greatest damage.”

By taking the idea of Doom as ruler and expanding it to the worldwide stage, Michelinie, et al., were able to really delve into the idea of Doom as ruler and at what price his brand of peace comes. “I think it’s a great idea,” says Michelinie. “I’m glad I—er, I mean, Mark and Jim—had it. It’s a terrific conflict without a definitive solution. It’s sad to think that humanity’s freedom is the very thing that prevents it from ever knowing true peace, but a strong argument can be made for just that. It depends on which you think is more important.” As for what Michelinie has to say personally about Doom’s ends justifying his means, “To him they do. Personally, I don’t like either taking or giving orders; controlling people doesn’t appeal to me, and I resent being controlled. So I’d have to vote thumbs down on Doom’s means.”

Ultimately, Emperor Doom is unable to offer any easy answers, fitting given the complex nature of the question it asks. Whether he rules Latveria or the entire world, it seems that is up to the reader’s individual perspective whether or not Doom’s brand of peace and prosperity is worth the freedoms he denies.

The Power of Doom An undated portrait of von Doom by Mike Zeck and John Beatty. Courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

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When Titans Clash A 1980 pencil sketch by John Byrne of Latervian lord Dr. Doom mixing it up with the mutant monarch Magneto.

Courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

WHAT IF…?

Still, one thing does seem clear from all of these stories: Doom is, in many ways, an exceptional ruler, capable of creating a utopia on Earth, even if the price may be too high. Given that, one can’t help but wonder, What if Doom were different? Is there a chance Doom could be a modern-day Arthur? Stan Lee, Doom’s co-creator, thinks it’s possible: “If he weren’t a villain at heart, he’d be a great ruler. He’s brilliant and courageous. What more could you want?” It’s an interesting question: What if Doctor Doom had become a hero? Would things be any different for Doom and Latveria? Luckily, when you’re talking comic books, and Marvel comics in particular, there is almost always an answer.

What If? vol. 1 #22 (Aug. 1980) sought to answer that very question with a story by writer Don Glut and pencils by Golden Age great Fred Kida. In this issue, readers travel back to that fateful day when a college-aged Reed Richards discovered a flaw in the mathematics of the machine Doom has built to pierce the veil of Hell itself. In the original history, Doom’s ego blinded him to the truth of Richards’ calculations, leading to the accident that permanently scarred Doom’s face and began his lifelong vendetta against Reed Richards and the Fantastic Four. In this reality, Doom looks past his ego to see that Richards is right.

With Reed’s help, Doom completes his device and successfully gazes into Hell, finding his mother’s soul trapped there. In the regular Marvel Universe, it took Doom decades to free her, but in this reality the unscarred Doom frees his mother within mere months.

Filled with an inner peace that our Doom would never know, he dons a brilliant golden armor and knight’s helmet before traveling to Latveria and freeing it from the cruel Rudolfo. In this reality, there is no question of Doom’s love for his people or their love for him.

Every panel shows the smiling masses of Latverian citizens as they celebrate their new freedom and their new monarch. There are no forced smiles then or when the citizenry gathers in Castle Doom to watch their master wed the lovely Valeria.

Of course, not everyone is happy for Doom.

Mephisto, master of the underworld, remains bitter at the loss of Doom’s mother’s soul. So, on Doom’s wedding night, Mephisto kidnaps all of Latveria.

After a brief battle, Mephisto offers Doom a bargain— he will free the citizens of Latveria save for one soul: Doom’s or Valeria’s. Just as Michelinie expanded the Doom/Latveria relationship across the entire world, Glut shrinks it to a single citizen. In the end, Doom’s true nature is revealed as he raises his head to cry, “The world … must not … be deprived … of Doom!” It seems that even this “heroic” Doom loves himself better than his people, and woe to the poor citizen of Latveria who ever forgets that.

© 2008 Marvel Characters, Inc.

Occasional BACK ISSUE contributor ERIC HOUSTON lives in Saint Paul, Minnesota, and is a television producer and life-long comics fan.

He visited Latveria on his 21st birthday and has a T-shirt to prove it.

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This Gene Colan– penciled Baron Zemo illustration, drawn at 15" x 20" and completed by the artist on 7/25/99, was the first of art collector Joe Kulbiski’s planned (but never completed) series of Captain America’s Rogues’ Gallery commissioned drawings. Says Mr. Kulbiski, who kindly contributed this for publication, “The lower-right inset image of Cap is inspired by the Jack Kirby-drawn Rogues’ Gallery images in FF Annuals #1 and 2, where Kirby used the same visual approach.” © 2008 Marvel Characters, Inc.

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TM

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Brian K. Morris

The magic is dying. And the court sorcerer of Atlantis knows it. Fortunately, no one else does … not yet. Not his ruler nor his lover nor his best friend— and especially not the savage sub-men who roam the edges of Atlantis’ boundaries, seeking a weakness in the land’s sorcerous defenses, to say nothing of his in-court enemies, angered by the young wizard’s arrogance. And then there are the enemies he can’t even see, the ones who await the opportunity to strike from lands beyond the earthly plains.

As the magic dies, the sorcerer undergoes a journey, one that moves him from the jeweled capital city of soon-to-be sunken Atlantis to a deli in Brooklyn and eventually Metropolis. But the first step is taken in Derby, Connecticut…

“ … THE WHOLE ISLAND AND THE OCEAN WERE CALLED ATLANTIS.” Charlton Publications was unique in comics history in that it not only owned its own distribution company, but its own printing presses as well. Publishing its diverse line of magazines wasn’t always enough to keep the plates constantly inked, so printing comic books took up the slack. Notorious for paying some of the lowest rates in the industry, Charlton Comics allowed its writers and artists more creative freedom to compensate. Under editor George Wildman, Charlton experienced a new level of creativity from veterans like Joe Gill, Steve Ditko, and Pat Boyette, while bringing in newer talents such as John Byrne, Mike Zeck, Joe Staton, Bob Layton, and Paul Kupperberg.

Arion’s First Stab Luckily for the Lord of Atlantis, Arion survived this cliffhanger ending to his very first adventure in The Warlord #56 (Apr. 1982). Script by Paul Kupperberg, art by Jan Duursema. All art in this article is courtesy of Paul Kupperberg, unless otherwise noted.

TM & © DC Comics.

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Early “Tynan” Takes Before they became pro artists at Marvel Comics, penciler John Byrne and inker Duffy Vohland brought “Tynan” to visual life, as did then-newcomer Mike Zeck.

TM & © DC Comics.

Already selling a story to Charlton’s horror magazines with Scary Tales #5 (Apr. 1976), Paul Kupperberg worked up a proposal for an ongoing series that would be called Atlantis. In college, the writer was completely familiar with the philosopher Plato’s metaphorical concept of Atlantis and “really tried to make my version of Atlantis as close to his idea as I could, although I changed plenty.” Kupperberg recalls of his story’s protagonist, “I think I intended to kind of create him via the backdoor by using the same protagonist in several stories and, before you know it, I’d have an ongoing character that maybe I could convince them to use on a regular basis in his own strip.” However, the Atlantis proposal was never submitted.

Kupperberg drew his inspiration primarily from Larry Niven’s The Magic Goes Away, where magic, like petroleum today, is discovered to be a non-renewable resource and science becomes an alternative energy source of sorts. “When I steal,” boasts Kupperberg, “I steal from the best.”

Fast forward to the early ’80s. Kupperberg now wrote for DC Comics, regularly scripting the adventures of the Superman family, the Doom Patrol, and the Vigilante, among many others. Word reached him that editor Laurie Sutton was looking for a new backup feature for The Warlord. With the combination of science and sorcery in the title strip, backups ranging in style from “OMAC” to “Claw the Unconquered” proved complementary. With the prominence of Atlantis not

Arion Proposal To secure a spot in the back pages of Warlord, Paul Kupperberg rewrote his “Atlantis” proposal for editor Laurie Sutton’s approval.

Remarkably, the concept translated from conception to printed page, with the exception of the hero’s and series’ names.

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only in the world of Travis (Warlord) Morgan, but also in that of Superman and Aquaman, Kupperberg dusted off his Atlantis proposal, now setting the strip in DC’s distant past, prior to any other version of the sunken land.

Given Kupperberg’s work in the DC mainstream, why fantasy? “I liked sword and sorcery and barbarians.

They’re cool, they’re fun, they’re easy to write because you’re not tied down to reality and all its bothersome logic.” When Kupperberg was in early adolescence, his father brought home several of the classic Ace Book editions of Edgar Rice Burroughs’ Tarzan novels, complete with Frank Frazetta’s painted covers.

Kupperberg immersed himself in heroic literature, adding the works of Robert E. Howard, Fritz Leiber, and others to his reading interests. “Under all that,” explains Kupperberg, “these writers all played with the concept of the ‘noble savage,’ the pure, incorruptible spirit that civilization has bred out of humanity.

That’s pretty heady stuff for Weird Tales.

“Anyway, you get a little older, go through a few more of those boring English Lit classes that teach you how to look beneath the surface of a piece of writing, and start realizing what you can do with these themes, it becomes even more attractive to write, and you still get to do all the cool sword fighting and scantily clad babes.

Only now, it’s got socially redeeming context!”

In the tale of Atlantis, rather than the standard rough-hewn barbarian whose survival relied upon his combat skills, the hero of this piece depended on his magic so much that when it vanished, he found himself defenseless, as was the land he guarded. The hero had to not only discover a new source of magical strength, he had to put his arrogance aside to develop the true hero inside. And the legends would speak of this mighty hero of Atlantis, the Lord High Mage … “Tynan”!

Having fallen in love with the concept, Sutton, along with Kupperberg, began a search for an artist.

Jan Duursema was an early graduate of the Joe Kubert School of Art who, like many of her classmates, turned to DC Comics and began illustrating short stories for the horror and war books. Then-Editorial Coordinator Karen Berger showed Sutton and Kupperberg a story Jan drew for one of DC’s mystery titles. “Laurie and I both instantly thought this was the artist for Atlantis,” Kupperberg says. “She brought a charm and delicacy to the book that a macho, superhero stylist never could have achieved,” a perfect choice for a hero who wouldn’t be relying on his one good sword arm for his defense.

Duursema started visualizing the world of preholocaust Atlantis, adding Native American and Aztec design elements and giving the strip a special look unlike anything previously seen in comics. “Jan was—and is— an amazing artist,” states Kupperberg. Jan also renamed the lead character “Arion.” Why did Kupperberg agree to the name change? “Because ‘Tynan’ sucked! It was always intended to be a placeholder name. Jan came in one day, said ‘Arion,’ and we were spared ‘Tynan.’”

Aside from the overall look of Arion, Lord of Atlantis, did Jan provide a great deal of input to the stories themselves? “Jan was always welcome to suggest ideas,” explains Kupperberg, “but Arion was coming out of a sort of cusp in the business, between the old school ‘You don’t tell me how to write, I won’t tell you how to draw,’ and a more collaborative spirit. Comics aren’t really a collaborative event, no matter what the hype. It’s either a solo effort or two or more workers on different parts of an assembly line. I hope I’ve learned some Mr. Terrific-style ‘Fair Play’ in the decades since.”

Lord High Mage of Atlantis and His True Love (top) Early character sketches of Arion, as drawn by Jan Duursema.

(2nd row) Arion didn’t lack for strong female characters as evidenced

by Lady Chian, captain of the Royal Guard and Arion’s true love.

TM & © DC Comics.

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Supporting Characters (top left) The solemn Wyynde went through some major personality changes during the course of Arion, Lord of Atlantis. (middle) Even major characters like King D’Tillah might not survive the book’s run. (bottom) Jan Duursema brought in a blend of designs that reflected the different cultures of Atlantis, as shown in this lovely drawing of an Royal Atlantean guardsman.

TM & © DC Comics.

With the creators in place, Arion debuted in Warlord #55 (Mar. 1982) and the book saw a swift 5000-copy rise in sales that maintained itself beyond the normal period of reader curiosity.

As Kupperberg explains, “There wasn’t a lot of fantasy coming out of DC or Marvel, at least nothing that seemed very consistent or to last for more than six or ten issues. I suppose Arion struck a chord with readers wanting more of the genre and helped it stay alive as long as it did.”

Arion could have comfortably remained a backup feature indefinitely, but was it just fannish enthusiasm that propelled the feature into its own title? No, as Kupperberg explains, it was all due to moving extra units of Warlord. “Joe Simon and Jerry Grandenetti were enthusiastic about Prez. Didn’t save it. There must have been enough of a fan and sales reaction [to Arion] that it made an impression on whoever used to make those decisions.” So Warlord #63 (Nov. 1982) saw the premiere of its new backup “The Barren Earth” as Arion, Lord of Atlantis received his own #1 (also cover-dated Nov. 1982), the memory of which stands out as one of Kupperberg’s best moments on the series: “It was very exciting for me. Arion was the first thing I had every created to receive its own title. It got a poster—which still hangs on my wall at home—house ads, all kinds of great treatment … and I had created it.”

“ … AND IN A SINGLE DAY AND NIGHT OF MISFORTUNE …”

But Kupperberg’s excitement, and participation, proved short-lived as Laurie Sutton moved on to new titles and the Kupperberg/Duursema team got a new editor in artist Ernie Colón. A versatile artist who proved equally skillful at drawing horror for Warren, superheroes for Atlas/Seaboard, and the cartoony characters of Harvey Comics, Colón co-edited Arion #1 and helmed the book starting with the following issue.

When Kupperberg turned in the plot for issue #3, he received a phone call from Colón, who didn’t feel the plot was quite right, but couldn’t articulate his objections. Kupperberg submitted a second version and Colón called again, still unable to explain what he saw wrong with the writing. One more rewrite later, managing 4 0

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Garn Daanuth Arion’s brother and mortal (to say nothing of immortal) enemy Garn Daanuth as penciled by Jan Duursema.

TM & © DC Comics.

editor Dick Giordano called Kupperberg, “saying the editor [Colón] has a problem with my work and is replacing me. This guy didn’t even have the kiskas to call me himself. To this day, I have no idea what was going on. The guy and I were always friendly enough before this.” With issue #4, Doug Moench took over the writing of Arion. With no input from Kupperberg, but working on what he’d already established, Moench detailed the origin of Arion: Many centuries earlier, the wizard Calculha sired two sons, Ahri’ahn and Garn Daanuth, by the sorceress Dark Majistra. Each parent groomed their favored child, one toward good and the other to seek power. When Majistra attempted to wield the Twelve Crystals of the Zodiac, Ahri’ahn sacrificed his life to prevent the resulting cataclysm. Calculha preserved his son’s essence inside a star for 10,000 years until he could return as Arion, trained by Calculha to become Lord High Mage of Atlantis. Meanwhile, Garn continued his own dark studies, waiting for his powers to match the scope of his evil ambitions.

With Arion, Lord of Atlantis #9 (July 1983), Colón was replaced by the legendary Joe Kubert.

“Imagine my surprise, happiness, and fear about eight months after my removal from Arion when I got a call from Joe,” recalls Kupperberg: “‘I’ve just been assigned to edit Arion. Why aren’t you writing it?’ I told him my sad story and he barked, ‘That’s ridiculous. You created the character.

You’re back on it, starting with #12. You’re late!’”

From Layouts to Lushly Rendered Art… …page 5 of the first Arion story, from Warlord #56. Art by Jan Duursema.

TM & © DC Comics.

Looking back on his time spent with Kubert, Kupperberg asks, “What do you say about Joe Kubert?

He is an amazing artist and just being in the same room with him is an education. To have him as your editor is like … scary!” And after a couple of issues, Kubert further intimidated the writer, saying, “There’s too much magic in the book.” Kupperberg’s reaction? “I froze solid.

There’s no way to say to the man without sounding condescending, ‘But, Joe, this is a sword-and-sorcery title!’

And one does not condescend to legends, especially when, as it turned out, he was right. Instead of action, I was relying too much on magic to carry the story, so we stepped down Arion’s magic to next to nothing and forced him to become more physical. The pace of the book picked up and was the better for it.”

With Arion #27 (Jan. 1985), future Vertigo editor Karen Berger succeeded Kubert and decided to bring back Arion’s magic. As Kupperberg explains, “Under Joe, I’d butched up Arion considerably as he learned to get along without all his magic powers. I felt comfortable going back to more of an emphasis on magic knowing that I would no longer rely on it as a crutch and an easy way out when the story got into trouble.”

“ … THE ISLAND OF ATLANTIS DISAPPEARED INTO THE DEPTHS OF THE SEA.” But in a comics genre that, excepting Conan the Barbarian, wasn’t known for its titles’ longevity, Kupperberg learned that Arion, Lord of Atlantis would be canceled and had until issue #35 (Sept. 1985) and a Special to wrap up the storylines. “It got a tad rushed at the end,” explains Kupperberg, “as these things are wont to do, but I think I managed to shoehorn in most of what I wanted to get done in it.” Even an appearance with Superman in DC Comics Presents #75 (Nov. 1984) didn’t help sales. “I figure anyone buying that issue would have been aware of Arion and made up their mind about him long before that. It wasn’t meant to be a sales-boosting gimmick anyway. Most of us tried to

sell Julie [Schwartz, the editor] a story starring whatever series we were writing or characters we were particularly interested in. It gave you a chance to throw your guy up against the guy.” And since Kupperberg was writing not only Arion, but Superman, Supergirl, and Superboy, as well as the syndicated Superman comic strip, “it probably wasn’t that hard a sell for me.”

In the Arion Special (1985), the wizard couldn’t prevent the Chaos Lord Chaon from sinking Atlantis, scattering the Twelve Kingdoms across the rest of the Earth.

This would have left Arion and his friends able to explore the rest of the planet, but such was not to be.

“The book had run its course with the readers,” Kupperberg explains, “and that was all she wrote.”

What might Kupperberg have changed, if given a second chance? “The long-range planning.” While not wanting to be tied down to a detailed timeline, “the plotting was kind of haphazard, the story kind of jumpy, just following my whims. Again, I had almost four years, so I can’t complain.”

However, readers would get to see Arion again.

But instead of finding him in Atlantis, think more of another island … Manhattan Island.

Kupperberg Karicature (above) Cartoonist/ editor Dave Manak captured Paul Kupperberg’s likeness.

“ATLANTIS WAS THE WAY TO OTHER ISLANDS.” Having survived tens of thousands of years in the six-issue miniseries Arion the Immortal (July–Dec. 1992), Arion found himself in New York City, living in a rent-controlled apartment over Carnegie Hall, where he longed for 19-year-old neighbor Amanda Crowley. He spent his days hanging out and kvetching with the last of the Atlantean gods in Washington Square Park where he fleeced passersby with his skill at Three Card Monte. However, Arion’s sedate existence was about to be disturbed by a now-unwelcome return of Darkworld magic as Garn Daanuth stirred up a war on the other side of the planet.

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How did Arion’s grim tone change so radically from its earlier incarnation? At the start of the ’90s, Kupperberg found himself without an assignment, so he worked up a proposal for a contemporary version of Arion, one who’d outlived his wife, most of his friends, as well as the mana that fueled the magic.

After an initial rejection from former editor Karen Berger, Kupperberg turned to his old friend Jim Owsley [now Christopher Priest], who worked in DC’s development group. According to Kupperberg, Owsley’s first reaction was, “This guy is so freaking grim all the time. Couldn’t he lighten up?” So Kupperberg exercised his comedywriting muscles. “I had a lifetime of listening to old Jews bicker. I might as well use it in my work.”

For Arion the Immortal, Owsley brought in penciler Ron Wilson, with inking by Jerry Acerno and Mike Gustovich. In his mortal form, Arion could have been anyone’s grumpy elderly grandfather. But as a being of magic, he more resembled a scarlet-clad Prince Namor than a sharp-eyed [glam-rocker] Marc Bolan.

Kupperberg continues, “You make so radical a turn

Superman Meets Arion This unusual team-up, written by Kupperberg and drawn by Tom Mandrake, took place in DC Comics Presents #75 (Nov. 1984).

Original art courtesy of Anthony Snyder.

TM & © DC Comics.

with a character, it’s usually because there’s an editor behind you, whispering in your ear, ‘Naw, keep going, go nuts!’ As long as you treat the character with respect, you can make his environment as ridiculous as you want. Make them sound like real people and as long as you’ve got the chops to pull it off, it’ll work in the end.”

Did Kupperberg prefer writing the classic version of Arion or the “Immortal” one? “I could do classic and enjoy it, but smart-ass postmodern is a hoot.

Heck, I’ll write you one right now!”

The wizard of Atlantis also figured prominently in the 1988 Power Girl miniseries as well as in Secret Origins vol. 2 #11 (Feb. 1987), both written by Kupperberg. In the wake of the Crisis on Infinite Earths, following an idea by Gerry Conway, Power Girl found herself no longer the cousin to the Earth-Two Superman, but instead the granddaughter of Arion, sent through time from ancient Atlantis to prevent her from becoming a pawn in another Garn Daanuth plot to destroy his brother.

Arion’s Artists (above top) Jan Duursema autographs a fan’s items at the 2007 Mid-Ohio Con. (above) Before he became famous for illustrating books like GrimJack, The Spectre, Batman, and Martian Manhunter, Tom Mandrake inked many issues of Arion, Lord of Atlantis over his wife’s pencils. Photographs by Brian K. Morris.

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Arion Returns Who says Paul Kupperberg wouldn’t be able to write Arion once the character’s books were canceled? In the Oceans of Magic anthology, edited by Brian Thomsen and Martin Greenberg, Kupperberg contributed “Walk Upon the Waters”—or, as Kupperberg

Immortal Illustrator (above) Ron Wilson, penciller of Arion the Immortal, takes a break from sketching at the 2007 Mid-Ohio Con. (Mr. Wilson will rejoin us next issue, reflecting on his time drawing the Thing’s adventures.) Photograph by Brian K. Morris.

calls it, “The Last Arion Story.” In this tale, the Lord High Mage of Atlantis recalls his life as he prepares to fight his last battle.

Kupperberg promises that Arion fans will easily recognize the characters within. He further states that “I’ve got ideas for other stories with them [the cast of Arion] as well. One way or another, I’ll get to write those stories!”

Eventually, Kupperberg moved into an editorship in DC’s special projects department, then onto the late, lamented Weekly World News before returning to the world of freelance writing. Duursema also moved onto new assignments and is currently the artist on Star Wars Legacy. But aside from some guest appearances in Justice League Quarterly, The Atlantis Chronicles, Showcase ’95, and Secret Origins, Arion has shown up rarely in the post-Crisis DC Universe. Recently, Arion popped up long enough to tell Power Girl that they weren’t related, now that Earth-Two was viable again.

Then, in Superman #655, a revamped version of the sorcerer appeared to plague the Man of Steel.

How does Kupperberg feel about seeing his creation significantly altered, and was he consulted?

“DC is free to use him whenever, wherever, however they want. I have creator equity in the character, but no say in how he’s used.” Does Kupperberg continue to monitor his creation? “Arion’s a very personal character for me. He remains my favorite child. Even over ‘Takion,’ whose first issue went on sale the same day my real son, Max, was born.”

At the end of the day, how does Paul Kupperberg feel, seeing his brainchild active in the DCU again, even without his hand on the rudder? “Looking at everything DC’s doing today, I see so much of the major storylines based on the stuff a small group of us second-stringers were doing—on my end, Checkmate and Power Girl, to name a couple. It’s nice to see so much of that stuff still around and being used as a foundation.”

Thus truly making Arion an Immortal.

TM & © DC Comics.

Who Is the Immortal in Your Neighborhood? (left) From Arion the Immortal #3 (Sept. 1992), even the former gods of Atlantis find “the last king of the realm” amusing. Art by Ron Wilson and Jerry Acerno.

BRIAN K. MORRIS fears no editorial challenge! Forever poised to research and write about long-canceled series or transcribe interview tapes both audible and garbled, he contributes regularly to BACK ISSUE and our big-sister mag, Alter Ego.

TM & © DC Comics.

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Unsung Heroes: Bob LeRose

Bob and Nick (above) A 1985 photo of Bob LeRose and Nicola Cuti (former DC editor and co-creator of E-Man), courtesy of Bob Rozakis.

The old cliché says that “the bigger they are, the nicer they are.” If true, then artist/colorist Bob LeRose was a superstar.

Born June 3, 1921 in Brooklyn, New York, LeRose was drafted into the Army in 1942. Three years later, he entered Phoenix Art School in New York City on the G.I. Bill. Eventually, he became an artist and office manager for the Johnstone and Cushing (J&C) ad agency, a pioneer in the use of comic art in advertising. While there, LeRose gave artist Neal Adams some of his earliest advertising work. When Al Stenzel split from J&C to form his own agency, LeRose followed him.

In 1976, DC Comics hired LeRose at the recommendation of Adams, and through the ’80s and until his semi-retirement in 1996, according to former production director Bob Rozakis, “Bob was the cover department; a cover did not go to an editor for approval without his okay.”

As Paul Kupperberg recalls, “In the days before computer coloring could do anything with the click of a mouse, you had to have people like Bob around who knew color and understood the printing process so well that they could create whatever color effects were called for. It helped that Bob was a talented painter in his own right.” Rozakis adds, “He had a wealth of knowledge about coloring and production and was willing to share it. He loved working at DC with all us ‘kids.’” LeRose was equally eager to share his memories of the people he worked alongside in his advertising days.

One day, Rozakis strolled into DC’s production department to discover one of the newest assistant editors trying to teach LeRose the finer points of coloring covers. “Bob stood there, patiently listening, nodding occasionally, until the guy had said his piece.” After the assistant editor departed, Bob asked LeRose, “Why didn’t you tell him you’ve been doing this since before he was born?”

With a smile, LeRose replied, “He’ll learn.”

Not only did LeRose lend his talent to DC’s covers, but he colored almost every issue of Arion of Atlantis. Caring only about the look of the finished product, LeRose might approach Kupperberg about making a small alteration in a cover, to which the writer/editor says, “My response was always and without fail, ‘You don’t even have to ask me, Bob. Just do what you think is right.”

When Rozakis would give LeRose his annual review, the colorist could be relied upon to remark, “You’ll tell me when it’s time to retire, won’t you?”

And every year for a dozen years, Rozakis would reply, “Not this year.”

But as talented as LeRose could be, it was his generosity of spirit that touched his friends and coworkers. “When Bob was doing his coloring,” recalls Rozakis, “he would blot the brush on a paper towel. When he was done, he would take the towels and mount them on a piece of board, creating unique pieces of abstract art. He would even name them. I have one that he gave me as a gift, titled ‘Rhapsody in Pink and Blue,’ in my home office.

Most of the folks in the production department, as well as editors and other staffers, got them.”

As for Kupperberg, he remembers when his son Max was born in 1996, coincidentally on the same day his book Takion was released, “I put the usual proud poppa picture of my boy on my desk. A few weeks later, I came in to find a gift on my desk from Bob wrapped in tissue paper. He had swiped the photo off my desk long enough to make a black-and-white Xerox of it, then took it home, hand-painted the photocopy, and framed it. The gesture touched me at the time and still, it’s sitting in front of me on my desk at home now and I smile every time I look at it and think of Bob.” LeRose continued to lend his talents to DC Comics even in semi-retirement.

On August 30, 2006, LeRose passed away at home from complications from emphysema. He was survived by his second wife, three children from his first marriage, and a body of highly respected artistry, as well as the admiration and respect of his friends and coworkers.

Bob and Lisa (left) From 1990, LeRose with Lisa Saladino, former DC production staffer and daughter of letterer Gaspar Saladino.

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Roger Ash

cond ucte d Octo ber 11, 2007

Only a King Can Save Us King Arthur to the rescue in this exquisitely drawn Brian Bolland Camelot 3000 pinup. Courtesy of Tomas Pardo.

TM & © DC Comics.

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Beginnings: The Elongated Man story “Magical Mystery Mirror” in Detective Comics #444 (Dec. 1974–Jan. 1975) [editor Julius Schwartz’s first issue after Archie Goodwin left the title]

Milestones: Detective Comics (DC) / Batman and The Outsiders (co-creator, DC) Batman: Full Circle (DC) / Batman: Son of the Demon (DC) The Maze Agency (creator, Comico, etc.) / Mantra (creator, Malibu) / Star Trek (DC) / Star Trek: Gemini novel/ Silver Age Sci-Fi Companion (TwoMorrows)

Works in Progress: A new series for TokyoPop set to debut in 2008 / “a couple fantasy novels I’m shopping around”

Mike W. Barr Comic Scene photo courtesy of Mike W. Barr.

Beginnings: Powerman series (1975) [not the Marvel hero, but an African hero whose comic was produced in the UK but initially only sold in Nigeria]

Milestones: Judge Dredd (2000AD) / Batman: The Killing Joke (DC) / covers for various DC titles including Animal Man, Wonder Woman, Vamps, and Green Lantern

Works in Progress: Re-coloring Killing Joke for the Batman: The Killing Joke Special Edition hardcover (DC) / covers for Jack of Fables (DC/Vertigo) / the cover for the final Grant Morrison Doom Patrol collection (DC/Vertigo) / “Mr. Mamoulian” for Negative Burn (Desperado)

Brian Bolland Comic Scene photo courtesy of Mike W. Barr.

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In the year 3000, aliens from the tenth planet, under the guidance of Morgan Le Fay, have invaded Earth.

This threat brings about the return of King Arthur and his Knights of the Round Table. Thus begins Camelot 3000, the rollicking science-fiction series by writer Mike W. Barr and artist Brian Bolland. Begun in 1982, this groundbreaking DC series featured a number of firsts, which Mike and Brian were kind enough to discuss; they also share some behind-the-scene stories.

– Roger Ash ROGER ASH: How did Camelot 3000 come to be?

MIKE W. BARR: As I’ve written before, I had taken a course in Arthurian Literature in college. When you study the Arthurian mythos, one of the first things that you learn is that the stories don’t really come to an end. King Arthur is out there kind of sleeping, recovering from the grievous wound he received at the end of Le Morte D’Arthur, waiting for his return. I thought it would be cool to do a science-fiction sequel to those stories. I had that idea around 1974 or ’75. I hung onto it until years later when DC was looking for projects. One year I submitted Camelot 3000 to them. It got rejected.

The next year I submitted it again, and that time it was accepted.

BRIAN BOLLAND: Who did you submit it to and who rejected it?

BARR: I believe it was submitted to Joe Orlando’s office. I don’t know if he made the actual rejection and acceptance.

ASH: Had the proposal changed at all?

BARR: I don’t believe so, no. I believe I just submitted the same one. Oddly enough, in-between that time, I had submitted to Marvel, and received an acceptance, to do what became Camelot 3000 in one of their black-and-white magazines. Either I never got around to doing it, or there was some kind of a cancellation in their black-and-white magazines before I could do anything with it. But it never went anywhere at Marvel.

Then, when DC was looking around for an artist, there were a number of names that were thrown around. Brian had done a lot of work by that time already. The American companies were just beginning to become cognizant of the fact that there was this untapped stream of talent over in Britain.

ASH: Was this your first major work in the US, Brian?

BOLLAND: Yes, it was. I was always a DC Comics fan, an American comic-book fan, so I knew all the artists and all the books. I was quite keen to get in on that whole thing. When my work on “Judge Dredd” in 2000AD was popular, through an accident which I’ve told a number of times, Joe Staton, the artist on Green Lantern at the time, came to borrow the spare drawing table in the flat where I lived in London. Through conversation with him, I said I’d really love to do a cover on a Green Lantern comic.

He phoned up Jack Harris, who was the editor on Green Lantern, and Jack said, “Okay! Great! Let’s get this guy to do a cover.” Once the logistics of that seemed to work out okay, I think I became the first of a kind of brain drain of artists and writers from over here that drifted across the Atlantic.

BARR: I think you probably were. Of course, it was unheard of for almost anyone to work at DC unless you were actually physically in the New York area.

BOLLAND: That’s right. The fact that we were working from across the Atlantic seemed like a huge obstacle.

When a number of artists from over here started to drift over there, it was quite an untried and untested thing for us to be doing.

Anyway, I announced to 2000AD that I would be working for DC because DC was going to give me regular work. Then it didn’t appear for a little while.

Eventually, the offer to do Camelot 3000 came up.

ASH: How did the two of you work together with the Atlantic separating you?

BARR: I wrote the stories as full scripts. I think you preferred working that way.

BOLLAND: I was always used to full scripts. Over in 2000AD and everything I’d done prior to that, I had a full script. We didn’t work the Marvel way, did we?

BARR: We talked about possibly doing one of the issues Marvel-style just to see how it would work out, but we never did that.

BOLLAND: That does seem like too much work for me.

BARR: It does. Yeah. [laughter] The Marvel method has its benefits. Look at all the work that Jack Kirby and Stan Lee did together. If we were in the same room together, being able to toss ideas back and forth, that might have worked out. But with the distance between us, I think the full-script method worked out well.

BOLLAND: Though we did spend a lot of time on the phone. I don’t know whether you were talking about what you were planning to do with the story or what. We just seemed to talk a lot, didn’t we?

BARR: Yeah. We just talked about the scripts. “Have you gotten the script? Did you read it? What did you think?

Any changes?” That type of thing.

ASH: Mike, a person you always give credit to for helping with Camelot is Dr. Sally Slocum. What exactly did she do?

BARR: Sally was the professor of Arthurian Literature, the course I took in college. When I came up with

Arthur Returns

the idea, I reestablished contact with her after not having spoken with her for several years. She was of immense help with a number of ideas and bringing up various other references in the Arthurian writings that could be cited. That’s why she gets a big dedication in the last issue.

ASH: There were a lot of firsts with Camelot 3000.

One is that it was the first maxiseries. Was that tough to push? The idea of just doing 12 issues and stopping?

BOLLAND: Who came up with that idea, Mike?

BARR: I don’t know. I had presented it as a finite story with a beginning, a middle, and an end, not as an ongoing series. I don’t know who came up with the idea that it would be deliberately 12 issues and called a “maxi-series.” Possibly someone in marketing.

Possibly the editor, Len Wein. They had already done some miniseries by that time. DC was beginning to see that there was some benefit to that openand-close format.

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(top left) Ross Andru’s cover layout for Camelot 3000 #1 (Dec. 1982), and (above) Brian Bolland’s finished version (scanned from a photocopy).

Courtesy of Mike W. Barr.

TM & © DC Comics.

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Mr. and Mrs. Camelot Bolland’s earliest takes on Arthur and Guinevere.

From the collection of Tomas Pardo.

TM & © DC Comics.

ASH: Was that appealing to both of you? To work on a series that did have a beginning, middle, and end?

BOLLAND: I was just sort of wallowing in the sheer delight of being in full employment with DC. I’m a very slow artist, as I’m sure is known. It was good for me to know that I could stop at the end of 300 pages, especially since I was gradually getting more and more behind. I was quite late on the last three or four issues. If it had been a monthly book, I just wouldn’t have been able to do it.

BARR: It was planned, of course, as a monthly book and the first two or three issues were.

BOLLAND: But I mean a monthly continuing book.

BARR: Yeah, that’s true. When the first issue came in, I said, “Look. Brian can’t do this on a monthly basis. Not at this level of quality. Why don’t we stockpile five or six issues and then go to press with them? Then we’ll have all that time built up in the schedule.” I was told “No. We have to have this out at a certain time.”

ASH: Was the delay in the book coming out near the end simply due to the art?

BOLLAND: Yes. I can’t think of any other reason.

Can you, Mike?

BARR: Well, no. But I’m trying to be diplomatic about it. [laughter] BOLLAND: Whatever I do, I try to make the next page a little bit better than the last one. As I got more and more involved in it, I felt my drawing was getting better. I wanted each issue to top the last one. I think there comes a time where you have to decide whether to just knock it out and deal with the consequences, or whether they will allow you a chance to do the job properly. The latter scheme really took over near the end. The last issue took, I don’t know, five months.

BARR: It was like nine.

BOLLAND: Nine? [laughter] You’ve got a record of that haven’t you? I go into denial when it comes to that.

BARR: Yes, it was a long time, but look at the book.

It was worth it, wasn’t it? Yes it was.

BOLLAND: I felt very bad about it. My mentor was Dave Gibbons and one of his strengths, aside from being a fantastic artist, is he never misses deadlines.

I’ve always felt hugely inferior to him because I’ve always been notoriously unable to hit deadlines.

BARR: I recall, now that all these memories are being dredged up, the first two pages of the second issue— you drew them on some kind of vellum, didn’t you?

BOLLAND: No. Because they could see that I was penciling so thoroughly, somebody suggested that they could print from the pencils. Nowadays you could do it easily. In those days, inks had to look like inks, so I set about producing finished artwork in pencil.

That in itself took so long it would have been easier to get a brush and some ink and ink it properly. I think I must have just done two pages and realized it wasn’t going to work out.

ASH: Brian, how much design work did you do for the series?

Big Ben … Boom! (opposite page) The unnerving splash page from Camelot 3000 #2 (Jan. 1983), courtesy of Tomas Pardo.

TM & © DC Comics.

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BOLLAND: It’s one of the few occasions in my whole career where I’ve actually been drawing characters that I’ve designed myself. Most of the time, I’m drawing characters that someone else has designed. It was all designed by me. All the costumes were designed by me. I’m going to admit it here: I’ve never been good with technology, so the spaceships, I’m afraid, were an old sheep’s vertebrae that I found on a hillside. [laughter] I rationalize that those creatures, the aliens, came from a place where everything was kind of organic. Everything was bone-like.

I’ve got to say here and now that when I started this book, I had never read any Arthurian stories. I grabbed myself a copy of T. H. White’s Once & Future King and quite enjoyed it, but I just couldn’t be bothered to plow through the whole thing. It was written in a very comical style. When I first came up with Merlin, I drew him as a pretty comical character.

BARR: Yes. I still have a copy of a drawing you drew of Merlin holding a rubber chicken.

BOLLAND: He was pulling a rubber chicken from out of his cap. [laughter] That’s what he seemed to be doing in the T. H. White book.

BARR: That’s right. In those days I was very young and grim and said, “No, no. This won’t do at all.” [laughter] BOLLAND: I didn’t change the look of him. He looked like the same character. He just didn’t go around doing funny things.

BARR: I think one of the interesting things that we’ve never really discussed was, when I wrote the series, it was the first major project that I had written. I was not aware of the differences in perception between Americans and British towards heroic literature.

Americans tend to take these things a lot more seriously than the British do.

BOLLAND: Is that so?

BARR: I think so in the sense that, for instance, to the Britains, Judge Dredd is almost a comedy character and to the Americans, he’s a hero.

BOLLAND: I always found that an interesting cultural collision. It was always our intention to play with the idea of just how unattractive the lead heroic figure is in Judge Dredd.

BARR: To some extent, Americans regard Judge Dredd not necessarily as an attractive figure, but as a sort of Clint Eastwood type of figure.

BOLLAND: Yes. You’re playing with a lot of irony.

It’s often said over here that Americans lack irony. I don’t know whether that’s true. [laughter] BARR: I think it was true, in those days, of me. Not that I’m disappointed with the book as it came out, but had I known then what I know now, we might have been able to play off that a little more.

ASH: Another first for Camelot was that it was the first series to be printed on Baxter paper, which is a higher-quality, whiter paper than the newsprint comics were printed on at the time. Did that affect how you approached the art?

Mirthful Merlin Artist Brian Bolland initially envisioned a more comical Merlin than did writer Mike W. Barr.

Art courtesy of Tomas Pardo.

TM & © DC Comics.

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BOLLAND: No. When Frank Miller came along with Ronin, I was staggered at just how an artist was able to take hold of the medium, bend it to his will, and make it look interesting and individual. I feel, in retrospect, that I had been fairly nostalgic when I was drawing Camelot. It doesn’t look revolutionary. It didn’t look radically different from anything that had come before it. The only difference for me was that it was on this better paper.

BARR: But I think that your style was remarkable enough that, given the treatment on good paper, it was quite amazing at the time.

BOLLAND: My biggest concern was that I wasn’t used to being inked by anybody. Occasionally people ask us Brits, “Who are the best inkers in British comics?” Until Mark Farmer came along, there had never been a British inker, because we don’t have inkers over here.

BARR: There’s Paul Neary.

BOLLAND: Well, Paul Neary was always an artist. It was only later in his career that he took to inking. Paul was drawing in Warren magazines five to ten years before I was drawing for DC. What I was saying was that we artists, at the time, would just ink our own work. There was no question because you didn’t divide up the labor any other way. I was not keen that I was going to be inked throughout Camelot 3000 at all. One of the reasons why I was so slow was because I penciled really thoroughly so that the inker wouldn’t have any chance of having his own style. [laughter] I did treat myself to doing the pencils and inks on the covers. Tragically, when they collected the edition together, they left the covers out.

BARR: On the first couple of covers, you didn’t even do the layouts.

BOLLAND: That’s right! I was going to push ahead because I had done many covers for 2000AD and there I was, about to start the first cover of Camelot,

Arthur Makes a Point

and Ross Andru’s layout came through the letterbox.

I thought, “What? I’m an artist of some note here.

I shouldn’t be treated this way.” So I ignored it and I came up with my own, completely different design which was rejected by Len Wein. [laughter] BARR: I later sent it to Amazing Heroes to be used as a cover.

BOLLAND: Len Wein said, “Sit down and draw the cover which we’ve specified.”

BARR: I’ve always thought that Brian should have done the covers from his own layout as well, but— BOLLAND: But from issue #3, I did anyway. I was very pleased with the covers, actually. The printing quality was nice.

I’ve got to mention that Bruce Patterson was the inker of the first five issues. Then he left and #6, when it came in in pencil, just about everybody in the DC office had a go at inking some of it. I think Dick Giordano inked some of it.

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From the files of Mike W. Barr, (top left) Ross Andru’s cover design for Camelot 3000 #2, and (above) Brian Bolland’s finished art.

TM & © DC Comics.

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BARR: In those days, no one really knew how to treat a project like Camelot 3000. Everyone was still thinking, when a book comes in late, what you’ve do is you give it to a number of inkers to get it done. They didn’t realize that that was not the way to handle a project like this. I thought Bruce Patterson was given a great opportunity to lift his name into the top tier of inkers, but he just dropped the ball by quitting. My recollection is that every time I saw him all he ever did was complain about how much detail there was on the pages.

ASH: Didn’t Terry Austin become the regular inker on it?

BOLLAND: Terry Austin inked the last six issues. I was always very impressed by Terry when he inked John Byrne on X-Men. I thought there couldn’t be two artists with more different inking styles than me and Terry.

When I saw it though, because I thought the second half of the series was penciled better than the first half, I was more pleased with the second half of the series than the first.

BARR: I think it was written better, too. When I started writing Camelot 3000, I was one of the big caption boys, the type who use captions to explain to the reader exactly what’s in the art. By the time I’d seen a few of Brian’s issues, I realized that wasn’t necessary.

BOLLAND: I always tend to forget the writer, you know. [laughter] We artists, we forget there is such a person. The colorist on the book was Tatjana Wood. She did the whole thing and should get a mention.

Can I just bring something in? Mike, I seem to remember you ringing up towards the end of the series. I got it into my head that I partly came up with the idea of the queen alien character.

BARR: That may be.

BOLLAND: I think I may have said that to some people. Since I’ve got you here, can I be credited in any way with thinking her up or not? Can you remember?

BARR: You may have. It’s not necessarily the kind of idea I would have come up with on my own, so sure.

One of the problems with the writing, looking back on it, is that the aliens never really had a great deal of characterization. If I were doing that over again, I would give them some emphasis. Not necessarily to make them sympathetic, but at least make them understandable.

ASH: One of the new characters you introduced in the series was Tom Prentice. Was he put there mainly as a touchstone for the readers?

BARR: Yeah. If you look at his last name, Prentice, that’s sort of a contraction of “apprentice,” which is what he is. He became King Arthur’s apprentice.

Originally I had thought that the role of Tom Prentice might be filled by a girl. Len really wanted a boy in that role, so we went with Tom. He was named, of course, after Sir Thomas Malory, who wrote Le Morte D’Arthur.

ASH: Aside from Tristan, who I’ll get to in a moment, was there a specific plan for who you decided to make the reincarnated knights?

BARR: The funny story about that is, when Brian and I were first talking over the series, I said there’s going to be King Arthur and 12 knights. Brian said, “How about six knights?” [laughter] BOLLAND: Did I? BARR: Yes. I said, “Okay. Six knights.” I’ve always thought of myself as very considerate of the artist, but I obviously wasn’t in that case. It’s very easy for a writer to say there are billions of characters in this panel, but the artist has to draw it. So I agreed to six knights. That gave us a chance to give them each a little more characterization, although I don’t know if any of them, except Tristan and Lancelot, had a lot of characterization.

BOLLAND: How many are there in Le Morte D’Arthur?

BARR: There are dozens of them in Le Morte D’Arthur. I went with 12 because of the parallel with the 12 disciples.

BOLLAND: I would have drawn 12 if you had asked me. [laughter] BARR: If only I’d known that.

BOLLAND: We could go back and do it again. I could draw them in.

BARR: It’d be like George Lucas does with the Star Wars movies. [laughter]

Covers by Bolland Starting with the third issue, artist Brian Bolland designed his own covers. Shown here are his cover layouts for Camelot 3000 #3 (Feb. 1983) and 4 (Mar. 1983), from the Pardo collection.

TM & © DC Comics.

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Woe Be the King Bolland’s original concept for the cover to Camelot 3000 #6 (July 1983), shared with us by Tomas Pardo, depicted a kneeling anguished Arthur; note the changes in the published version (inset).

TM & © DC Comics.

TM & © DC Comics.

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The Trouble with Girls A genderbending Tristan was among Camelot 3000’s shocks. Here she bargains with malevolent Morgan Le Fay, from issue #7. Courtesy of Tomas Pardo.

TM & © DC Comics.

A King Betrayed

ASH: Tristan being reincarnated as a woman allowed you to explore gender issues and discuss homosexuality through his/her love of Isolde. That was the first time I’m aware of that those topics were addressed in a mainstream comic. Was that tough to get through?

BARR: It wasn’t tough to get through. I discussed this with Len Wein and we decided that what we would do was, rather than getting approval to do it ahead of time, I would just write the script and Brian would pencil it. We’d get it inked and show the finished pages to DC management and see if they had any problem with them. Hopefully, because they were looking at finished art, there wouldn’t be a problem.

As is always the case with something that is, at the time, groundbreaking, if you look at it a quarter of a century or so later, it doesn’t look all that groundbreaking anymore. I think the material was handled in really excruciatingly good taste for what it was.

(above) Camelot 3000 #7’s (Aug. 1983) cover, as first imagined by Bolland, from the Pardo collection. Inset is the published version.

TM & © DC Comics.

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BOLLAND: I like that term, “excruciatingly good taste.” [laughter] BARR: There was some kissing, but that was pretty much all there was. That was all we felt we could get away with and really, all I wanted to get away with.

ASH: Do you remember any reaction you got to that at the time?

BARR: Most of the reader reaction was pretty good.

Camelot didn’t have any kind of reader advisory on the cover saying “For Mature Readers” or anything like that.

We got some mail from some kids who were obviously very young, who were saying, “I don’t understand this” or “Please don’t let the women kiss anymore.” [laughter] ASH: Aside from the Arthurian mythos, you did have some political satire. The US president, for example, was a parody of Reagan. Do you feel that that dates the material?

BARR: Unfortunately, I don’t think it’s dated at all. You could call the character George Bush and that wouldn’t change the story an iota. The only thing I regret is the heavy-handedness of the way it was done. It might be possible to keep the satire as pointed, but better written.

BOLLAND: I think that was an occasion when I was really moving toward the kind of heavy-handed satire we were going in for in 2000AD. We would often have politicians and people like that blasted in a fairly unsubtle way. Didn’t we have Idi Amin?

CAMELOT 3000: AROUND THE WORLD Co-creator/writer Mike W. Barr was kind enough to share with us this global gander at the dramatic page 9 of Camelot 3000 #1 (Dec. 1982), in a variety of forms: 1) Barr’s original script; 2) Brian Bolland’s pencils; plus internationally published versions in 3) “one of those damn Scandanavian languages,” says Barr, 4) Spanish, 5) Greek, and 6) French.

TM & © DC Comics.

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Final Issues Bolland’s cover preliminaries for (left) Camelot 3000 #11 (July 1984) and (above) 12 (Apr. 1985), courtesy of Tomas Pardo.

TM & © DC Comics.

BARR: Yes. Idi Amin was there, too.

BOLLAND: And there was a Russian guy who looked a bit like Brezhnev.

BARR: By that time, I was beginning to realize what Brian could do. We could do things like satire, which a lot of artists can’t do, and get away with it.

ASH: Looking back at the series now, are you happy with it?

BARR: If you look back at any body of work that you did when you were very young, you find a lot of youthful indiscretions, shall we say. But, yes, I’m generally quite happy with it. How about you, Brian?

BOLLAND: Yes. As I said before, it doesn’t look like it was groundbreaking from a design point of view. In a way, I slightly regret not knowing at the time that I might have had that liberty. But then, I don’t think it suffers from that.

BARR: No, I don’t think it does. There are always things that you wish you could go back and change.

TM & © DC Comics.

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If there are any problems with the story, and I’m sure there are, don’t chalk it up to a lack of wanting to do a good job, but to a lack of being able to do the best job. Certainly, Brian and I gave it everything we had.

In terms of the legacy of Camelot 3000, if there is any such thing, it seems to have fallen into disrepute as far as DC is concerned.

BOLLAND: Oh really?

BARR: Well, they didn’t do anything with it. They didn’t reprint any of them when they did the Millennium issues back in 2000. I know that there have been a number of requests online for there to be an Absolute Camelot 3000 edition. DC doesn’t seem to have any interest in doing that, which is unfortunate.

Camelot 3000 is something I’m very proud to have been connected with. It’s still listed on my résumé of things I’m most proud of.

ROGER ASH lives in Wisconsin, where he’s worked for Westfield Comics since 1988. After doing over 100 interviews with comics professionals, he decided to try his hand at freelancing and has written for TwoMorrows since 2006.

And he came, leaping out at us (with some odd foreshortening) from the cover of Fantastic Four #52 (July 1966), a creation of the team of Stan Lee and Jack Kirby. He’s the Black Panther (named before activist Huey Newton’s group), the first black superhero. In the issue, the FF is invited to visit the ruler of Wakanda, an African kingdom that none of the Four have heard of before (and they’re bribed with a cool high-tech plane if they come. Nothing Reed Richards likes more than cool tech). It’s a trap (of sorts)!

The ruler, T’Challa, is the Black Panther, a title (and uniform) passed from chieftain to chieftain. He uses the invitation to go all “Most Dangerous Game” on the FF, hunting them through what Lee calls a “hightech jungle,” but what Kirby depicts as a huge room of Kirby-tech. The Panther almost defeats the FF, and if it wasn’t for that pesky Wyatt Wingfoot (Johnny Storm’s college roommate), he’d have gotten away with it! Turns out the Panther is a cool guy, using the FF to help train him to square off against his ultimate enemy, Klaw (a rather disappointing take on the “great white hunter” yarn). The Panther decides to leave Wakanda and go out into the wider world to help all of mankind. End of twoissue story.

So, what has this to do with Don McGregor’s Panther? When Don got to write the character in 1973, he was proofreading for Marvel, reading everything that Marvel put out (and getting paid for it!), including Jungle Action. At the time, you’d almost have to get paid to read Jungle Action. It was part of the flood of titles from Marvel in the early ’70s, a deluge aimed at grabbing more of the shelf space away from DC Comics. DC and Marvel were playing the “blink first” game, and Marvel was stuffing old ’50s Atlas-era stories between new Gil Kane covers and slapping them out as Jungle Action. “Jann of the Jungle” and “Lorna, the Jungle Girl” were back (with nice Joe Maneely art), once again swinging through the jungle in Tarzan’s wake, playing Great White God to the poor black natives. While silly if forgivable in the ’50s, it was embarrassing in the supposedly enlightened ’70s. Don McGregor, proofing all this stuff and growing more and more disbelieving, called Marvel on it:

by

Tom “The Comics Savant” Stewart

© 2008 Marvel Characters, Inc.

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The Irreverent Billy Graham The multi-talented Billy Graham (1933–2003), one of the industry’s earliest AfricanAmerican artists, made far too few contributions to the comics field.

The majesty of his pencils are clear in this rare example of his Black Panther layouts, done in pencil and ink on vellum affixed to artboard. Courtesy of Heritage Comics Auctions (www.ha.com). © 2008 Marvel Characters, Inc.

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“Yeah, it was, ‘What’s with all the blond jungle gods and goddesses in Africa?’”

McGregor was handed Jungle Action to see what he could do with it. Maybe Marvel was half expecting him to fail, setting him up to shut him up. Seems Don could be very passionate about comics in general, and writing in particular, and wasn’t shy about expressing his opinion.

McGregor decided to take the title and feature the only black character that Marvel had that would fit the book: Lee and Kirby’s Black Panther. As we saw way back in the run-on first paragraph, Lee and Kirby had the Panther leaving Wakanda for the outside world. After the FF, the use of the character was more sporadic, with storylines centered around someone finding/attacking Wakanda for its secret Vibranium mound (the source of the Panther’s great wealth) or the Panther used as part of a team (like the Avengers). Don would feature the Black Panther solo in his own series, and bring him back home to Wakanda, and Africa: “That was Marvel. They wanted it set in Africa.”

OUT IN AFRICA That was Marvel’s only stipulation: Set it in Africa. Okay.

Don launched the Black Panther series with Jungle Action #6 (Sept. 1973), starting what would become the first multi-issue arc: “Panther’s Rage.” [Editor’s note: The Black Panther actually took over Jungle Action with issue #5 (July 1973), a reprinting of T’Challa’s battle with Man-Ape from Avengers #62 (Mar. 1969). The issue featured an all-new, all-spiffy Panther vs. Man-Ape cover by John Romita, Sr.] Running for 13 issues, “Panther’s Rage” introduced Eric Killmonger (great name), a major nemesis of the Panther, and returned T’Challa to a kingdom that had suffered in his absence.

“Rage” concerns the culture shock Wakanda is experiencing as T’Challa drags them into the 20th Century, using the wealth gained from Vibranium. That and the fact he has been absent (and has an outworlder girlfriend) had made the country ripe for a revolution led by Killmonger. (Would you follow a guy who named himself Killmonger? Just saying.) It is a challenge to the rule and philosophy of the Panther, and one he has to fight, even at times fighting his own people (no, it’s not been collected, sheesh). Don was thinking of the arc as a graphic novel, even before the term had come into general use, using the old Republic serials as a model of action. But in a bimonthly book as Jungle Action was, it’d be two months before the resolution (Would the Panther survive Killmonger throwing him off the cliff?

Find out in 60 days…!). Also there was the problem of readers remembering characters and storylines from issue to issue: “Well, Tom, if you have a storyline with a supporting character, but say he misses an issue, that’s four months that character doesn’t appear...”

That’s a long time to remember. I sometimes have trouble remembering something I just put down.

From “Panther’s Rage,” Part 5 Billy Graham’s layouts (top, courtesy of Heritage Comics Auctions) and the finished, lettered version inked by Klaus Janson (bottom, courtesy of Sean Clarke) of page 3 from Jungle Action #10 (July 1974). © 2008 Marvel Characters, Inc.

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KINGLY WOES McGregor centered the Panther series on the Wakandans, T’Challa’s tribe, and the burden of being their king. It was a much more human Panther than we’d seen before. Don added subplots featuring members of the tribe intriguing against the Panther’s chosen girlfriend—an outsider from America, singer Monica Lynne—and gave his characters (and villains) the small, human moments so hard to realize in so few pages, every two months (like the unspoken relationship between Panther’s Minister of Information Taku and former Killmonger ally Venomm). Don delved into the background of the Panther and the supporting characters, developing the history and backstory of Wakanda, drawing up maps, creating and filling in the history of the country and its people. Don added flesh to the bare bones of the Panther, giving him a personality that had been missing in previous incarnations. Don was making Black Panther his Panther.

© 2008 Marvel Characters, Inc.

But, wait a minute, something was missing. Don…?

“Marvel was asking, ‘Where’s all the white people?’”

“Well, it’s Africa, where we wanted it set…”

“Yeah, but where’s the white people?”

Well, they were buying the comic. Not in great numbers, but in a market that Marvel was courting, the ever-talked-about college crowd. That would be the crowd most praising the series, along with the fan press and letter writers. Jungle Action was something different, with an all-black cast and multi-issue, ready-to-collect arcs, and Don’s sometimes dense, over-the-top writing style.

Artists on the run were Rich Buckler, Klaus Janson and Bob McLeod (doing some of their early inking), Gil Kane, and Billy Graham.

Billy was known in the Marvel Bullpen as “the Irreverent Billy Graham.” What was Billy Graham like?

“Well, Billy was a renaissance man!,” McGregor says. “He was an artist, an actor, a playwright, the first black art director in comics, he did it all. He really hasn’t got the credit he deserves, but Billy didn’t care about any of the sh*t, didn’t matter.”

You got a good Billy story?

“Billy was working with me on Saber, for Eclipse,” McGregor recalls, “which had a [baby’s] birth in it.

Billy got the script and drew it as explicitly as he wanted it to be. Well, Jan Mullaney [co-founder of Eclipse] got the first few pages, and [wanted] it changed, saying, ‘It’ll cost us 10,000 copies!’”

McGregor fought it: “I’ll take out any act of violence, but the babies stay.

“Then Jan picks up the next batch of pages [at Billy’s apartment], and that has two guys kissing.

And again, Billy hasn’t pulled any punches. Jan looks at this: ‘No sense in talking to Don about this, is there?’

Billy said, ‘No.’” And that’s the way it ran.

Billy’s work on this series is a revelation, by the way: innovative layouts, expressive anatomy, and a cartoony style. Billy Graham is an artist overdue for a longer article.

THE KLAN KOMETH At the end of “Panther’s Rage” in Jungle Action #17 (Sept. 1975), Black Panther and Eric Killmonger meet for the final showdown. (Okay, spoiler buffs, consider this your warning…) The two meet at Warrior Falls, to battle to the death. It was the end of “Rage” and Killmonger must die.

“Marvel told me I couldn’t have the Panther kill, so I had Kantu (young son of a man murdered by Killmonger) push him over,” McGregor says.

After a one-issue epilogue to “Rage,” Don brought the white people back again, this time taking the Panther and Monica to America, straight into the heart of Georgia. In “The Panther vs. the Klan,” starting in

T’Challa vs. the KKK Still startling over thirty years later, the Black Panther struggles against the Klan.

Page 27 of Jungle Action #20 (Mar. 1976), from the collection of Sean Clarke. Script by Don McGregor, pencils by Billy Graham, and inks by Bob McLeod. © 2008 Marvel Characters, Inc.

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Southern Discomfort The crossburning sequence of McGregor’s “The Panther vs. the Klan” raised pulses by in ’76. Detail from page 3 from Jungle Action #21 (May 1976), illustrated by Graham and McLeod. Special thanks to Sean Clarke. © 2008 Marvel Characters, Inc.

Jungle Action #19 (Jan. 1976), the Panther goes with Monica back to her home, to mourn and investigate the death of Monica’s sister, Angela. And they run full-on into the Klan.

The new arc introduced the Soul Strangler, a skeletal (skeleton?) villain in red riding with the Klan; showed us Monica’s family, outlining more of her history (and had the Black Panther shopping in the supermarket!); and featured the first appearance of Wind Eagle, who looked poised to become a major new villain. But the storyline was causing some problems at the Marvel offices: “In one issue I had the Panther tied to a burning cross (Jungle Action #21, May 1976),” McGregor remembers. “Marvel redrew the cover, making it weaker. I was trying to show that agony.

I mean, Tom, he was tied to a burning cross! But they changed the cover … had the Panther breaking free … completely undermined what I was trying to do.”

They also didn’t have the cross actually burning. “The Panther vs. the Klan” didn’t rise to the level of “Panther’s Rage,” the uniqueness of the African setting and cast is missed down in the Deep South, and the Klan, while still a problem and recurring force in the life of America, seemed a bit dated by 1976.

With low sales and a deadline problem (#23 was a reprint), Jungle Action was canceled with #24 (Nov. 1976). In the letters column was the announcement that the book was ending, but would be back in 60 days as a solo book with Jack Kirby at the helm (really, it was sales … Kirby had nothing to do with the cancellation). One of the problems with the series was that it wasn’t connected with the rest of the Marvel Universe. Sales tend to drop when a book isn’t connected to other books. In my vast comic-buying experience (yep, I’m old), buyers have a limited amount of money, and tend not to buy what they don’t have to (meaning if it isn’t part of a bigger ongoing story, which almost forces fans to buy it to keep up with the story, it might be sacrificed to pick up yet another issue of whatever companywide crossover might be going on that month/year). This is something that the companies have now learned with a vengeance, I’m afraid.

Rich Buckler had started work on the next issue (Don still has Rich’s layouts for the issue), but that ending was never published.

The story was loosely, and a bit sloppily, tied up in Black Panther #14–15 (Mar.–May 1979), but without Don. McGregor returned to the Black Panther in “Panther’s Quest,” a 25-part series published in weekly installments in Marvel Comics Presents #13–37 (Feb.–Dec. 1989), and then in Panther’s Prey, with Dwayne Turner on art, a deluxe, squarebound miniseries in 1991.

And the future? Don…?

“I’ve always wanted to do ‘Panther’s Vows,’ with T’Challa and Monica getting married. Almost did it with [editor] Ralph Macchio, but…”

Of course, the Black Panther is married to Storm of the X-Men these days, but that probably won’t stop Don from completing the story, the marriage of his Panther.

TOM STEWART is a writer (duh) and playwright living in Seattle. His first book, By This Ax I Rule! Conan and the Battle for the Legacy of Robert E. Howard, will be published this summer.

Find him and he’ll sign it, but he hides real well.

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In 1976, Jungle Action, starring the Black Panther, was canceled.

It may have been a groundbreaking series, and popular with the college crowd, but it wasn’t making it in sales. That doesn’t mean it was a bad book, but like another innovative and acclaimed series, Denny O’Neil’s and Neal Adams’ Green Lantern/Green Arrow, it wasn’t making the numbers the publisher thought it should. A lot of books weren’t in the ’70s, and a lot of books met the same fate. So Marvel decided to try something new with Wakanda’s Prince T’Challa.

Jack Kirby had recently come back to Marvel after a five-year stint at rival DC Comics, and was expected to pick up right where he left off in 1970. Kirby had had enough of working with Stan Lee, of working with anyone, really, and wanted to do his own thing, be his own plotter and scripter, and his own editor. And he didn’t want to work on Thor, or Fantastic Four, or any of the books he’d been doing before his DC vacation—he wanted to do something new. Jack was always looking foreword, always wanting to know what was around the next corner. Instead of having Kirby become the company-wide idea man he would be perfect for, helping out the entire line with new characters, new formats, and new markets, Marvel put him back right where he’d left off, putting out pages as rapidly as he could.

Kirby became the go-to guy when Marvel had a book they didn’t know what to do with. Captain America was given to Jack as a book in trouble, and Devil Dinosaur was something they didn’t know what to do with, as was 2001: A Space Odyssey. It was almost as if Marvel said, “I don’t know, give it to Kirby. Let’s see what he does with it!” And Jack never turned down a challenge. He might not have been getting the respect he thought he deserved after his long service to the company (and the millions his creations had earned), but he was always there to help, and to accept the book that was failing.

Which brings us (the long way ’round) to Black Panther.

Marvel had canceled the Jungle Action book due to poor sales, but still thought the Panther character was worth another try. Why not throw Jack on it? After all, they needed something to fill the 15-page quota in Jack’s contract. Black Panther was a book Jack was not that interested in—after all, he always wanted to do something new—but it was a challenge, and Jack accepted, starting with Black Panther #1 (Jan. 1977), written and penciled by Kirby and inked by Mike Royer.

Kirby never read what McGregor had done with the Panther (he usually didn’t read other’s comics—he was too busy with his own), and after all, the book had been canceled and Marvel wanted a new direction for it. Jack went for a more adventure style for Black Panther, and focused more on the technological aspects of Vibranium, bringing in the Wakandian royal family, lost civilizations, and Kirby-style monsters. He also brought enough new ideas to keep other writers busy for years (he was Kirby, after all). Jack did his best with the book (his work ethic wouldn’t let him sleepwalk though it), but he was not really happy with it, or Marvel. His old friend and biographer Mark Evanier claimed that Marvel in the ’70s was not the place for Jack. “They didn’t know how to use Jack…”

I’d have to agree. Jack left Black Panther at #12 (Nov. 1978), leaving others to strip out what he put in, and left Marvel.

The fans who encountered Black Panther through McGregor’s run were mystified, and even angry, blaming Kirby for ending Don’s run. Others were still hung up on why Jack wasn’t doing Fantastic Four. But Kirby’s Panther was, well, pure Kirby as only Kirby could do. Weird, innovative, and at times bizarre, but always entertaining.

Jack’s entire run has been reprinted by Marvel in inexpensive trade paperbacks, so you can find out for yourself.

Thanks to Mark Evanier for taking time off the picket line to talk some Kirby.

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Tom “The Comics Savant” Stewart

Pouncing Panther, Hidden Logo Detail from the cover to Black Panther #7 (Jan. 1978).

Pencils by Jack Kirby, inks by Ernie Chan. © 2008 Marvel Characters, Inc.

© 2008 Marvel Characters, Inc.

Warrior for Wakanda Kirby’s crusading (and “KARAAK!!”ing) Prince T’Challa.

Page 3 of Black Panther #10 (July 1978), inked

by Mike Royer.

Courtesy of Anthony Snyder. © 2008 Marvel Characters, Inc.

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poll cond ucte d by

Michael Eury

A commissioned illustration of Kirby’s kolossal kreation Galactus by Steve “the Dude” Rude, courtesy of the artist and Jaynelle Rude. © 2008 Marvel Characters, Inc.

“KIRBY IS COMING!” That teaser appeared in DC Comics in 1970, followed by house ads which were, like Jack Kirby’s art, bombastic.

I was a kid back then, mainly a DC fan, lured into the realm a few years earlier by TV’s Batman. I knew who Jack Kirby was, though, because Fantastic Four, one of many titles he co-created, was one of the few Marvel books I followed (another reading choice predicated upon a comics-to-television adaptation). I was too young and too green at the time understand the newsworthiness of why Jack Kirby was leaving the company he helped put on the map for its main competitor, and his first efforts at DC—the Fourth World titles (Superman’s Pal Jimmy Olsen, New Gods, Forever People, and Mister Miracle)—didn’t win me over (those Plastino and Anderson Superman and Jimmy Olsen heads redrawn over Kirby’s didn’t help, either). My brother John and I used to snicker at the awkward anatomy in Kirby’s drawings, the square-tipped fingers being a particular point of ridicule.

It was Kirby’s second wave at DC—Kamandi, the Last Boy on Earth and The Demon (which DC really should collect in a Showcase Presents trade, don’t you think?)— that won me over. I was artistically wiser by that point, and Kirby’s new series weren’t encumbered by the interlocking density of the Fourth World. With those two titles, I finally understood Kirby’s “superpower”: imagination.

It’s no wonder that an alliterative nickname in Stan Leepenned credits has instead become a title of respect.

No “Comic Book Royalty” edition of BACK ISSUE would be complete without a celebration of Jack “King” Kirby. And so I turned to many of the King’s loyal subjects—some of comics’ finest writers, artists, and editors—and asked them to share with us their reasons for believing…

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KEITH GIFFEN Writer/artist of … well, almost everything!

Fan site: www.lonely.geek.nz/giffen.html

How is this even a question? Is there a single comic-book pro currently working who hasn’t been influenced in one way or another by Kirby (and if anyone says “no,” odds are they’re either lying or too stupid to live). All comic-book roads lead to Kirby. The question shouldn’t be, “Why was Kirby King?,” it should be, “Why is Kirby King?”

AL MILGROM Marvel and DC artist/writer/editor • co-creator of Firestorm, the Nuclear Man Commissioned illustration info at www.theartistschoice.com/milgrom.htm

Kirby’s my all-time fave … a massive talent who combined speed, brilliance, and creativity in a way no one else in comics ever has.

We will never see his like again, and we and the comics industry are that much the poorer for it. I can think of no other creator in any discipline who led their field for as many years. At the top of his game, at the top of the food chain!

JIM SALICRUP Editor-in-chief, Papercutz http://members.aol.com/_ht_a/jasalicrup/ myhomepage

The House of Ideas announced the departure of its chief architect in its fanzine, Marvelmania Monthly Magazine #1 (Apr. 1970). All Marvelmania images are courtesy of Al Bigley.

Back when I was editor-in-chief of Topps Comics, an LA convention decided to devote a big panel to everything we were up to. And suddenly I found myself onstage with, amongst others, Don Heck, Ray Bradbury, and Jack Kirby. While Jack is certainly deserving of the title “King” or even “Comics God” or even “genius,” the Jack I remember was the man I was with prior to that panel. In a short period of time, I witnessed three fascinating sides of Jack Kirby.

First was Jack Kirby the fan. Jack was in awe of Bradbury. In Bradbury’s presence, Jack was no longer Jack “King” Kirby, but little Jacob Kurtzberg, the kid who read Bradbury’s stories in sci-fi pulps on the streets of New York’s Lower East Side. Of course, Bradbury admired Jack as well, but that thought was too mind-blowing for Jack to believe.

Second was Jack the regular guy. This was a man who spoke like my father and was very down-to-earth talking with one of his peers, Don Heck. I’ll never forget Jack asking Don, “So, did Ditko ever find himself a woman?”

Third, there was Jack’s “comic-book guru” persona. I suspect Jack thought he needed a special way to talk to comic-book fans.

Jack was a genius, but you needed to take a course in “Kirbyology” to fully understand what he was talking about when he was in his public-speaking mode.

There have been lots of “kings,” but there was only one Jack Kirby.

© 2008 Marvel Characters, Inc.

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(below) Long before TwoMorrows’ own Jack Kirby Collector, Marvel’s fanzine Marvelmania Monthly Magazine published examples of the King’s pencils.

This Black Bolt illo was the cover to Marvelmania #1 (Apr. 1970). © 2008 Marvel Characters, Inc.

TOM BREVOORT Marvel Comics executive editor www.marvel.com/blogs/Tom_Brevoort

Kirby was the King because he could, and did, do it all.

Fans tend to focus solely on his penciling, his storytelling, and design sense. But Jack was every bit as much a writer, even on those series he was ostensibly only drawing.

Kirby’s sensibility permeates the very bedrock of the ’60s Marvel line, my favorite of all the stuff he worked on.

All those crazy, far-out concepts that we still draw upon today came mainly from the imagination of one guy.

(Which is not to cheapen the contributions of Stan Lee, who was just as integral to those books.) The Watcher, A.I.M., the Negative Zone, Mangog, Hydra, the Cosmic Cube, the Inhumans, the Danger Room, Galactus, the High Evolutionary, “Him,” M.O.D.O.K., Annihilus, Sub-Atomica, Kang the Conqueror, the Sentinels, HomoSuperior, the Savage Land, Blastaar, Ego the Living Planet, the Brotherhood of Evil Mutants, Yancy Street, Asgard, Latveria, the Supreme Intelligence, the Destroyer, Unstable Molecules—all of the best toys in the Marvel Sandbox have Jack’s DNA encoded right into them. And that’s atop all the headliners he had a hand in creating.

DAVID ANTHONY KRAFT Comics writer and comics fandom writer/publisher

Sure, I read the early Marvels, with the “King” Kirby credits, and the art that proved it. FF and, for me especially, Thor. And Avengers and Cap and … but the clincher? The three-part “Coming of Galactus” story in Fantastic Four, upon which the Silver Surfer movie is based.

(Who could have foreseen that one day there would be a motion picture made from that story? I couldn’t not see that movie!) Kirby was King. Kirby is King.

BOB LAYTON Acclaimed Iron Man artist/co-plotter www.boblayton.com

Here are a couple of pieces that I inked over Kirby.

Feel free to use them with your article about the King!

(left) Bob Layton’s recreations of two Kirby covers, Giant-Size Conan #5 (1975) and Avengers #151 (Sept. 1976).

Conan © 2008 Conan Properties. Avengers © 2008 Marvel Characters, Inc.

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JOE CASEY Writer, GØDLAND www.godlandonline.com

This is why Kirby was King… …because the first page of the first issue of his magnum opus reads: EPILOGUE: THERE CAME A DAY WHEN THE OLD GODS DIED! Kirby’s work was comic-book poetry. Innovative and classic at the same time. Beginning with an epilogue (!) was enough of a master stroke.

But to follow that up with one sentence—nine words—that evoke such a mood, a feeling, a scope, a majesty. The rest of the Fourth World series basked in the glow of those nine words. The entire concept reverberates with their power to this very day, 36 years later… …and only a King has that kind of power.

RANDY BOWEN Sculptor • Bowen Designs Marvel mini-busts and statues www.bowendesigns.com

ERIK LARSEN Creator, The Savage Dragon www.savagedragon.com

The easy answer is that there weren’t any contenders.

There are some that would argue that others drew better—that others created more memorable characters—that his “best work” was done with collaborators. But those guys are idiots! Don’t listen to them!

Sure, Jack’s work wasn’t photorealistic—but it wasn’t trying to be.

Jack invented a whole new visual language that was visually superior to reality! Jack innovated! Jack was a creator in every sense of the word—if he wasn’t creating crazy machines and fantastic landscapes he was creating awesome characters and mind-blowing concepts.

Jack was one of the most prolific comic-book artists of all time and every drawing—every line—was worth looking at. And if there was an artist or writer that he didn’t inspire, he surely inspired whoever it was that did inspire them.

Jack created or co-created almost every character worth a damn at the “Big Two” and countless others as well. It’s pretty safe to say that without Jack there would be no “Big Two.” It’s hard to talk about Jack without it sounding as though you’re exaggerating. How is it possible that one man could have done so much—created so much—drawn so much—dreamed so much?

Jack Kirby was the single greatest creative force to ever walk the face of the earth. None that have come before or since have equaled him or will, I’d imagine, ever equal him.

But that doesn’t mean we shouldn’t try.

For me, Kirby was an acquired taste. When I was a kid, my tastes leaned more toward Neal Adams, John Buscema, Romita, etc. It wasn’t until later that I came to realize that Kirby was almost single-handedly responsible for a visual language that was ultimately used by almost every artist working in comics (whether they knew it or not).

From my perspective as a sculptor, Kirby is probably the most difficult style to “ape.” His stuff usually only looks good (in 3-D sculpture) from only a couple of angles. After all, when he was drawing this stuff, it was never intended for sculpture. It’s a fine line one walks when interpreting the King’s style into statuary. It can easily look like you have no idea what the hell you’re doing.

Why do I believe Kirby was King? His drawings carried weight and mass more than just about anyone else; kinda like sculpture in 2-D. His work defies standard definition. To really appreciate what he was up to, you have to copy it, in order to digest it. The genius is in what he leaves out, more than what he includes in his approach.

(above) The kind-hearted King was involved with Marvel’s “Toys for Tots” charity efforts, as reported in Marvelmania #1 (Apr. 1970). (left) Kirby in 3-D, as sculpted by Randy Bowen: the Captain America and the Hulk bronze statues. © 2008 Marvel Characters, Inc.

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MIKE DECARLO Artist for Simpsons Comics • Looney Tunes • Scooby-Doo • DC’s Cartoon Network

www.geonetinc.com/mikedecarlo/

It was in March 1964. I had just turned seven when I chanced upon a copy of Fantastic Four #25 at the local pharmacy. The cover showed two titanic and powerful characters pounding savagely on each other while the city around them seemed to be crumbling from the energy of their collision.

It was, of course, the first issue of the legendary Hulk vs. the Thing two-part saga that now stands iconically in

© 2008 Marvel Characters, Inc.

Mike DeCarlo’s tribute to Kirby’s FF #25 (Apr. 1964), drawn specifically for BACK ISSUE. Thanks for the fabulous art, Mike! © 2008 Marvel Characters, Inc.

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the Silver Age legerdemain. I quickly produced my 12 cents and ran home to read it eagerly.

What a fortuitous point in time to be exposed to the magic of Jack Kirby!

To this day, I still get a certain warm feeling when I glance over those two issues. The fury of the Hulk, the grim fortitude of the outclassed Thing, and the seeming helplessness of virtually everyone else (including the Avengers and the rest of the FF) who crossed the rampaging Hulk’s path.

Jack’s art, though crudely inked by George Roussos, was undeniably powerful and the storytelling impeccable and engaging. I was hooked for the remainder of my life to the brilliant imagination of this unassuming man. There will never be another like him to me.

JOHN BYRNE Writer/artist of numerous Marvel and DC series www.byrnerobotics.com

This is easy! Kirby was the ideal comicbook artist. The whole was so much greater than the sum of the parts. Was he a superb anatomist, like Gil Kane? No. Did he have the weird quirkiness of Steve Ditko? No. An elegant ecomony of line like Joe Kubert? No. Photorealism like Neal Adams? No! Instead, where he “lacked” these things, he invented his own replacements. He stylized his anatomy, went for pure power over quirkiness, created a line work all his own, and, perhaps most important, built a world that no one would ever mistake for photorealism, but that was in every way utterly believable.

TM & © DC Comics.

JIM SHOOTER Writer, Legion of Super-Heroes • former Marvel editor-in-chief www.dccomics.com/comics/?cm=9002

Jack Kirby was crowned King by Stan Lee when Stan gave Jack the Marvel nickname “King.” Did Jack deserve the coronation?

Certainly. His creative record is not only unmatched in the comics field, but possibly, idea for idea, unmatched by anyone in any field. Ever. At his peak, in the early to mid-1960s, Jack was the absolute master of comics storytelling, and had evolved a powerful, wonderful, exciting, magical style that blended just enough solid drawing with just enough abstraction and just enough exaggeration. He changed everything. He influenced countless creators. He awed and entertained millions of readers.

His work moved people. King, indeed.

(left) Superman and Wonder Woman encounter Kirby’s Darkseid and Desaad on page 26 of Action Comics #600 (May 1988), written and penciled by John Byrne and inked

by George Pérez. Courtesy of Andy Mangels. (above) An undated quick sketch of Orion of the New Gods, by Fourth World father King Kirby. Courtesy of Heritage Comics Auctions.

TM & © DC Comics.

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STEVE RUDE

TONY ISABELLA

Nexus artist • creator of The Moth www.steverude.com

Writer, Tony’s Online Tips • creator of Black Lightning and the Champions www.worldfamouscomics.com/tony

Since comics are a visual medium first, I assume that the art would be the initial attraction to anyone interested in buying them.

Enter the genius of Jack Kirby, and why he’s called “the King.”

Imagine several dozen comics on the racks for us kids growing up in the ’60s. Going in blind, Who ya gonna buy? Possibly the guy with the art style that grabs you the most? Correct, you under-20 types!

To me, and thousands of others, that artist was Jack Kirby. Which is interesting, seeing how Kirby was the only artist who depicted superheroes that went beyond the normal “anatomically correct” way which all other artists sharing the stands with Jack learned to draw the human figure. Confusing? Read on…

All the little bumps and protrusions that everyone else drew, like lateral oblique muscles bulging from the waist, and showing every little muscle that makes up the arm as though it wasn’t covered with skin, get thrown out the window with Jack’s depictions.

Over the years, Jack had thoughtfully evolved a streamlined version of the human body, discarding any line which didn’t contribute to the overall beauty of the pose. This put much more emphasis on the emotion and design of a body than the literal points of anatomy that everyone else incorporated.

When it comes to Jack Kirby, I think of “king” as meaning “leader,” and he was certainly that. He was the initiator of or, at least, one of the early masters of so many comics genres and storytelling techniques. He excelled at all of them, leaving behind precious, shiny nuggets we’ve all been mining ever since. I’d wager that 95% of the creators responding to this poll have, sometime during their careers, worked on characters created or co-created by Jack Kirby.

He was also one of the first to openly and even boisterously depart from one publisher to improve his lot at another … when he took his leave of the Marvel Universe he had co-created to launch his Fourth World titles at DC. He was all about “better” and “more” for both himself and his fellow creators. Better pay and more respect. I don’t hesitate to suggest that, if the writers and artists in the comics industry had the strong will, the sense of justice, the pure cojones we see in the TV/movie industry’s writers strike, and if Jack Kirby were still blessedly with us, that he’d be on the picket line at this very moment.

The extraordinary creativity, talent, and work ethic Kirby brought to comics more than justify his place as comics royalty. But let’s not forget he was one of our greatest leaders. By Odin, I’d follow that man to the realms of Hel and beyond!

[Note that “Hel” refers to the Norse goddess of the dead and is not just a stupid Isabella typo.]

BERNIE MIREAULT Creator of Dr. Robot and The Jam www3.sympatico.ca/bem69

I’ve done a portrait of Jack Kirby [for a commission a year ago] that people seem to like. I’d like to offer it to BACK ISSUE as a tribute to my favorite cartoonist.

Thankfully, there’ll be many others contributing to this special column on Jack who will concern themselves with the other points of Kirby’s genius: his career longevity, his astounding work ethic and speed of page execution, and most notable, his cosmic imagination.

So great were Jack’s concepts, that even his books that lasted but a few issues are unanimously the ones most sought for revival by the best of today’s creators.

(for inset, above) Kirby anatomy from Mister Miracle #11, page 7, and Steve Rude’s example of how others might have drawn this pose.

Mister Miracle TM & © DC Comics.

Art © 2008 Bernie Mireault.

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Jim Kingman

What we were told about Baron Winters twenty-five years ago: “In the murky darkness of a house which should not exist lives an enigma. He is uncomfortable existing in time, belonging perhaps to no time, yet existing in all. Why he is here he cannot tell, but he is here nonetheless. Existing like some shadow frozen in a moment of light. He calls himself Baron Winters. But if that is his true name, not even he remembers.” – Marv Wolfman, Night Force #9 (Apr. 1983).

Permit me to reintroduce … Baron Winters. The Baron is a liar, deceiver, and fabricator of stories to suit his needs and manipulate his recruits. Like the wretched season his name symbolizes, Baron Winters is cold, remote, isolated, and often unbearable. He has been called a charlatan, a quack, a placebo, and a fraud.

Yet on frequent occasions he has used his subtle and mysterious powers to save mankind from forces it cannot comprehend or successfully confront.

But as confined and dissociated as Baron Winters is, he cannot save mankind alone. He requires his own forces to aid him, sometimes at great cost to those oft-unwitting recruits.

While a Baron by definition—he is the lord of his realm, Wintersgate Manor, and often answerable to an unnamed higher authority—there is a severe limitation to his nobility: He cannot leave his home in the present time (although he, and others, can step through portals within his house into different time periods in the past). What the consequences are if he does leave his home in the present have never been made clear. It is presumed he will wither and die, as hundreds of years, frozen in time in his domain, will catch up to him physically when he is no longer bound to the confines of the estate that powers his alleged immortality.

But not everything involving Baron Winters is a mystery. Some things are certain.

“A DIFFERENT KIND OF MYSTERY/HORROR COMIC”

House Arrest Baron Winters and Wintersgate Manor, illustrated by Gene Colan and Bob Smith, from Who’s Who vol. 1 #2 (Apr. 1985).

Original art scan courtesy of Dave Guiterrez.

TM & © DC Comics.

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In the early 1980s, the state of the once-thriving DC mystery line was simple and sad: The genre was fading fast. The Unexpected, Ghosts, and Secrets of Haunted House ceased publication over a six-month period from 1981 to 1982. House of Mystery and Weird War Tales were both canceled in 1983. In the midst of this decline, “The Night Force,” touted as a different kind of mystery/horror comic, debuted in a special preview/ prologue insert in The New Teen Titans #21 (Apr. 1982).

Originally titled The Challengers then Dark Force, Night Force was settled on so as not to conflict with a Harlan Ellison project involving the name “Dark Forces.”

In the Titans letters column, writer Marv Wolfman described Night Force as “true graphic novels of incredible power and density.” Wolfman and Night Force artist Gene Colan had previously garnered tremendous praise during the 1970s for their work on Marvel Comics’ Tomb of Dracula, and it was hoped by DC that they would work magic again on a series devoted to mystery and the macabre.

“Night Force was my idea,” explains Marv Wolfman, “as I was looking for another book to do and felt I’d like to create my own horror title and push the boundaries a bit more than I had with Tomb of Dracula. I really B o o k

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wanted to try something different and thought I had solved the problem of doing an anthology series by doing it with continued characters. The idea was to write for the older audience, with darker and more realistic stories than had been done at that point.”

“Marv had been wanting me to join him ever since he made the move to DC,” notes Gene Colan. “It was Marv who brought me over from Marvel. It was the first project we tackled. I was confident it would do well.”

“This was a book I worked out in great detail before I ever wrote the first story,” continues Wolfman. “I even did astrology charts for each character. Gene did multiple character designs until he got what I was looking for.

After that it was a matter of me sending Gene fully worked out plots and Gene doing incredible work with them.”

“I tried to give an otherworldly visual aspect to the panels,” adds Colan. “I remember attempting to warp rooms. Whatever I could do. My concern from the start was how quickly I could get the audience to become familiar with the main characters. There were so many.”

“THE SUMMONING” The first story arc, “The Summoning,” ran for seven issues (Night Force #1–7, Aug. 1982–Feb. 1983), with an epilogue in issue #8. The extended story fulfilled

Meet Baron Winters (above) Jack Gold is quite skeptical of the bizarre Baron on page 8 of Night Force vol. 1 #1 (Aug. 1982). Written by Marv Wolfman, with art by Colan and Smith. Courtesy of Anthony Snyder (www.anthonysnyder.com/art).

TM & © DC Comics.

TM & © DC Comics.

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Wolfman’s desire to utilize a graphic-novel approach that allowed the lead and supporting characters to develop gradually; to change, mature, or regress; and not necessarily survive. To nominate Vanessa Van Helsing—the young woman touched by an evil that individual and political forces strove to raise, harness, and control—as the central character merely simplifies the proceedings. There are four strong personalities involved: Vanessa; Jack Gold, alcoholic and washed-up reporter; Donovan Caine, parapsychologist; and Baron Winters. They all maintain equal footing as malevolent chaos threatens to overwhelm and destroy them all.

Yet Vanessa is the crux that drives “The Summoning,” for she, according to Winters, is the great-granddaughter of Abraham Van Helsing, hunter of Dracula, and it is his psychic rapport that has been passed down to her.

That rapport has manifested considerably. She has become the conduit, channeler, and vessel for what is known as the “energy” of evil, and a lot of people want to extract it, through what can only be called demonic ceremony, and use it for their own purpose. Caine wants to destroy the energy, the United States wants to own it, and the Soviets, more determined than everybody, want to harness and control it as a weapon of mass destruction.

They almost succeed. Vanessa is kidnapped by two Russians posing as CIA agents during a deadly demonic ceremony performed by Caine and his students at Georgetown University. She is taken to London, England, where she is tested in another “satanic baptism” to see if she is really a conduit of the evil energy. Well, of course she is, and a branch of the Soviet Embassy in England is destroyed in the process. Vanessa is then taken to Science City Complex #5, deep in Siberia, where the Soviets perform their most dangerous and secret experiments. Once again Vanessa is tormented in a demonic ceremony, only this one is the most brutal of all and the evil energy is unleashed and hell-bent on destroying everything. Utilizing his vast resources, Winters puts Gold and Caine on Vanessa’s trail, and they make it to the Science City complex only to be captured.

But the Soviets release them in hopes that they can subdue Vanessa. Gold is able to do that by convincing Vanessa that he truly loves her, and with that the evil— which in an ironic twist desires to protect Vanessa from those who tormented her—collapses and disappears, leaving Vanessa cured. But not quite. The evil is still within her. Gold realizes that, and he knows he lied to Vanessa about his love for her. Now he must take care of her and keep her happy to keep the evil suppressed.

It is Donovan Caine who has suffered most. He lost his wife, an arm, and a leg. This is not a happy ending at all for the man who wanted to capture evil’s essence and eliminate it, but he accepts responsibility for what he has done and vows to focus on the upbringing of his son. Jack and Vanessa plan to wed. Jack feels guilty at first about lying to Vanessa but in time he grows to love her. Vanessa, after years of torture and torment, emerges as one happy camper, almost frantically so.

She is now free of the Potomac Psychiatric Hospital she was committed to for years, and is settling with a man who she believes loves her. Meanwhile, after an almost-incidental series of events to remind readers that the Baron is technically the book’s star, Winters utilizes every trick in his book to prevent Detective Eliot Stone from taking him from his home and arresting him for the kidnapping and disappearance of Vanessa.

Once Vanessa and Jack return to Wintersgate Manor at the end of their ordeal, the Baron is in the clear and he can begin on his next “case.”

“THE BEAST” The second and shorter story arc, “The Beast,” which runs during the second half of Night Force #8 and #9–10, is most intriguing because of the lengths Wolfman goes to make the story everything “The Summoning” was not. The “evil” is extraterrestrial, the protagonist is a cold-blooded killer assured of being killed himself, and the setting, for the most part, is a decaying New York City tenement; there will be no political intrigue and flights to foreign locales in this yarn. The alien simply appears in the tenement building and conducts its experiment, to test the resistance and resilience of the tenants who live there. It provides them everything, including food, but won’t allow them to leave. The tenants basically give up and live under the ever-watchful gaze of the alien, who over a year grows to detest them. Paul Brooks, a murderous thug, is transported from Georgetown to New York by Winters to confront and destroy the beast.

Brooks becomes more disgusted with the inability of the majority of the tenants to confront the alien. While Brooks sacrifices himself in the end and the beast is indeed destroyed, the tenants have become indecisive and weak and choose not to leave the tenement, even though the alien finally left the front door open for them.

“Mark of the Beast,” in Night Force #11–14 (June–Sept. 1983), is a fascinating, accomplished mess. It begins in a house on a cliff in Maine of 1934, where six American businessmen are celebrating their successful financing of the rise of Adolph Hitler. Suddenly, they are all assassinated.

The scene shifts to Berlin, Germany, where Hitler is having a nightmare of the men he had killed. Then we shift to 1983, where the ghosts of 1934 return to plague the new inhabitants of the house, Thomas and Harriet Carter. When Thomas is branded with the “666” mark on his forehead the couple go to Baron Winters for help. The Baron decides to travel into the past before the businessmen were assassinated, and he recruits Vanessa Van Helsing to join him. They step into 1933 through one of the Baron’s portals. Winters baits one of the American businessmen, feeding him ideas that Hitler could put into practice to accomplish his goals of conquest (specifically, the invasion of Poland, the bombing of England, and the invasion of France; in other words, the Baron is back in the past inspiring World War II three years before it even starts). The suspicious businessman contacts his allies and they’re all off to meet the Baron at a carnival he happens to own.

At the Carnival of Fun, Baron Winters and Vanessa Van Helsing arrive at the arranged meeting. Enter the powerful and mystical Alphus Omega, and the subsequent merging of the American businessmen to form a seven-headed Beast that the Baron finds familiar. The Baron and Vanessa escape from it into the present, and the Beast shambles off to return to … what? Its previous guise as the American businessmen? In 1983, Winters sends Vanessa and Jack Gold to the Maine mansion to deal with the ghosts. The Baron discovers that the Beast is the one described in Revelations. Gold and Vanessa are attacked by the ghosts of the American businessmen, who remember Vanessa, and were still assassinated despite her intervention (time travel tales can get really heady; you simply can’t escape the paradoxes). The Baron summons his ex-wife, Katina, to aid him, and she complies, along with her (and Baron Winters’!) son.

The Baron desperately and uncharacteristically pleads for her help in saving Vanessa. Continued next issue!

“THE ORIGIN OF THE BARON” On the cover of Night Force #13 (Aug. 1983) a caption proclaims, “The Origin of the Baron,” and it is revealed by Winters that he is Vanessa’s father. But that could be a lie on his part to gain sympathy with Katina (and it must be a lie, because if he is telling the truth then Vanessa acquired the psychic rapport from Winters and not Abraham Van Helsing). Katina rids the Maine mansion of its ghosts and saves Vanessa and Gold, but the Beast infiltrates Wintersgate Manor and murders Tom Carter. The Baron collapses in defeat. He wants to relinquish his duty.

Katina inexplicably and psychically transports the two of them to a Central American temple where they studied together and fell in love. The Baron tries to escape, but he is returned to a Memory Pit where we learn their love was forbidden, and their lives in the present are threatened by a fairly tangible ghost from their past. But they escape in time to get back to dealing with the Beast, the ghosts, and Alphus Omega (this was a very skillfully woven story, but it was truly all over the place).

Doorway to Nightmare Gold realizes there’s more to Winters than he thought on Night Force #1, page 9. Courtesy of Anthony Snyder.

TM & © DC Comics.

The Baron and his son travel back in time before Winters and Vanessa’s journey, and while they are able to defeat a minion of Satan in the past, they are not able to reach Alphus Omega. That requires them returning to the present and banding with Katina to successfully destroy Omega.

And they do. But the past wasn’t really changed and the present did not appear to play out any differently. If anything, the Baron earned some company, as his ex-wife, their son, and a time-displaced woman from the 1930s moved into Wintersgate Manor.

The book’s cancellation with #14 was unfortunate, for it was clear that a year into the series Wolfman and Colan had hit their creative stride.

“The problem,” says Wolfman, “was that DC wanted to have Night Force be one of the first direct-sales books, where I believed it should be newsstand only. I felt the comic shops appealed primarily to the superhero fans while Night Force would appeal more to the casual mainstream reader, who might not have bought comics otherwise.

We got the comic-book shops’ sales early and it was canceled based on those, but when the newsstand sales finally dribbled in we actually sold pretty well. If this were later on when DC learned to gauge newsstand versus direct sales it probably would have survived.”

At the end of the last issue’s letters column, Wolfman assured Night Force’s loyal readers that the series would soon return as an annual miniseries, but that never transpired. As a fan of the original C o m i c

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run, I’ve often wondered what Wolfman had planned for Night Force at that time.

“I know I wanted to do even more factual material in it,” Wolfman replies. “The first storyline is based on several Russian Science City experiments and the third, had it not been cut short, would have dealt strongly with Hitler's fascination with the supernatural. I wanted to do more in that direction where I used ‘documented’ material to weave my fiction story around.”

As to the true origin of Baron Winters, Wolfman continues, “I was planning to do some kind of origin at some point but I always felt that you’d never know if anything Winters said was true or not. Again, this was an attempt to try a different kind of character.

Unfortunately, like the darker story approach, they were not in vogue when I did Night Force. A dozen years later, of course, Vertigo would specialize in these kinds of people who definitely lived in the gray area rather than the typical comic-book black and white.”

Challenge of the Supernatural Friends Original Colan/Smith art to the Night Force group entry from Who’s Who #16 (June 1986), signed

by Gene Colan. From the collection of Dave Guiterrez.

TM & © DC Comics.

As with Tomb of Dracula, Gene Colan’s artwork complemented Wolfman’s scripts for Night Force. Colan is hands down the ideal illustrator to adapt film noir to the comic-book format, and Night Force bleeds a film noir style. Colan’s strengths are in conveying mood and atmosphere, but there are also powerful details in the faces of his characters. Everyone has a distinct look, from Baron Winters on down to the background characters.

Colan’s men are big, burly, heavily dressed, and wear the weight of their personal torments on their shoulders.

Vanessa Van Helsing takes her time to shine; after all, she’s straight-jacketed, tortured, and tormented during a good portion of “The Summoning.” Colan keeps her grounded with vulnerable eyes that spark with anguished intelligence. In the final story arc, Colan transforms her into a lavish lady of the 1930s and is allowed to enjoy her surroundings, but only until all Hell breaks loose.

“The high was definitely getting the chance to work with Marv again,” says Colan. “He was one of my favorite writers to work with. We understood, respected, and complemented each other.”

Despite the book’s cancellation, Baron Winters returned to host one of the most notorious séances in comic-book history in Swamp Thing #50 (July 1986), the concluding chapter of writer Alan Moore’s “American Gothic.”

Night Force returned thirteen years later as part of DC’s “Weirdoverse” line, which included Scare Tactics, The Book of Fate, and Challengers of the Unknown.

Wolfman returned, as did Gold, Donovan Cain (without the “e” at the end of his last name), Vanessa, Merlin, and Richard Nixon (briefly), all aided and abetted by many good artists, but a key missing ingredient was Gene Colan. Wolfman did not carry over any story ideas from the original series. The series never found its audience and ceased publication with issue #12 (Nov. 1997). Winters continues to pop up throughout the DC Universe, notably in Seven Soldiers: Zatanna #1 in 2005, as always confined in the present within his Georgetown mansion.

While the original series did not become popular enough to warrant a long run similar to Tomb of Dracula, Night Force succeeded creatively because Wolfman and Colan played the horror straight. Dr. Rabin and Detective Short, two supporting characters during “The Summoning,” certainly had their doubts of the occultism involved, but they never mocked Baron Winters. Both saw him as a genuine threat, as did Gold, but as a key participant, Gold came around; in fact, he settled in. While the horrors were never in question, the mysteries and motivations of Baron Winters remained subjects of debate throughout the series.

They still do. We may never know his truths. But as with the barren winters he symbolized, it wasn’t about the truth, it was about surviving horrific weather, even while we shuddered as it passed.

JIM KINGMAN purchased his first comic book, DC’s World’s Finest Comics #211, on a family road trip in March of 1972, and has been reading and collecting comic books ever since (with no end in sight).

He has been writing about comics since 1993, and currently edits and publishes Comic Effect, a small press fanzine emphasizing the fun in reading comics. He also has a monthly column on comics at silverbulletcomicbooks.com.

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[Editor’s note: The following is reprinted from Dial B for Blog, with the kind permission of its author. It has been been edited from its original form of four blog posts into this single article. To view the four blogs in their entirety, with historical photos, visit www.dialbforblog.com/archives/85/.]

THE CAPTAIN AND THE KID

And You Thought Michael Jackson’s Diana Ross Makeover Was Weird…

A fantasy cover by blogger Robby Reed.

Comics characters and logos TM & © DC Comics.

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If you think you know all about Captain Marvel, Jr.’s influence on Elvis Presley ... think again! Because the World’s Mightiest Boy didn’t just influence the King of Rock and Roll’s hairstyle—Captain Marvel, Jr. helped shape Elvis’ entire lifestyle.

It all began on the battlefields of the first World War, with soldiers enduring bombs that whizzed right over their heads like a lightning bolt, then exploded nearby with a tremendous bang. Wilford “Billy” Fawcett, a former police reporter for the Minneapolis Journal, was a World War I army captain. After the war, Fawcett began printing a small two-color pamphlet containing barracks humor meant to entertain disabled servicemen in veterans hospitals. The title of Fawcett’s self-published pamphlet came from his own former army rank and nickname, plus a reference to one of the “whiz-bang” bombs of WWI. The magazine was called “Captain Billy’s Whiz Bang.”

But the monthly collection of off-color jokes, sexy stories, and racy cartoons wasn’t a bomb—it was an instant hit.

A wholesaler picked it up in 1919 and started selling it in hotels and drugstores. It soon became an American standard, published continuously for the next thirty years.

Vernon and Gladys Presley had married in 1933 and moved into a shotgun shack in East Tupelo, Mississippi— a two-room house Vernon built himself, for $180. Gladys soon got pregnant, and she gave birth to twin boys right in the Presley’s modest home, on January 8, 1935.

The first of the twin boys, named Jesse Garon Presley, was stillborn. Vernon Presley placed the baby’s tiny corpse in a shoebox and buried it in an unmarked grave.

A half-hour later, the second twin was born. Gladys Presley would later tell the boy, “When a twin dies, the one who lives gets the strength of both.” The Presley twin who survived was given Vernon’s middle name: Elvis.

Just a month after Elvis Presley turned five years old, Fawcett Publications decided to try its luck in the comicbook business. Fawcett oversaw the creation of a new superhero whose name came from his own actual rank during the war, Captain, plus the source of the hero’s magical superpowers, Thunder. At the last minute, Captain Thunder’s name was changed to “Captain Marvel” for legal reasons. The new book was titled “Whiz Comics,” a nod to “Captain Billy’s Whiz Bang.”

The first issue of Whiz Comics starring Captain Marvel was published in February 1940. The explosion the book made when it hit the stands was not nearly as loud as that of the “whiz-bang” bombs it was named after— but for the comic industry, it would prove to be every bit as earth-shaking. In the issue, drawn in a cartoony B o o k

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style by Fawcett artist C. C. Beck, a homeless young boy named Billy Batson followed a mysterious stranger deep into the tunnels of an abandoned subway station. There he encountered an ancient wizard named Shazam, who ordered Billy to speak his name.

“Shazam,” the magic name that transforms Billy Batson into Captain Marvel, is an acronym. It stands for the wisdom of Solomon, strength of Hercules, stamina of Atlas, power of Zeus, invulnerability of Achilles, and speed of Mercury. The term was popularized as a rustic expression of surprise by Jim Nabors on the TV sitcoms The Andy Griffith Show and its spin-off Gomer Pyle, USMC. Captain Marvel wore a red military–inspired uniform with gold trim and a yellow lightning-bolt insignia on the chest. His costume also included a white-collared cape trimmed with gold fleur-di-lis symbols, modeled after the ceremonial cape once worn by British nobility. With Whiz Comics selling like hotcakes, Fawcett decided to expand its line by giving Cap his own title, Captain Marvel Adventures.

With Captain Marvel outselling even Superman, Fawcett next decided to expand the so-called “Marvel Family.” In the fall of 1941, Fawcett writer Ed Herron came up with the idea of creating a junior version of Captain Marvel. DC Comics wouldn’t begin publishing Superboy until March 1949, so this was the first time a superhero teenager was created not as a mere sidekick, but as a hero in his own right. Would Herron’s concept work? Would comic fans accept a teenage version of a wildly popular adult superhero? Young Elvis Presley would soon get his first guitar as a birthday present when he turned 11 years old—would a junior version of Captain Marvel appeal to boys like Elvis?

And even if fans such as Elvis would be willing to accept the new character, how could his origin be explained? After all, the wizard Shazam had already given all his powers to Billy Batson—how could there be any left for a new teenage hero?

AT THE ROCK OF ETERNITY Eons ago, after a monumental struggle, the wizard Shazam defeated his arch-enemy, “Evil,” and imprisoned him in a bottomless pit located in “Eternity.” To keep Evil trapped in this pit, Shazam placed a colossal rock atop it, and Shazam’s spirit took up residence in a temple located near the top of this gigantic stone, which is known as the Rock of Eternity. At the Rock of Eternity, it is possible to reach any time period, world, or dimension. Here, time itself stands still.

When creating Captain Marvel, Jr., Fawcett took a risk by hiring artist Mac Raboy to draw the character. Raboy’s fine, delicate line work was far more realistic than that of Captain Marvel cartoonists C. C. Beck and Pete Costanza, but it was perfect for Cap Jr., a character whose adventures Fawcett was aiming at slightly older readers.

When Elvis was just six years old, in December 1941, Captain Marvel, Jr. appeared on the scene. His three-part origin story crossed over between two different titles, a rarity in the Golden Age. Cap Jr.’s origin started in Master Comics #21, continued in Whiz Comics #25, and concluded in Master Comics #22.

The story went like this: Freddy Freeman and his grandfather were out fishing when they were attacked by a villain named Captain Nazi.

Freddy’s grandfather was killed, and Freddy was crippled and left for dead. Captain Marvel discovered the young boy, barely alive, and flew him to a hospital, where doctors told Cap that young Freddy Freeman would not live through the night. Desperate to save the boy’s life, Cap transformed back into Billy Batson, snuck the unconscious Freddy out of the hospital, and took him to the underground chamber where Billy had first met the wizard Shazam.

There, Billy could communicate with the wizard’s spirit, which resided at the Rock of Eternity. Billy begged the wizard for help. Shazam said he couldn’t repair Freddy’s damaged body, but Captain Marvel could share a portion of his mighty powers with Freddy to revive him.

Billy agreed. Billy said the ancient wizard’s name— Shazam!—and was transformed into Captain Marvel.

At that moment Freddy woke up, saw Cap, and exclaimed, “Captain Marvel!” As he did, the magic lightning struck again, and Freddy Freeman was transformed into the World’s Mightiest Boy, to be known henceforth as Captain Marvel, Jr.

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Unlike Billy Batson, who transforms into Captain Marvel by saying the name of the wizard Shazam, Freddy Freeman transforms into Captain Marvel, Jr. by saying the name of his hero, Captain Marvel. Fawcett thought this would remind readers to buy Cap Sr.’s book—which it may have—but it also had unintended comic consequences. Because of it, Captain Marvel, Jr. is the only superhero who is unable to say his own name, since he transforms back into Freddy Freeman when he does.

Captain Marvel, Jr. began starring in Master Comics with issue #23, February 1942. Junior was given his very own title just nine months later, when Elvis Presley was seven years old. On November 6, 1948, Vernon, Gladys, and 13-year-old Elvis moved from Tupelo, Mississippi, to Memphis, Tennessee. The Presleys lived briefly in two Memphis boarding houses, then, in September 1949, their application to reside at Lauderdale

With Five Magic Pages… …Dave Cockrum endeared himself to 1970s Shazam! fans by illustrating a Captain Marvel, Jr. short story in Shazam! #9 (Jan. 1974). Shown here is an undated, unpublished sketch of Junior by Cockrum, courtesy of Robby Reed.

TM & © DC Comics.

Courts, a public-housing apartment, was approved.

The Presleys’ modest two-bedroom unit consisted of a living room, bathroom, and walk-in kitchen that came with a working 1951 Frigidaire fridge and a tiny stove issued by the Memphis Housing Authority—all for $35 a month rent. Compared to their previous residences, it was a huge improvement, but they remained dirt poor. To be eligible for public housing, a family’s income could not exceed $3,000 per year. Lauderdale Courts consisted of 66 buildings and 449 apartments. The Presleys soon became part of this vibrant community, and it was here, in a basement laundry room, that future superstar Elvis Presley practiced his singing and guitar playing. Presley lived here between 1949 and 1953, when he was attending Humes High School. From his apartment at Lauderdale Courts, Elvis could fill his leisure time by walking to Beale Street to hear black rhythm and blues music, attending gospel concerts two blocks away at the Ellis Auditorium, and, quite possibly, reading comic books. Elvis’ Lauderdale Court apartment has been preserved as a historic spot, and a copy of Captain Marvel, Jr. #51, cover-dated July 1947, has been placed on a desk in Elvis’ old room.

It’s not likely that this particular issue ever made it to Lauderdale Courts, though. Since the Presleys moved in 1949, Elvis would had to have saved the book for over two years. But as a symbol of Elvis’ love for the character, it’s perfect. So, what issues did young Elvis read? From our timeless vantage point at the Rock of Eternity, reader, it looks like September 1949 to January 1953 is the time period when Elvis, from the ages of 14 to 18, is most likely to have first encountered Captain Marvel, Jr. According to Pamela Clarke Keogh’s Elvis Presley: The Man. The Life. The Legend, Elvis used comics as an escape.

“Like a lot of kids with a chaotic home life, Elvis created his own world inside his head. He read comic books and was drawn to Superman, Batman, and, most of all, Captain Marvel, Jr. Around the age of 12, Elvis discovered Captain Marvel, Jr. and quickly became almost obsessed with him.” Billy Smith, a lifelong friend of Elvis’ and member of the so-called “Memphis Mafia” [Elvis’ circle of associates, friends, and yes-men], concurs: “One of the comics Elvis read when he was a kid was Captain Marvel, Jr. He went after Captain Nazi during WWII. And he had this dual image—normal, everyday guy and super crime-fighter.

Sounds like Elvis, don’t it?” Finally, Elvis himself once mentioned comic books in a speech. “When I was a child, I was a dreamer,” Elvis said. “I read comic books, and I was the hero of the comic book.” So, there can be no doubt that Elvis Presley did, indeed, read and love Captain Marvel, Jr. comic books. Since the Presleys were dirt poor, with a family income of just $3,000 a year, it’s likely Elvis borrowed comics from friends, and didn’t get to actually buy comics himself very often. Imagine the young King of Rock and Roll in front of a newsstand, staring at racks full of comics—each one calling out to him, each one bursting with amazing action and dazzling color, each one promising a fantastic new adventure. He could probably only have afforded to buy a single comic. Which book, specifically, might have caught young Elvis’ eye?

A historian might say we have no way of knowing— but historians aren’t usually comic-book fans. We are.

We don’t have to imagine what it’s like to stare at racks of comics and choose—we do it every week! And we know that when money is in short supply, we comic fans are likely to buy team books, because they features lots of superheroes. Or, if we have a favorite character, we’ll more than likely buy just that character’s own title, because that way we’re guaranteed more stories featuring the hero we want to see. So, although

What Young Elvis Was Reading Fawcett Comics’ Captain Marvel, Jr. #51 (July 1947), now a museum artifact.

TM & © DC Comics.

Captain Marvel, Jr. appeared in a number of different comics, it’s almost certain that Elvis, if buying, would have gone for Cap Jr.’s own title. Given the dates of Elvis’ move to Memphis, the issues of Cap Jr. he is most likely to have read are #77–119.

Late in 1952, Fawcett Publications was faced with a lawsuit from DC Comics claiming Captain Marvel was a rip-off of Superman. Rather than continue to fight it at a time when the comic-book market was in rapid decline, Fawcett discontinued the entire “Marvel” line. For Captain Marvel, Jr., this meant his own title ended with issue #119, Master Comics was canceled with issue #133, and The Marvel Family’s final issue was #89. The times were changing. And things were about to change for Elvis, too. Lauderdale Courts was not meant to be a permanent residence. Tenants could be forced to move if they were earning too much money, and this is exactly what happened to the Presleys in 1953.

They moved to 698 Saffarans in Memphis’ Uptown neighborhood in January 1953, just one day before Elvis turned 18. He had already begun to model his look after Captain Marvel, Jr. “He already had the greased hair color and black satin pants—with his friends standing next to him in jeans and shirts,” according to Elvis researcher Alex Mobley. “He already looked different than every other boy. Everyone in the Courts knew who he was.” Six months later after moving, on June 3, 1953, Elvis Presley graduated from Hume High School in Memphis. What would he do now?

“You know,” Elvis confided to his cousin Earl, “I believe there’s a superboy inside me, just waiting to bust out.” Elvis was right.

He had the talent, the looks, the charm, and the style. There was a superboy inside him just waiting to bust out. The only thing missing was the magic words.

TM & © DC Comics.

TM & © DC Comics.

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THE LIGHTNING STRIKES! The debut of Captain Marvel and his protégé—Elvis’ hero, Captain Marvel, Jr.—had struck the comic-book world like a thunderbolt—and now it was Elvis’ turn to do the same for the music business, and the world.

Leonard Bernstein called Elvis Presley “the greatest cultural force in the twentieth century. Elvis introduced the beat to everything, music, language, clothes. It’s a whole new social revolution—the ’60s comes from it.”

Disc jockey John Peel describes the sense of shock Elvis brought: “It might sound pretty safe now, but in the context of what was happening in the 1950s, hearing ‘Heartbreak Hotel’ was as shocking as if someone was dancing naked in your living room.”

Even Presley himself agreed. Years later, Elvis would comment, “Man, I was tame compared to what they do now. Are you kidding?

I didn’t do anything but just jiggle.” Rolling Stone magazine thought Elvis did a bit more than just jiggle: “At Sun Studio in Memphis, Elvis Presley called to life what would soon be known as rock and roll with a voice that bore strains of the Grand Ole Opry and Beale Street, of country and the blues. At that moment, he ensured—instinctively, unknowingly— that pop music would never again be as simple as black and white.”

John Lennon: “Before Elvis, there was nothing.”

Bob Dylan: “When I first heard Elvis’ voice I just knew that I wasn’t going to work for anybody; and nobody was going to be my boss.

Hearing him for the first time was like busting out of jail. I thank God for Elvis Presley.”

Elton John: “If it hadn’t been for Elvis, I don’t know where popular music would be. He was the one that started it all off.”

Mick Jagger: “Elvis was a unique artist—an original in an area of imitators.”

Keith Richards: “Before Elvis, everything was in black and white.

Then came Elvis. Zoom, glorious Technicolor.”

Bruce Springsteen: “There have been a lot of tough guys.

There have been pretenders. And there have been contenders.

But there is only one king. That Elvis, man, he is all there is. There ain’t no more. Everything starts and ends with him. He wrote the book.”

ELVIS’ MANAGER: COLONEL TOM PARKER It was 1955. Elvis had been booked as a warm-up act for another singer, Hank Snow. Snow’s manager was a colorful West Virginian who had run away from home at an early age to join the circus. He became a music promoter in the late 1940s, managing musicians Minnie Pearl and Eddy Arnold, and Western film star Tom Mix. When Elvis was introduced to Snow’s manager for the first time, he must have been thunderstruck—the man’s name was Colonel Tom Parker.

Elvis knew well that Freddy Freeman transformed into his boyhood hero, Captain Marvel, Jr., by saying the name “Captain Marvel.”

Now here he was, being introduced to the man who would soon transform him into an immortal superstar—not a Captain, but a Colonel! Holy Shazam. It was destined to be!

Parker wasn’t a real Colonel—he received the honorary title in 1948 from Jimmie Davis, the governor of Louisiana. But then again, Captain Marvel wasn’t actually a real “Captain,” either! And as fate would have it, the Navy rank of Captain is directly equivalent to the Marine rank of Colonel! Elvis must have felt fate was calling.

Parker took over Presley’s contract on August 18, 1955, and proceeded to dominate every phase of his career for the rest of his life. The Colonel was instrumental in virtually every business decision Presley ever made. His influence over Elvis has been criticized as Svengali-like, but without the Colonel, Presley might never have become the superstar he became.

Elvis’ relationship with the Colonel could not be damaged, even when the truth about Parker’s past was finally revealed. It turned out Colonel Tom Parker, West Virginian, was actually a Dutch citizen, and his name wasn’t Tom Parker. He had been born Andreas Cornelius van Kuijk, in Breda, Netherlands, in 1909. When he was 18, he fled to America and joined the US Army, changing his name to Tom Parker.

Some have speculated that the reason Elvis never performed abroad may have been that Parker was worried that as a non-citizen, he would not be readmitted to the United States. One book even claims he left the Netherlands to escape a murder rap. But whatever the Colonel’s past may have been, it had no effect on his legendary management of the future King of Rock and Roll.

MIRROR, MIRROR: ELVIS AND CAP JR. Now, with his talents at their peak and the skills of a brilliant manager to guide him, Elvis hit his stride. From January 1956 to November 1957, Elvis Presley spent a phenomenal 51 weeks occupying the number-one spot on the Billboard pop chart.

He would go on to record 104 singles that hit the Top 40, with an astounding 38 Top 10 Billboard hits. This total is unchallenged even today. The closest competitors are Madonna with 35, and The Beatles with 34. No artist before or since has dominated American popular music so completely.

And who was there, with Elvis, every step of the way? Who else?

Captain Marvel, Jr.!

Junior A.E. (After Elvis) We wonder what Elvis would have thought of DC’s first attempt to make the Marvel Family more realistic?

Shazam! #34 (Mar.–Apr. 1978), featuring the astounding artwork of this issue’s featured illustrator, Alan Weiss, and inker Joe Rubinstein, was published less than four months after the King of Rock and Roll’s death. Junior’s origin was retold on this page. Courtesy of Heritage Comics Auctions.

TM & © DC Comics.

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ELVIS AND CAP. JR. IN THE ’70s

ELVIS MEETS NIXON!

As he grew older, Elvis began to look and dress even more like One day in December 1970, Elvis Presley disappeared. Through he Captain Marvel, Jr.—the locks of tousled black hair on both foreheads, had slept at Graceland the night before, he was suddenly nowhere to and Elvis’ ultra-high shirt collar and jacket, both blue, the main be found. His Memphis Mafia gang was about to begin a frantic color in Cap Jr.’s uniform. search, when the phone rang.

Now middle-aged, Elvis took to wearing jumpsuits during his Elvis’ pal Sonny answered the phone. He listened briefly, then numerous live performances. Where did the designs for these outlandish hung up the phone and announced to the panicked room: “You theatrical outfits come from? According to Elvis’ confidant Billy Smith, won’t f*ckin’ believe this!” Sonny told the Memphis Mafia, “Elvis is in “If you go back and look at a drawing of Captain Marvel, Jr., it looks Washington, D.C.—he went there to meet with President Nixon!” a whole lot like the seventies Elvis—one-piece jumpsuit, wide belt, Elvis had gone to the Memphis airport all by himself, something boots, cape, lightning bolt and all.” he had never done before. Elvis flew to Los Angeles and phoned Captain Marvel’s alter ego, Freddy Freeman, also inspired several of his friend Jerry Schilling, telling him to meet him there, and bring Elvis’ stage outfits. According to Elvis expert Elaine Dundy, $500 in cash, because Presley didn’t have a penny in his pocket.

“Subconsciously, the grown Elvis copied his hero’s glistening black hair, Presley and Schilling flew from LAX to Washington, and on the his sideburns, and his triumphant stance. Years later he wore his version flight they met a veteran just back from Vietnam. When Presley of the Marvel, Jr. cape, and the white scarf Freddy Freeman often found out the vet had no money, Elvis told Schilling to give him wore turned up around Elvis’ neck in performance.” the $500.

Elvis’ motto was “Taking Care of Business in a Flash,” represented “But Elvis,” Schilling protested, “That’s all the money we got!” in his personal logo by the letters TCB and a lightning bolt. Elvis wore “Jerry,” Elvis replied sternly, “I said, give the man the money.” a famous ring with the TCB logo on it. Where did the phrase and After this incident, Elvis wrote a strange, rambling letter to logo come from? It was designed in the 1970s by Elvis and his new President Nixon on American Airlines stationery, asking Nixon for bride, Priscilla. a small favor. Here’s an excerpt from Elvis’ letter to Nixon: “Taking Care of Business was a Black expression,” recalls Memphis Mafia member Marty Lacker, “and Elvis used to say it in a sort of ethnic way. It was just a hip saying. Aretha Franklin sang ‘Take care/TCB’ on her version of ‘Respect,’ for example.

The lightning bolt has two meanings,” Lacker explains. “One is ‘in a flash.’ In other words, ‘whatever you need to do, do it quick.’ But the lightning bolt was also the insignia for the West Dear Mr. Presid ent, Coast Mafia. In addition to doing things in a flash, [Elvis] liked the idea that the West Coast Mafia used it.”

Billy Smith, another of Elvis’ Memphis Mafia pals, strongly I can and will do more good if disagrees with Lacker: “Nah. The lightning bolt came from his I we re made a Fede army days. It was the insignia of his battalion. Or maybe in ral Agent at La rg e the back of his mind, he identified it with Captain Marvel, Jr. and I will help out by doing it That’s where he got the idea for the capes. From the comic my way through my books.” Given the fact that the “C” is elevated far above the communications with “T” and “B” in the logo, I, Robby Reed, the creator of Dial B people of all ages. First an for Blog and author of this article, tend to agree with Billy d foremost, I am Smith. Why would Elvis raise the middle letter so high— an entertainer, unless he wanted to pay homage to someone whose name but all I need is the Federal began with a “C.” Someone such as ... Captain Marvel, Jr.! credentials. Si Elvis gave various diamond-encrusted gold jewelry pieces r, I am stayin g at bearing the logo to members of his inner circle as a gift. the Washington Hotel ... I wi According to Lacker, the TCB jewelry was created around ll stay as long as 1970. “The lightning bolt emblem Captain Marvel, Jr. wore it takes to ge t on his chest became Elvis’ logo, his signature,” says Elaine the credential s of a Federal Ag Dundy. “The lightning bolt turned up on Elvis’ private plane, ent.

I have done an the Lisa Marie, and in the Graceland game room. It turned up in-depth study of on the jewelry he gave special friends: the gold neck chains drug abuse and Communist brainw and bracelets. All of them were designed with Captain as hing techniques and Marvel, Jr.’s lightning bolt in the center.” There was also a I am right in th e “TCB Oath,” written by the King himself, which Elvis’ pals were middle of the whole thing wh required to follow. It stated: “More self-respect, more respect for ere I ca n do th fellow man, respect for fellow students and instructors. e most good .. .

I wo uld Respect for all styles and techniques. Body conditioning, love to meet yo u just to say mental conditioning, meditation for calming and stilling of he llo if you’re not the mind and body. Sharpen your skills to increase mental too busy. awareness, for all those who might choose a new outlook and personal philosophy. Freedom from constipation.”

Respectfully, That last sentence is not an editorial insertion—Elvis had a Elvis Presley great sense of humor, and he actually included the phrase “Freedom from constipation” in his otherwise-solemn “TCB Oath.” The lightning had struck, and it seemed there were no new heights left for Vernon and Gladys’ little boy Elvis to scale. But there was one thing Presley had still never done ... he’d never had a private, Oval Office meeting with the President of the United States. That was way out of even Elvis’ league. Or was it?

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King Marvel An Alex Ross sketch of a possible future version of the World’s Mightiest Boy, from the Mark Waid/Ross epic Kingdom Come.

TM & © DC Comics.

On December 21, 1970, Elvis and Schilling arrived in Washington, D.C., hoping to get a private meeting with President Nixon—although he had no appointment, and Nixon didn’t even know he was coming. Elvis and Schilling got off the plane, met Elvis’ friend Jerry, and took a limo to the White House, where Elvis gave the letter he’d written to a guard at the gate, then left to wait for an answer in his hotel room.

At the White House, Nixon’s aides read Elvis’ letter, and decided it might not be such a bad idea to get photographs of the president meeting with the legendary King of Rock and Roll. “The president will see Mr. Presley for 20 minutes,” Presley was told by phone. Elvis, Sonny, and Jerry quickly went to the White House. The guns Presley had brought as gifts for Nixon had to be left at the gate. As he was taken into the Oval Office, Elvis was wearing a black suede suit, a white shirt with a high collar open to the chest, and a dark purple cloak around his shoulders. He carried a cane, and wore amber-tinted sunglasses to cover his eyes, which were covered in heavy eye shadow and mascara. “He had on more mascara than the Avon Lady,” recalls Marty Lacker, an Elvis intimate who was the King’s best man when he wed Priscilla. The meeting was awkward at first.

Elvis showed Nixon some pictures of his wife, Priscilla, and his daughter, Lisa Marie. “I want to help get people to respect the flag,” Elvis told Nixon, “because that’s getting lost.” After some small talk, Elvis got down to business. “Mr. President, can you get me a badge from the Narcotics Bureau? I’ve been trying to get a badge

TM & © DC Comics.

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from them for my collection.” Nixon nodded and said, “I’d like to do that. See that he gets one.” Elvis was so overjoyed, he actually hugged Nixon! Nixon patted Elvis on the shoulder and told him, “Well, I appreciate your willingness to help us out, Mr. Presley.”

They took a series of formal pictures, and then Nixon opened the left-hand drawer of his desk, which was where he kept gifts for visitors. Elvis could see the drawer held some presidential tie clasps for men, and presidential pendants for women. Nixon presented his pals Sonny and Jerry with some tie clasps, then Elvis boldly told Nixon, “Remember, Mr. President, they’ve got wives.” So Nixon returned to the drawer and got some pendants. “Now I know why they call you Tricky Dicky,” Elvis said to the president jokingly.

Nixon, unshaken, shot back. “And now I know why they call you Elvis the Pelvis!” Regarding Elvis’ theatrical get-up, Nixon told Presley, “You dress kind of strange, don’t you.” Laughing, Elvis gave a classic reply.

“Well, Mr. President, you got your show, and I got mine.”

Elvis, Sonny, and Jerry left the White House, and flew out of town without ever checking out of their hotel. Elvis later got his badge, currently on display at Graceland.

But what was the real point of Elvis’ bizarre encounter with Nixon? There must have been more to it than just collecting a badge—and there was. Elvis had recently gotten several death threats, and become obsessed about carrying a gun everywhere with him.

The Memphis Mafia all carried guns, too. Excessive drug use had made Elvis irrational and paranoid, and he kept saying he wouldn’t go anywhere without a gun— not even to the bathroom. Elvis usually kept a derringer in his boot, and carried another gun in his pocket.

Sometimes two! Elvis bought almost $20,000 worth of handguns in 1970 alone—a small fortune at that time.

Presley also began collecting police badges from every city he’d visit, and he soon had hundreds of them. The badges allowed Elvis and his posse to carry the guns legally—at least in the localities the badges were issued in. But Elvis, as always, wanted more.

This was the real purpose of Presley’s trip to see Nixon—he wanted to be declared a Federal Agent so he and his bodyguards could legally carry small arms in every state in America. Nixon’s badge allowed them to do just that. Now, Elvis was legally empowered to protect himself, and carry on the fight for justice and “respecting the flag”—just like his boyhood hero, Captain Marvel, Jr.!

The King of Rock and Roll met with President Nixon in 1970. Just seven years later, on August 16, 1977, Elvis Presley passed away at the age of 42. His body lies in Graceland’s Meditation Garden, next to the graves of his parents, Gladys Love Presley and Vernon Elvis Presley.

THE KING ON THE COUCH! One haunting question remains: Why did Elvis Presley idolize Captain Marvel, Jr.?

Elvis’ twin brother, Jesse Garon, had been stillborn.

Several books maintain that this trauma was the source of Presley’s hero worship. In Elvis and Gladys, Elaine Dundy was one of the first to draw attention to recurring themes in Elvis’ films that reflected aspects of his life, for example the overreaching manager, missing parent, twin motif [Elvis’ 1967 movie Double Trouble], and Elvis’ Indian ancestry. “Elvis was a twin whose brother died at birth,” Dundy wrote. “For the rest of his life, Elvis would feel loss and guilt but he would also feel something more; something without which we cannot begin to fathom Elvis’ character. He would feel triumphant;

he was, after all, the one who survived. He would relate to friends and lovers with the dependent intimacy of a twin looking for his other half, but always the dominate one. Behind Elvis there was another great legend: the metaphysical world of double-identity comic-book heroes. Elvis’ favorite was Captain Marvel, Jr., who looks, in fact, exactly like Elvis made himself look. Captain Marvel, Junior is the most powerful boy in the world, the other identity being the reality of poor Freddy Freeman, but both go about saving the world.”

Elvis himself believed there was a reason why Jesse was born dead, and he lived. Billy Smith, Presley’s cousin, recalls Elvis once wondering out loud, “If my twin brother had lived, do you reckon the world could have handled two?” According to The Inner Elvis: A Psychological Biography of Elvis Aaron Presley by clinical psychologist Peter Whitmer, every twinless twin displays the same distinctive psychological pattern. “The twinless twin wants to prove his uniqueness, to stand as an individual. Yet he is also powerfully pulled toward being reunited with the dead twin. To win the mother’s love, he must grieve for the dead twin. Yet at the same time, to establish self-love and his own security, he must compete with the very person he is compelled to mourn.” Being a twinless twin can cause lasting psychological scars, says Dr. Thomas Stuttaford.

“Surviving twins can start life with an unbearable sense of guilt. They blame themselves for their sibling’s death.

The surviving twin also feels an immense obligation to make it up to his parents, and believes he always has to do better, and be better. Several research projects have demonstrated that surviving twins have an increased chance of suffering from depression in adult life.”

These are interesting theories. But they are just that—theories. And they were created by people who, though they may be brilliant in many other aspects, are not comic-book fans. Therefore, in the opinion of Robby Reed, the creator of Dial B for Blog and author of this article, they are missing a gigantic piece of the puzzle.

After all, it’s impossible to successfully analyze why someone liked a particular comic-book character if the person doing the analysis thinks all comic books are vile and insipid trash! Let’s try another approach…

ELVIS PRESLEY, COMIC-BOOK FAN Who is your favorite superhero? Or, who is your favorite non-super hero? And why? We often idolize those who most closely resemble our current situation, as well as those who embody the ideals and values we wish to achieve ourselves. In other words, we tend to like either who we ARE, or who we WANT TO BE. This is part of the genius of Superman, from whom all other superhero characters flow. The Superman mythos combine both aspects of hero worship in a single character, through the use of the “secret identity.” We ARE like Clark Kent, and we WANT TO BE like Superman.

In my view, this is why Elvis idolized Cap Jr.— because the Captain Marvel, Jr./Freddy Freeman character was a perfect mirror image of the once and future Elvis. Freddy represented Elvis as he was, and Captain Marvel, Jr. represented Elvis as he wished to be.

Freddy Freeman was a poor, crippled young orphan; Elvis was poor, and neglected by his father. Freddy said “Captain Marvel!” and the lightning struck; Elvis said “Colonel Parker!” and the lightning struck.

And what was “the lightning”? The lightning was inspiration—the power to use the works of others as sparks for one’s own creativity, and to fashion from them

The Dude Meets the King

something entirely new. In blending strains of the Grand Ole Opry and Beale Street with country and the blues, this is exactly what Elvis did, revolutionizing music— and the entire nation—in the process. Immortal Elvis will always be remembered, and as long as Elvis endures, the world will remember Captain Marvel, Jr., too— because there is a Captain Marvel, Jr. comic book stored in the Elvis archives! This precious piece of memorabilia serves to remind us that powers bestowed at the Rock of Eternity will now rock for an eternity.

The King is dead—LONG LIVE THE KING! ROBBY REED maintains Dial B for Blog (www.dialbforblog.com), “the most original web log in comics history!” Would you like to see more of Robby’s blogs reprinted in this magazine? Dial BI for BACK ISSUE to let us know. Sockamagee!

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We’re all shook up over this jumpin’ 1995 Elvis illo

by Steve Rude, contributed by the artist himself and his extremely helpful wife Jaynelle.

For more of the Dude’s dynamite art, check out his site at steverude.com!

TM & © DC Comics.

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Brett Weiss

Who is the most famous prince in the history of comics? Prince Valiant? Prince Namor?

Diana Prince? Wrong, wrong, and wrong. With apologies to Hal Foster, Bill Everett, and Charles Moulton (respective creators of the aforementioned princes who wouldn’t be king), the most well known comic-book prince is, well, Prince, the eccentric rock star who made his splash during the 1980s with such flashy, funky pop songs as “Little Red Corvette,” “When Doves Cry,” and “Delirious,” and who continues to thrill pop music fans today.

You may be wondering: What in the wild, wild world of sports does Prince have to do with comic books? In 1991, during a boom of sorts for music-based comic books (thanks in part to Revolutionary, the publisher of such titles as The Led Zeppelin Experience), DC Comics, under its Piranha Music label, released Prince: Alter Ego, a one-shot written by Dwayne McDuffie (Justice League Unlimited), penciled by Denys Cowan (The Question), and inked by Kent Williams (Havok & Wolverine: Meltdown).

Emblazoned with a gorgeous cover by the always great Brian Bolland, Prince: Alter Ego tries hard to infuse the storytelling techniques of sequential art with the power and drama of music. The result is a wistfully (and at times artfully) written, hopelessly corny morality play that offers convenient, romantic solutions to complex problems.

Our story begins with Prince cruising along on his purple motorcycle, returning to Minneapolis after a long tour, the tassels of his gaudy leather jacket blowing in the wind. As he enters the city, which is “his favorite song, a tune he knows by heart,” he senses that the rhythm is not quite right, that something is amiss, like “hearing a favorite old single playing slightly off-speed.” Obviously, the music metaphors in this comic book run deep, which is a credit to McDuffie. In fact, they spill over into literalism as Prince decides to “make a little music of his own” to set things straight.

Unable to find his muse, Prince leaves the studio in hopes of distraction (her name is Muse, fittingly enough), but finds more than he bargained for: a pair of gangs on the verge of war. Amazingly (not to mention unbelievably), Prince quells the conflict with the following retort: “I thought you two were supposed to be leaders.

What happens to your people if you start a war with each other?” Upon hearing these words of wisdom, the gang leaders share an epiphany that makes them appear to come out of a trance and see the error of their ways.

That the scene didn’t end in tears, a hug, and an exchange of sugar cookie recipes was a little surprising.

After stopping the gang war, Prince remains uneasy, thanks to the city’s “subtle new rhythm.” He goes to his old haunt, the Glam Slam dance club, and hears a familiar sound: his own music, but played with “pure, explosive hatred” that causes people to “rip each other apart.” Prince discovers that his ex-band mate, Gemini, is back on stage, producing harmful, rage-inducing music. The resulting altercation and flashback sequence (in which Prince first

Prince by Brian Bolland Detail from the cover to Prince: Alter Ego. TM & © Warner Bros./DC Comics.

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TM & © Warner Bros./DC Comics.

encounters Gemini) exemplifies the theme of the issue: music should be positive and uplifting (both physically and spiritually), not hateful, destructive, and mean.

Thematically, Prince: Alter Ego is more than a little heavy-handed.

The blatant, overbearing message seems beneath McDuffie’s considerable talents, but there’s a good reason for this. While reflecting on the project in 2007, McDuffie said that Prince had considerable input into the issue, especially regarding the theme of making positive music— something that seemed extremely important to the eccentric (if well intentioned) pop star. McDuffie also referenced the fabled Black Album, which was a Prince record that went unreleased for years due to the musician’s concerns with its proliferation of sex and violence (over the decades, Prince has espoused various religious beliefs).

Prince isn’t a rap artist, of course, but the blatant message in Prince: Alter Ego—that negative, angry music is destructive—brings to mind the controversy surrounding rap music, much of which contains violent lyrics and/or demeaning (to women, primarily) sexual content.

When asked about the theme of positivism and negativism and how they relate to modern, African-American-created music (rap in particular), McDuffie said that “rap is just a genre” and that it “can be about anything.” He blamed corporations for producing the type of negative material that portrays black America in a way that they are comfortable with, and he claimed that many young black artists simply “take the path of least resistance” when coming up with marketable songs.

Despite his “music hath charms” sensibilities, the four-color version of Prince does indeed get into a scrap or two in Prince: Alter Ego, belying any notion that he may be a pure pacifist. After miraculously breaking up the aforementioned potential gang fight, Prince is accosted by a monstrous, muscle-bound gangbanger who attacks the diminutive, effeminate musician (who is much tougher-looking in the comic than in real life) with a large club outfitted with nails and spikes.

As though channeling Daredevil or Batman, Prince deftly handles the situation, knocking the thug to the ground with a swift, acrobatic kick, breaking the man’s club and threatening him with future violence.

From a visual standpoint, Prince: Alter Ego is drawn in a loose, energetic style that sometimes skimps on background detail. Trees, windows, crowds, and the like are rendered in an impressionistic, almost cartoonish fashion. The characters in the foreground, though somewhat sketchy at times, are very convincing. Prince himself is instantly recognizable, which is not always a given with media tie-in comics. Efforts via e-mail to get artist Denys Cowan (who McDuffie describes as a “huge Prince fan”) to comment on his involvement with the issue went unanswered.

The release of Prince: Alter Ego led to Prince and the New Power Generation: Three Chains of Gold, published by DC in 1994 (which was the same year that Revolutionary Comics, the most prolific publisher of music-based comic books, went out of business). Unlike the schmaltzy Alter Ego, Three Chains of Gold is a conventional adventure yarn (à la Indiana Jones) in which Prince and his band must brave a trap-riddled tomb in the Middle East to help a princess procure a powerful golden chain. As with Alter Ego, Three Chains of Gold was written by McDuffie, with plenty of input by Prince. Thankfully, Three Chains of Gold lacks the preachy aspects of Alter Ego, making for an entertaining read.

Once again, it’s painfully amusing to see Prince as a buttkicking action hero, but at least the tongue-in-cheek (at times) script for Three Chains of Gold seems to be in on the joke.

Tellingly, comic-book Prince mentions that he’s never used a machete before (big surprise there), and one of his band members, who takes the controls of a plane after the pilot has been shot, says that he learned to fly in the video arcades. McDuffie referred to the story as “a big fantasy adventure that called for a lighter [than Alter Ego] touch.”

David Williams drew the first 22 pages of Three Chains of Gold while Steve Carr and Deryl Skelton handled pages 23-48. The transition is extremely smooth, with the basic art style (or lack thereof) being roughly the same throughout the issue, with nary a speed bump along the way.

The art has a generic, workmanlike quality that portrays the faces and figures well, but is light on detail. Most of the buildings, walls, couches, bushes, clouds, and other such non-essentials appear as little more than outlines or rough sketches. Overall, the issue has a consistent, fairly pleasant look that is nevertheless quickly forgotten. When asked why Cowan wasn’t in on drawing Three Chains of Gold, McDuffie said that he was probably too busy at the time.

Despite a few missteps along the way (changing his name to an unpronounceable symbol, appearing in public with the word “slave” written on his face), Prince, who turns fifty in June 2008, has maintained his popularity and is one of few ’80s icons whose current music remains a relevant force in the industry. This measure of fame was evidenced dramatically by his thunderous, surprise-filled appearance at the 2007 Super Bowl, where he belted out riveting versions of CCR’s “Proud Mary,” Dylan’s “All Along the Watchtower,” the Foo Fighters’ “Best of You,” and his own “Purple Rain.” In addition, his latest album, 2007’s Planet Earth, while not a critical success, at least shows that he is still in the proverbial arena.

Maybe some day Prince will get another shot at four-color glory. For now he’ll have to be satisfied with millions of adoring fans, untold wealth, and with the title of the Most Famous Prince in the History of Comics.

Former comic-book store owner BRETT WEISS is the author of Classic Home Video Games, 1972–1984 (McFarland, 2007).

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Postal mail: Michael Eury, Editor • BACK ISSUE 118 Edgewood Ave. NE • Concord, NC 28025

HUNGRY FOR HOSTESS PIES

TM & © DC Comics.

I’ve been reading your magazine from the beginning. I was happy enough when Alter Ego came out—each issue is like a piece of history, a lot of which would have never been told. Then BACK ISSUE came out, and I was ecstatic because the Bronze Age was when I started collecting comics. And it has been great, from the inside scoop on what it was like to work for Marvel’s Star Wars comic, to the Toy issue, and your magazine is responsible for me reading Dark Horse’s Conan comic. which I went and bought right when I was done reading the article.

There is one subject, though, that you said BACK ISSUE was going to have, yet after all this time I have not seen it. And that is the Hostess Pie ads. I love those, and I’ve tried to put together as many as possible by digging through the discount boxes at comicbook stores. I really would love to see an article on these silly ads.

It’s just great seeing your favorite character and villains fighting over Twinkies! I hope we get to see this article in the next year or so. Thanks for so much information, great reading and artwork.

– Don Dailey

Don, I delayed our look at the Hostess comics ads because Comic Book Artist ran an article on that topic a few years back, but sufficient time has passed to where it’s safe to revisit the subject. Look for it in early 2009.

– M.E.

THE GRELL YOU SAY! In BACK ISSUE #25, Mike Grell was a little bit off in his timeline in his interview. This is certainly understandable, as he was remembering a very turbulent time in DC history from over 20 years ago.

In the last days of Carmine Infantino’s reign at DC, he began to authorize “pilot” issues or short runs of new series. In this way he could release one, two, or three issues and analyze the sales before greenlighting an ongoing series. This was an attempt to prevent five or six or more issues of a series that simply wouldn’t sell hitting the stands, as several recent DC series had done. A lot of these “pilots” ended up in First Issue Special, but some were released under their own titles like Man-Bat and Sherlock Holmes. Warlord was one of these series. So Carmine didn’t cancel Warlord at #2 so much as release a limited number of issues of Warlord to test the market, and he may have greenlighted an ongoing soon after had he not been fired.

Jenette Kahn didn’t agree with this policy and came along at precisely the right time to continue Warlord after only a short break.

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A few months after Jenette Kahn made Warlord an ongoing series, Mike left Superboy [and the Legion of Super-Heroes] with #224 (cover-dated Feb. 1977). This was nearly two years before the DC Implosion (with issues dated Dec. 1978), contrary to Mike’s memories. Mike continued on Green Lantern, though he missed a few issues of that title to do one Superboy and the Legion of Super-Heroes story in its regular series and the Legion tabloid in All-New Collectors’ Edition, and continued to be the regular cover artist for the series. It was at the DC Implosion, when all DC’s surviving regular-sized, bimonthly titles including Warlord were made monthly, that Mike dropped Green Lantern with #110 (Nov. 1978).

I have just one other small correction associated with this article.

In the caption to the Remco toy line featuring Warlord, you misidentified Arak as Arion.

And to prove that we all make mistakes, I’ve been pronouncing Machiste as Ma-SHEEST for nearly 20 years!

– Jim Van Dore Thanks for the valuable info, Jim. And as evidenced by this issue’s Arion article, ye editor does know the difference between the Lord of Atlantis and Arak, despite that caption blunder.

– M.E.

PRAISE FOR LAYTON AND MICHELINIE’S IRON MAN Another great issue of BACK ISSUE! Of course, I speak of the recent issue #25, which attracted me right away with its terrific Bob Layton Iron Man cover. After the deconstruction that has occurred to Iron Man at Marvel today, the Michelinie/Layton Iron Man stands out more than ever as the definitive version of that character.

I sometimes wonder why Joe Quesada doesn’t go back to these creators and just ask them for version 2.0 of their run.

Obviously, considering my love of Layton’s artwork on Iron Man, the interview about his and Michelinie’s work on the character was a highlight for this issue. It reminded me why I dislike the current direction that Marvel has taken for the character, making him somewhat of a nemesis to much of the Marvel Universe. I always enjoyed Michelinie’s work in comics, especially since he wrote so much of the interesting material that came out of Marvel in the ’80s.

Layton was always a consistent workhorse, one whose inking always looked great on metallic characters. He was always amazingly consistent in producing the artwork for that book, somewhat like Joe Sinnott in the way that his inking dominated the penciler and gave the book a finish that was always solid. The terrific artwork that was displayed in issue #25 just echoed that statement. My only hope is that Marvel might read this interview and realize that the perfect writer/artist team for Iron Man is alive and well, and might consider doing the book again someday if offered the chance.

In addition to the Iron Man content of the issue, the Deathlok interview with Rich Buckler, and the subsequent article on the character following Buckler’s exit from the character, were really a wonderful read for me. Buckler has had an uneven career in comics, making an incredibly powerful impact on the industry in the ’70s with the creation of Deathlok and his work on Fantastic Four, but lessening those accomplishments somewhat in the ’80s with the criticisms directed at him about swiping the work of other artists. Even with that, it cannot be argued that he created a character in Deathlok that is as relevant today as it was 30 years ago. It’s unfortunate when a creation starts out so strong, as was the case with Buckler’s version of Deathlok, only to have that character altered in the years following by creators who wish to mold the creation in other less successful directions. In the years following, Deathlok went from being one of the more interesting Marvel characters to something that barely resembled his original creation. Such is the way of great concept characters that never receive a full birth in the comics world, I guess.

Warlord was a character that I loved at first, but if my memory serves me correctly, it was the inking of Vince Colletta that eventually turned me away from his book. One of the amazing things about that title was that DC was obviously playing it to Mike Grell’s

artistic strengths, by allowing him the double-page spread at the opening of each issue, and supporting his desire to create a world full of graphic potential. Grell did a great job on that title, and outside of Colletta’s destructive inking, it was fascinating to read the interview and to be reminded of how great that comic was in its day.

Grell created a fully realized world of characters that developed and grew over time, with some of them surviving, marrying, having children, and even dying eventually. It’s definitely a memorable run, if for no reason than to celebrate the fact that Warlord was primarily the vision of one single creator.

The Six Million Dollar Man piece was a real surprise, featuring an in-depth article on a series from the past that I’ve all but forgotten.

Nonetheless, considering the creators involved and the connection to the always-fascinating Charlton Comics (truly one of the oddest comics companies in history), this ended up being a strong article.

I especially enjoyed the feedback from Joe Staton, a creator who is rarely heard from much anymore, but someone who made a positive impact on the industry just a few years ago. Staton was one of the truly memorable creators at Charlton in the ’70s, along with Don Newton, Mike Zeck, Rich Larsen, and others, so his input into this series was very relevant. I also enjoyed learning more about how Neal Adams and Continuity ended up as the production team for Charlton’s attempt at producing black-andwhite comic magazines. When those originally were published, I remember being astounded that Charlton had secured talent of that level for a title of such minimum impact. [Editor’s note: See art below for an example of the Adams/Continuity Six Million Dollar Man B&W magazine.]

My only criticism of the issue was the article on the [Legends of the] SuperHeroes TV movie. Most of those early attempts at bringing superheroes to the small screen were pretty lame, and this one was probably one of the worst of the time. Outside of the

interesting casting (relying on stand-up comedians for many of the characters), this really wasn’t worthy of the long article invested in it. I think I would have preferred another article on a comic title that related to machines.

Thanks again for a great issue of BI, Michael! Keep ’em coming and we’ll keep buying! As usual, a terrific job of putting together one terrific issue of the magazine after another.

– Jay Willson It’s always a pleasure to hear from Don Newton-friend Jay Willson!

– M.E.

STEEL CRAZY AFTER ALL THESE YEARS I am a recent convert to BACK ISSUE, having only discovered the magazine six issues ago, although I have been working to track down as many back issues as I can. I have always found it refreshing how thoroughly researched the articles are, which is why I was shocked to find a somewhat glaring error at the end of the otherwise fascinating article about the history of Steel. The article states, in reference to the second Steel (Hank Heywood III), “this version of Steel continues to appear in the DC Universe upon occasion, a recent, as of this writing, example being 2007’s Justice Society of America #7.” However, that character is not the second Steel. The second Steel died in Justice League of America #260 (first series). The character on the cover of Justice Society of America #7 is a new character, Citizen Steel, who is another grandson of the original Steel, and cousin to his predecessor. I just felt I needed to write in and point this out. Regardless, thank you for providing me with hours of fascinating reading, and I look forward to many more.

– Matthew Lazorwitz Thanks for the correction, Matthew. We regret the error.

– M.E. I’ve recently returned to BACK ISSUE, having been there from the beginning of issue #1 but letting my subscription run out.

I thought I needed to follow the old adage of putting away childish things after my child was born. Having read the Rich Buckler Deathlok article, I’ve decided to reevaluate that notion … maybe it wasn’t that childish after all.

Hearing Buckler speak so humbly and at peace with himself about Deathlok and all the imitators it spawned over the years, it’s a real lesson in how to be a fuller human being. I remember seeing RoboCop for the first time, enjoying it, but at the same time screaming in my head, “THIS IS DEATHLOK! THIS IS DEATHLOK! Can’t anyone see this but me?” I met Buckler and spoke to him a few years ago at the Dallas Comic Con and he was equally philosophical about it all in person. Again, good lessons to learn that life doesn’t always go a certain way. Fair or not. You can let it eat you up … or go on.

On another note, it was good to see the article on the Legend of the SuperHeroes special. I always loved Frank Gorshin and Adam West. Adam West moves like a movie star. I met him once and he’s larger than life and I always felt he deserved more than the pigeonholed career that he was served. Same with Gorshin.

I saw him the last few years of his life on Broadway in a one-man show called Say Goodnight Gracie, where he played George Burns. He was fantastic! He should have won the Tony for it that year. I have good memories of hanging out with him at Sardis after the show. He was great and seemed very pleased to be working and getting attention. Frank Gorshin. Now there was a talent.

I’m sending a pic of me and Frank at Sardis. A fun time.

– Andy Patterson

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Photo courtesy of Andy Patterson.

© 2008 Universal Pictures. Art courtesy of Anthony Snyder.

BEING PERFECTLY FRANK

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Normally we don’t print photos of known felons like Edward Nigma in our magazine, Andy, but since you were kind enough to send it, why not! Seriously, thanks for the pic … and for returning to the BI fold.

– M.E.

IF LOVIN’ BI IS WRONG, I DON’T WANNA BE RIGHT Is it wrong to love a magazine? If so, I’m in a lotta trouble, ’cuz BACK ISSUE has my undying affection.

Consistently, with each and every issue, I find myself completely wrapped up in the pages between the covers. As long as I’ve been reading comics, with as many comics as I have in my collection, I’m amazed at how much I still have been unexposed to. The latest issue serves as great example of this: I’ve never read Deathlok. Not his Astonishing Tales run or any of his ongoing series … yet here is an article that whets my appetite and will send me off in search of some issues.

I’ve got a decent run of Warlord and have never read them.

Couldn’t even tell you why, but after reading this article, guess what I’ll be digging out of my long boxes this weekend?

Iron Man by Michelinie and Layton … I’m ashamed to say I’ve never read anything more than a single issue of any of their runs.

I know, I know, I should be shot, but I just never got around to it.

Always meant to, never have. I will, I promise.

With all the above, you had articles on Machine Man, Steel, and so much more… This was one of my favorite issues of BI so far, and that says a lot when pretty much the entire run has been stellar!

Finally, to answer a question posed in BI #24 regarding a question you answered to from my letter in that same issue.

You asked if BI should avoid subject matter covered in other TwoMorrows books? My answer would be “no.” And here’s why: I posed the question regarding Kurt Schaffenberger coverage in BI, and you responded about Hero Gets Girl (which, incidentally, I had purchased just prior to BI #24 coming out). But other TwoMorrow books aren’t so easily available. I’m thinking specifically about the Jim Aparo book. It’s no longer offered on their site and I’ve struck out finding it on eBay. As a result, those of us who grew up with Aparo’s Batman or B&B work won’t get any in-depth treatment of him if BI avoids him because he had a book at some earlier date that is now unavailable.

That’s all. Allow me to say once more, thank you very much for such a consistently enjoyable and revealing magazine. It is a perfect complement to a longtime hobby and I look forward to many more issues.

– Vince Fahey Tell you what, Vince—we won’t avoid subject matter from TwoMorrows books in BI, but will ensure that our coverage is published some time after (or before) those books so as not to duplicate material for readers who purchase both.

The Jim Aparo book, for those of you who are wondering, has yet to see print and it is in limbo due to a variety of extraordinary circumstances. You can rest assured that once those matters are rectified, TwoMorrows will publish the book as soon as possible. (And I refer you and others interested in Mr. Aparo to my Brave and the Bold–based interview with him in BACK ISSUE #7, which, I’m sad to say, was his last interview in print). And while TwoMorrows books might not be in every comics shop or bookstore, they’re available directly from the publisher’s website: www.twomorrows.com!

– M.E.

ANDY’S DANDY REEL-LIFE SUPER FRIENDS I really enjoy the work Andy Mangels puts into his “Backstage Pass” columns! My previous exposure to his work was a couple of Star Trek comics, but I never realized he knew so much about comics and TV! This issue’s research on the “Super Friends Live” action shows was amazing! I seem to remember the action show but not the roast, but then maybe it’s better if I saw it that I blocked it out!

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Super-Villain Sit-In Mordru (Gabe Dell) and Riddler (Frank Gorshin), as seen on TV. TM & © Warner Bros./DC Comics.

Andy is doing us all a great service covering these rather obscure shows, and especially with alerting us to new ones on DVD that are of interest. He mentioned in passing that the classic Batman series had some legal problems getting to DVD, so hopefully he can let us know how it turns out.

– Paul Green As usual, enjoyed the newest BACK ISSUE! Over time, I’ve come to realize what a great feature the “Pro2Pro” segment is—it’s a blast reading two (or more) creative people get back together, and watching (er, reading) their old creative chemistry come back (or, sometimes, not). Bob Layton and David Michelinie going back and forth with each other was a joy to read, and it makes me want to go and search out all those old Iron Mans.

They seem to really enjoy working with each other.

I think my favorite article was Andy Mangels’ examination of the Legends of the SuperHeroes specials. No TV show(s) this bad really deserves eight pages devoted to it, yet I couldn’t look away. My only quibble is his relative lack of attention toward the character of Ghetto Man—it’s so offensive that, to me, it dominates the show in either direction (you can’t pay attention because you know it’s coming, then afterwards you still can’t believe that aired on national television), and it’s just a mere blip in the article. Hmm, maybe that’s for the best.

It takes real skill to make a magazine partially centering on Machine Man, Steel, and the Herbie the Robot interesting, yet you pulled it off. As always, a fine issue.

– Rob Kelly “Super Friends Live”: This article was the highlight of the issue, and I’m not saying that because my name was mentioned in it. We know so little about the two LOSH live-action specials that any new info is appreciated. Imagine my surprise when I stumbled across Aleisha Brevard’s website and found out her secret. I was flabbergasted!

I find it pathetic that no effort was made to track down either Jackson Bostwick or John Davey to reprise their role as Captain Marvel, especially since Garrett Craig’s hairstyle is similar to Bostwick’s. Andy and I agree to disagree on this—I don’t think the costume worn by West was one of the originals from the ’60s— the appliances are black, not dark blue, and the cowl is definitely different. A recent article in The Washington Post regarding the absence of a Mannix DVD release spurred CBS/Paramount into action. Maybe this article will alert WB to the hidden, campy gem in their archives.

– Delmo (The Saint) Walters, Jr.

I’m a big fan of your magazine and really enjoyed the latest issue, but I do have some corrections to your article on those ’70s live-action Legends of the SuperHeroes comedy specials.

First of all, to correct your synopsis of “The Challenge,” as near as I recall the superheroes did not get their superpowers back mysteriously during the commercials. It was just with the villains powerless from accidentally drinking Dr. Sivana’s potion the playing field was even again, and thus it was easy for the good guys to beat the bad guys even without their superabilities.

And secondly, the voiceovers explaining the reasons for Retired Man’s supposed senility were done by Ed McMahon in one episode and narrator Gary Owens in the other, and not actor William Schallert, who had done a variation of the same character on Get Smart.

Otherwise, the article was excellent and a great way to recapture the misspent moments of my youth.

– Jeff Taylor

S U B M IS S IO N G U ID E L IN E S BACK ISSUE is on the lookout for the following comics-related material from the 1970s and 1980s: Unpublished artwork and covers Original artwork and covers Penciled artwork Character designs, model sheets, etc.

Original sketches and/or convention sketches Original scripts Photos Little-seen fanzine material Other rarities

Andy Mangels responds: “Thanks for the enthusiasm for the article, Jeff. Glad you liked the article, and glad there’s a magazine like BACK ISSUE to run it in! As to your comments, here are some answers: “1) The ‘non-powered heroes/villains’: When it first appears, Sivana says the potion is temporary, but that is a part of one line and easily missed and never referred to again. During the fight, Batman notes of the villains that ‘they don’t have their powers either,’ and the battle commences. So, it could be correct to say that I was mistaken in saying the heroes have ‘mysteriously and without explanation gotten their powers back between commercials’ except that the battle still seems to go a bit better for the heroes. Batman downs the much larger and naturally stronger Solomon Grundy, and Captain Marvel picks up a villain effortlessly, while Batman compliments Flash on being so ‘quick.’ So while they don’t use their powers completely, it’s implied they’ve got some of them back.

“2) The ‘Retired Man narration’: You are correct again, that Gary Owens comments that it’s Retired Man ‘who hasn’t been the same since he tried to stop that speeding bullet’ (barely audible over a roaring applause and laugh track). However, when interviewing Peter Gallay, the writer recalled he wrote it for Schallert, which is what I reported. I suppose that I could have corrected his recollection in the course of the article, but I didn’t recall that the line had been changed, and either way, Gallay wrote the line for Schallert, and the anecdote he related was about Schallert.

“Again, thanks for reading, and for your attention to details!”

Creators and collectors of 1970s/1980s comics artwork are invited to share your goodies with other fans!

Contributors will be acknowledged in print and receive complimentary copies (and the editor’s gratitude).

BATMAN SURE DRESSES FUNNY, DON’T HE?

Submit artwork as (listed in order of preference): Scanned images: 300dpi TIF (preferred) or JPEG (e-mailed or on CD, or to our FTP site; please inquire) Clear color or black-and-white photocopies

I believe the Batman story recalled by Bob Layton on page 51 of BI #25 is not “The Rainbow Batman,” as suggested, but is rather “The Strange Costumes of Batman” by our friends Edmond Hamilton, Dick Sprang, and Charles Paris, from Detective Comics #165 (Nov. 1950).

The story was first reprinted in Batman Annual #1, which is where I first saw it, and maybe Bob, too. In “Strange Costumes,” Batman’s different outfits serve the functional purposes Bob cites, while in “Rainbow,” Batman’s differently colored costumes serve solely as misdirection.

(Man, I love this stuff! BACK ISSUE, too.)

– Mike W. Barr

BACK ISSUE is also open to pitches from writers for article ideas appropriate for our recurring and/or rotating departments.

Request a copy of the BACK ISSUE Writers’ Bible by e-mailing euryman@msn.com or by sending a SASE to the address below.

Please allow 6–8 weeks for a response to your proposals.

Artwork submissions and SASEs for writers’ guidelines should be sent to:

Iron Man © 2008 Marvel Characters,

Inc. BACK ISSUE TM & © TwoMorrow s.

Thanks for the info, Mike.

Next issue: “Heroes Behaving Badly”! The Thing and the Hulk—why can’t they get along? We look at their rivalry, followed by interviews with RON WILSON (Marvel Two-in-One) and HERB TRIMPE (Incredible Hulk), and articles on the Rampaging Hulk and UK Hulk magazines. And those big lugs aren’t the only misbehaving heroes in BACK ISSUE #28: CARY BATES and CARMINE INFANTINO recall the Trial of the Flash; MARV WOLFMAN, PHIL JIMENEZ, and JIMMY PALMIOTTI talk about the Teen Titan traitor Terra; PETER SANDERSON examines JOHN BYRNE’s heroes who cross the line; and we blow the lid off of the stories of Kid Miracleman, Iron Man’s “Demon in a Bottle” days (or is that daze?), and Mark Shaw Manhunter.

Plus: BOB ROZAKIS’ ongoing (from Alter Ego) fantasy history of AA Comics. Don’t ask, just BI it— look for the tipsy Iron Man cover by the one and only DARWYN COOKE. See you in sixty!

Your friendly neighborhood Euryman, Michael Eury, editor

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Michael Eury, Editor BACK ISSUE 118 Edgewood Ave. NE Concord, NC 28025

Advertise In BACK ISSUE! FULL-PAGE: 7.5" Wide x 10" Tall • $300 HALF-PAGE: 7.5" Wide x 4.875" Tall • $175 QUARTER-PAGE: 3.75" Wide x 4.875" Tall • $100 Prepay for two ads in Alter Ego, DRAW!, Write Now!, Back Issue, Rough Stuff, or any combination and save: TWO FULL-PAGE ADS: $500 ($100 savings) TWO HALF-PAGE ADS: $300 ($50 savings) TWO QUARTER-PAGE ADS: $175 ($25 savings) These rates are for black-&-white ads, supplied on-disk (TIF, EPS, or Quark Xpress files acceptable) or as camera-ready art.

Typesetting service available at 20% mark-up. Due to our already low ad rates, no agency discounts apply. Sorry, display ads not available for the Jack Kirby Collector.

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The missing link to primates in comics, spotlighting a barrel of simian superstars like Beppo, BrainiApe, the Gibbon, Gleek, Gorilla Man, Grease Monkey, King Kong, Konga, Mojo Jojo, Sky Ape, and Titano! It’s loaded with rare and classic artwork, cover galleries, and interviews with artists & writers including ARTHUR ADAMS (Monkeyman and O’Brien), FRANK CHO, CARMINE INFANTINO (Detective Chimp, Grodd), JOE KUBERT (Tor, Tarzan), TONY MILLIONAIRE (Sock Monkey), DOUG MOENCH (Planet of the Apes), and BOB OKSNER (Angel and the Ape)! With its all-new cover by ARTHUR ADAMS, you won’t be able to keep your filthy paws off this book! By MICHAEL EURY. (128-page trade paperback) $14.95 ISBN: 9781893905627 Diamond Order Code: FEB073814

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

2007 EISNER AWARD WINNER Best Comics-Related Periodical

Go online for an ULTIMATE BUNDLE, with all the issues at HALF-PRICE!

DIEGDITITIOANL ONLY!

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 (80-page Digital Edition) $2.95

(100-page magazine) $5.95 Diamond Order Code: JUL991700

(100-page magazine) $5.95 Diamond Order Code: OCT991711

DIEGDITITIOANL ONLY!

ALTER EGO #4

ALTER EGO #5

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 Diamond Order Code: JAN001713

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

(100-page magazine) $5.95 Diamond Order Code: JUL002003

(100-page magazine) $5.95 Diamond Order Code: NOV002267

(100-page magazine) $5.95 Diamond Order Code: FEB012215

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 Diamond Order Code: MAY012450

(100-page magazine) $5.95 Diamond Order Code: JUL012309

(100-page magazine) $5.95 Diamond Order Code: SEP012273

(100-page magazine) $5.95 Diamond Order Code: NOV012568

(100-page magazine) $5.95 Diamond Order Code: JAN022737

ALTER EGO #17 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!

ALTER EGO #14

ALTER EGO #15

ALTER EGO #16

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!

(100-page magazine) $5.95 Diamond Order Code: FEB022730

(108-page magazine) $5.95 Diamond Order Code: APR022615

(108-page magazine) $5.95 Diamond Order Code: MAY022386

ALTER EGO #18

ALTER EGO #19

ALTER EGO #20

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!

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!

(108-page magazine) $5.95 Diamond Order Code: AUG022420

(108-page magazine) $5.95 Diamond Order Code: OCT022884

(108-page magazine) $5.95 Diamond Order Code: NOV022845

(108-page magazine) $5.95 Diamond Order Code: JUL022370

ALTER EGO #21 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 the JSA and All-Star Squadron, more UNSEEN 1946 ALL-STAR ART, MR. MONSTER on GARDNER FOX, FCA, and more! DAVE STEVENS and IRWIN HASEN covers!

(108-page magazine) $5.95 Diamond Order Code: DEC023029

ALTER EGO #22

ALTER EGO #23

ALTER EGO #24

ALTER EGO #25

ALTER EGO #26

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!

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 All-Star 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!

(108-page magazine) $5.95 Diamond Order Code: JAN032492

(108-page magazine) $5.95 Diamond Order Code: FEB032260

(108-page magazine) $5.95 Diamond Order Code: MAR032534

(108-page magazine) $5.95 Diamond Order Code: APR032553

(108-page magazine) $5.95 Diamond Order Code: MAY032543

ALTER EGO #27

ALTER EGO #28

ALTER EGO #29

ALTER EGO #30

ALTER EGO #31

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!

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!

(108-page magazine) $5.95 Diamond Order Code: JUN032614

(108-page magazine) $5.95 Diamond Order Code: JUL032570

(108-page magazine) $5.95 Diamond Order Code: AUG032604

(108-page magazine) $5.95 Diamond Order Code: SEP032620

(108-page magazine) $5.95 Diamond Order Code: OCT032843

ALTER EGO #32

ALTER EGO #33

ALTER EGO #34

ALTER EGO #35

ALTER EGO #36

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!

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!

(108-page magazine) $5.95 Diamond Order Code: NOV032695

(108-page magazine) $5.95 Diamond Order Code: DEC032833

(108-page magazine) $5.95 Diamond Order Code: JAN042879

(108-page magazine) $5.95 Diamond Order Code: FEB042796

(108-page magazine) $5.95 Diamond Order Code: MAR042972

ALTER EGO #37

ALTER EGO #38

ALTER EGO #39

ALTER EGO #40

ALTER EGO #41

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!

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!

(108-page magazine) $5.95 Diamond Order Code: APR043055

(108-page magazine) $5.95 Diamond Order Code: MAY043050

(108-page magazine) $5.95 Diamond Order Code: JUN042972

(108-page magazine) $5.95 Diamond Order Code: JUL043386

(108-page magazine) $5.95 Diamond Order Code: AUG043186

ALTER EGO #42

ALTER EGO #43

ALTER EGO #44

ALTER EGO #45

ALTER EGO #46

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!

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!

(108-page magazine) $5.95 Diamond Order Code: SEP043043

(108-page magazine) $5.95 Diamond Order Code: OCT043189

(100-page magazine) $5.95 Diamond Order Code: NOV043080

(100-page magazine) $5.95 Diamond Order Code: DEC042992

(100-page magazine) $5.95 Diamond Order Code: JAN053133

ALTER EGO #47

ALTER EGO #48

ALTER EGO #49

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!

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!

(100-page magazine) $5.95 Diamond Order Code: FEB053220

(100-page magazine) $5.95 Diamond Order Code: MAR053331

(100-page magazine) $5.95 Diamond Order Code: APR053287

ALTER EGO #50 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!

(100-page magazine) $5.95 Diamond Order Code: MAY053172

ALTER EGO #54 ALTER EGO #51

ALTER EGO #52

ALTER EGO #53

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!

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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!

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ALTER EGO #56

ALTER EGO #57

ALTER EGO #58

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!

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ALTER EGO #55 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 Card Art from CRANDALL, SINNOTT, HEATH, MOONEY, and CARDY, 1943 Pin-Up Calendar (with ’40s movie stars as superheroines), ALEX TOTH, and more! ALEX ROSS and ALEX WRIGHT covers!

(100-page magazine) $6.95 Diamond Order Code: OCT053396

ALTER EGO #59 Special issue on Batman and Superman in the Golden and Silver Ages, ARTHUR SUYDAM interview, NEAL ADAMS on 1960s/70s DC, SHELLY MOLDOFF, AL PLASTINO, Golden Age artist FRAN (Doll Man) MATERA and VIC CARRABOTTA interviewed, SIEGEL & SHUSTER, RUSS MANNING, FCA, MR. MONSTER, SUYDAM cover, and more!

(100-page magazine) $6.95 Diamond Order Code: APR063474

ALTER EGO #60

ALTER EGO #61

ALTER EGO #62

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!

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ALTER EGO #63

ALTER EGO #64

ALTER EGO #65

ALTER EGO #66

ALTER EGO #67

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!

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!

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ALTER EGO #68

ALTER EGO #69

ALTER EGO #70

ALTER EGO #71

ALTER EGO #72

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!

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!

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ALTER EGO #73

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ALTER EGO #76

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!

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!

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ALTER EGO #74 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!

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ALTER EGO #78 ALTER EGO #77 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!

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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 Ships June 2008

ALTER EGO #79

ALTER EGO #80

SUPERMAN & HIS CREATORS! New cover

by MICHAEL GOLDEN, exclusive and revealing interview with JOE SHUSTER’s sister, JEAN SHUSTER PEAVEY—MIKE W. BARR on Superman the detective— DWIGHT DECKER on the Man of Steel & Hitler’s Third Reich—plus the NEMBO KID (Italian for “Superman”), art by BORING, SWAN, ADAMS, 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 The Gray Mouser, Beowulf, Warlord, Dagar the Invincible, and more, with art by FRAZETTA, SMITH, BUSCEMA, KANE, WRIGHTSON, PLOOG, THORNE, BRUNNER, and more!

New cover by RAFAEL KAYANAN!

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(100-page magazine) $6.95 Ships August 2008

12-ISSUE SUBSCRIPTIONS: $78 US Postpaid by Media Mail ($108 First Class, $132 Canada, $180 Surface, $216 Airmail).

For a 6-issue sub, cut the price in half!

THE RETRO COMICS EXPERIENCE!

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Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments such as “Pro2Pro” (a dialogue between two professionals), “Rough Stuff” (pencil art showcases of top artists), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

Go online for an ULTIMATE BUNDLE, with all the issues at HALF-PRICE! 6-ISSUE SUBS: $40 US Postpaid by Media Mail ($54 First Class, $66 Canada, $90 Surface, $108 Airmail).

BACK ISSUE #1

BACK ISSUE #2

BACK ISSUE #3

“PRO2PRO” interview between GEORGE PÉREZ & MARV WOLFMAN (with UNSEEN PÉREZ ART), “ROUGH STUFF” featuring JACK KIRBY’s PENCIL ART, “GREATEST STORIES NEVER TOLD” on the first JLA/AVENGERS, “BEYOND CAPES” on DC and Marvel’s TARZAN (with KUBERT and BUSCEMA ART), “OFF MY CHEST” editorial by INFANTINO, and more! PÉREZ cover!

“PRO2PRO” between ADAM HUGHES and MIKE W. BARR (with UNSEEN HUGHES ART) and MATT WAGNER and DIANA SCHUTZ, “ROUGH STUFF” HUGHES PENCIL ART, STEVE RUDE’s unseen SPACE GHOST/HERCULOIDS team-up, Bruce Jones’ ALIEN WORLDS and TWISTED TALES, “OFF MY CHEST” by MIKE W. BARR on the DC IMPLOSION, and more!

HUGHES cover!

“PRO2PRO” between KEITH GIFFEN, J.M. DeMATTEIS and KEVIN MAGUIRE on their JLA WORK, “ROUGH STUFF” PENCIL ART by ARAGONÉS, HERNANDEZ BROS., MIGNOLA, BYRNE, KIRBY, HUGHES, details on two unknown PLASTIC MAN movies, Joker’s history with O’NEIL, ADAMS, ENGLEHART, ROGERS and BOLLAND, editorial by MARK EVANIER, and more! BOLLAND cover!

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BACK ISSUE #4

BACK ISSUE #5

BACK ISSUE #6

BACK ISSUE #7

BACK ISSUE #8

“PRO2PRO” between JOHN BYRNE and CHRIS CLAREMONT on their X-MEN WORK and WALT SIMONSON and JOE CASEY on Walter’s THOR, WOLVERINE PENCIL ART by BUSCEMA, LEE, COCKRUM, BYRNE, and GIL KANE, LEN WEIN’S TEEN WOLVERINE, PUNISHER’S 30TH and SECRET WARS’ 20TH ANNIVERSARIES (with UNSEEN ZECK ART), and more! BYRNE cover!

Wonder Woman TV series in-depth, LYNDA CARTER INTERVIEW, WONDER WOMAN TV ART GALLERY, Marvel’s TV Hulk, SpiderMan, Captain America, and Dr. Strange, LOU FERRIGNO INTERVIEW, super-hero cartoons you didn’t see, pencil gallery by JERRY ORDWAY, STAR TREK in comics, and ROMITA SR. editorial on Marvel’s movies!

Covers by ALEX ROSS and ADAM HUGHES!

TOMB OF DRACULA revealed with GENE COLAN and MARV WOLFMAN, LEN WEIN & BERNIE WRIGHTSON on Swamp Thing’s roots, STEVE BISSETTE & RICK VEITCH on their Swamp work, pencil art by BRUNNER, PLOOG, BISSETTE, COLAN, WRIGHTSON, and SMITH, editorial by ROY THOMAS, PREZ, GODZILLA comics (with TRIMPE art), CHARLTON horror, & more! COLAN cover!

History of BRAVE AND BOLD, JIM APARO interview, tribute to BOB HANEY, FANTASTIC FOUR ROUNDTABLE with STAN LEE, MARK WAID, and others, EVANIER and MEUGNIOT on DNAgents, pencil art by ROSS, TOTH, COCKRUM, HECK, ROBBINS, NEWTON, and BYRNE, DENNY O’NEIL editorial, a tour of METROPOLIS, IL, and more! SWAN/ANDERSON cover!

DENNY O’NEIL and Justice League Unlimited voice actor PHIL LaMARR discuss GL JOHN STEWART, NEW X-MEN pencil art by NEAL ADAMS, ARTHUR ADAMS, DAVID MAZZUCCHELLI, ALAN DAVIS, JIM LEE, ADAM HUGHES, STORM’s 30-year history, animated TV’s black heroes (with TOTH art), ISABELLA and TREVOR VON EEDEN on BLACK LIGHTNING, and more! KYLE BAKER cover!

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BACK ISSUE #9

BACK ISSUE #10

BACK ISSUE #11

BACK ISSUE #12

BACK ISSUE #13

MIKE BARON and STEVE RUDE on NEXUS past and present, a colossal GIL KANE pencil art gallery, a look at Marvel’s STAR WARS comics, secrets of DC’s unseen CRISIS ON INFINITE EARTHS SEQUEL, TIM TRUMAN on his GRIMJACK SERIES, MIKE GOLD editorial, THANOS history, TIME WARP revisited, and more! All-new STEVE RUDE COVER!

NEAL ADAMS and DENNY O’NEIL on RA’S AL GHUL’s history (with Adams art), O’Neil and MICHAEL KALUTA on THE SHADOW, MIKE GRELL on JON SABLE FREELANCE, HOWIE CHAYKIN interview, DOC SAVAGE in comics, BATMAN ART GALLERY by PAUL SMITH, SIENKIEWICZ, SIMONSON, BOLLAND, HANNIGAN, MAZZUCCHELLI, and others! New cover by ADAMS!

ROY THOMAS, KURT BUSIEK, and JOE JUSKO on CONAN (with art by JOHN BUSCEMA, BARRY WINDSOR-SMITH, NEAL ADAMS, JUSKO, and others), SERGIO ARAGONÉS and MARK EVANIER on GROO, DC’s never-published KING ARTHUR, pencil art gallery by KIRBY, PÉREZ, MOEBIUS, GARCÍA-LÓPEZ, BOLLAND, and others, and a new BUSCEMA/JUSKO Conan cover!

‘70s and ‘80s character revamps with DAVE GIBBONS, ROY THOMAS and KURT BUSIEK, TOM DeFALCO and RON FRENZ on Spider-Man’s 1980s “black” costume change, DENNY O’NEIL on Superman’s 1970 revamp, JOHN BYRNE’s aborted SHAZAM! series detailed, pencil art gallery with FRANK MILLER, LEE WEEKS, DAVID MAZZUCCHELLI, CHARLES VESS, and more!

CARDY interview, ENGLEHART and MOENCH on kung-fu comics, “Pro2Pro” with STATON and CUTI on Charlton’s E-Man, pencil art gallery featuring MILLER, KUBERT, GIORDANO, SWAN, GIL KANE, COLAN, COCKRUM, and others, EISNER’s A Contract with God; “The Death of Romance (Comics)” (with art by ROMITA, SR. and TOTH), and more!

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BACK ISSUE #14

BACK ISSUE #15

BACK ISSUE #16

BACK ISSUE #17

BACK ISSUE #18

DAVE COCKRUM and MIKE GRELL go “Pro2Pro” on the Legion, pencil art gallery

by BUSCEMA, BYRNE, MILLER, STARLIN, McFARLANE, ROMITA JR., SIENKIEWICZ, looks at Hercules Unbound, Hex, Killraven, Kamandi, MARS, Planet of the Apes, art and interviews with GARCÍA-LÓPEZ, KIRBY, WILLIAMSON, and more! New MIKE GRELL/BOB McLEOD cover!

“Weird Heroes” of the 1970s and ‘80s!

MIKE PLOOG discusses Ghost Rider, MATT WAGNER revisits The Demon, JOE KUBERT dusts off Ragman, GENE COLAN “Rough Stuff” pencil gallery, GARCÍALÓPEZ recalls Deadman, DC’s unpublished Gorilla Grodd series, PERLIN, CONWAY, and MOENCH on Werewolf by Night, and more! New ARTHUR ADAMS cover!

“Toy Stories!” Behind the Scenes of Marvel’s G.I. JOE™ and TRANSFORMERS with PAUL LEVITZ and GEORGE TUSKA, “Rough Stuff” MIKE ZECK pencil gallery, ARTHUR ADAMS on Gumby, HE-MAN, ROM, MICRONAUTS, SUPER POWERS, SUPER-HERO CARS, art by HAMA, SAL BUSCEMA, GUICE, GOLDEN, KIRBY, TRIMPE, and new ZECK sketch cover!

“Super Girls!” Supergirl retrospective with art by STELFREEZE, HAMNER, SpiderWoman, Flare, Tigra, DC’s unused Double Comics with unseen BARRETTO and INFANTINO art, WOLFMAN and JIMENEZ on Donna Troy, female comics pros, art by SEKOWSKY, OKSNER, PÉREZ, HUGHES, GIORDANO, plus a COLOR GALLERY and COVER by BRUCE TIMM!

“Big, Green Issue!” Tour of NEAL ADAMS’ studio (with interview and art gallery), DAVE GIBBONS “Rough Stuff” pencil art spotlight, interviews with MIKE GRELL (on Green Arrow), PETER DAVID (on Incredible Hulk), a “Pro2Pro” chat between GERRY CONWAY and JOHN ROMITA, SR. (on the Green Goblin), and more. New cover

by NEAL ADAMS!

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BACK ISSUE #19

BACK ISSUE #20

BACK ISSUE #21

BACK ISSUE #22

BACK ISSUE #23

“Unsung Heroes!” DON NEWTON spotlight, STEVE GERBER and GENE COLAN on Howard the Duck, MIKE CARLIN and DANNY FINGEROTH on Marvel’s Assistant Editors’ Month, the unrealized Unlimited Powers TV show, TONY ISABELLA’s aborted plans for The Champions, MARK GRUENWALD tribute, art by SAL BUSCEMA, JOHN BYRNE, and more! NEWTON/ RUBINSTEIN cover!

“Secret Identities!” Histories of characters with unusual alter egos: Firestorm, Moon Knight, the Question, and the “real-life” Human Fly! STEVE ENGLEHART and SAL BUSCEMA on Captain America, JERRY ORDWAY interview and cover, Superman roundtable with SIENKIEWICZ, NOWLAN, MOENCH, COWAN, MAGGIN, O’NEIL, MILGROM, CONWAY, ROBBINS, SWAN, plus FREE ALTER EGO #64 PREVIEW!

“The Devil You Say!” issue! A look at Daredevil in the 1980s and 1990s with interviews and art by KLAUS JANSON, JOHN ROMITA JR., and FRANK MILLER, MIKE MIGNOLA Hellboy interview, DAN MISHKIN and GARY COHN on Blue Devil, COLLEEN DORAN’s unpublished X-Men spin-off “Fallen Angels”, Son of Satan, Stig’s Inferno, DC’s Plop!, JACK KIRBY’s Devil Dinosaur, and cover by MIKE ZECK!

“Dynamic Duos!’ “Pro2Pro” interviews with Batman’s ALAN GRANT and NORM BREYFOGLE and the Legion’s PAUL LEVITZ and KEITH GIFFEN, a “Backstage Pass” to Dark Horse Comics, Robin’s history, EASTMAN and LAIRD’s Ninja Turtles, histories of duos Robin and Batgirl, Captain America and the Falcon, and Blue Beetle and Booster Gold, “Zot!” interview with SCOTT McCLOUD, and a new BREYFOGLE cover!

“Comics Go Hollywood!” Spider-Man roundtable with STAN LEE, JOHN ROMITA, SR., JIM SHOOTER, ERIK LARSEN, and others, STAR TREK comics writers’ roundtable Part 1, Gladstone’s Disney comics line, behindthe-scenes at TV’s ISIS and THE FLASH (plus an interview with Flash’s JOHN WESLEY SHIPP), TV tie-in comics, bonus 8-page color ADAM HUGHES ART GALLERY and cover, plus a FREE WRITE NOW #16 PREVIEW!

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BACK ISSUE #24

BACK ISSUE #25

BACK ISSUE #26

BACK ISSUE #28

BACK ISSUE #29

“Magic” issue! MICHAEL GOLDEN interview, GENE COLAN, PAUL SMITH, and FRANK BRUNNER on drawing Dr. Strange, Mystic Art Gallery with CARL POTTS & KEVIN NOWLAN, BILL WILLINGHAM’s Elementals, Zatanna history, Dr. Fate’s revival, a “Greatest Stories Never Told” look at Peter Pan, tribute to the late MARSHALL ROGERS, a new GOLDEN cover, plus a FREE ROUGH STUFF #6 PREVIEW!

“Men of Steel!’ BOB LAYTON and DAVID MICHELINIE on Iron Man, RICH BUCKLER on Deathlok, MIKE GRELL on Warlord, JOHN BYRNE on ROG 2000, Six Million Dollar Man and Bionic Woman, Machine Man, the World’s Greatest Super-Heroes comic strip, DC’s Steel, art by KIRBY, HECK, WINDSOR-SMITH, TUSKA, LAYTON cover, and bonus “Men of Steel” art gallery!

Includes a FREE DRAW! #15 PREVIEW!

“Spies and Tough Guys!’ PAUL GULACY and DOUG MOENCH in an art-packed “Pro2Pro” on Master of Kung Fu and their unrealized Shang-Chi/Nick Fury crossover, Suicide Squad spotlight, Ms. Tree, CHUCK DIXON and TIM TRUMAN’s Airboy, James Bond and Mr. T in comic books, Sgt. Rock’s oddball super-hero team-ups, Nathaniel Dusk, JOE KUBERT’s unpublished The Redeemer, and a new GULACY cover!

“Heroes Behaving Badly!” Hulk vs. Thing tirades with RON WILSON, HERB TRIMPE, and JIM SHOOTER; CARY BATES and CARMINE INFANTINO on “Trial of the Flash”; JOHN BYRNE’s heroes who cross the line; Teen Titan Terra, Kid Miracleman, Mark Shaw Manhunter, and others who went bad, featuring LAYTON, MICHELINIE, WOLFMAN, and PÉREZ, and more! New cover by DARWYN COOKE!

“Mutants” issue! CLAREMONT, BYRNE, SMITH, and ROMITA, JR.’s X-Men work; NOCENTI and ARTHUR ADAMS’ Longshot; McLEOD and SIENKIEWICZ’s New Mutants; the UK’s CAPTAIN BRITAIN series; lost Angel stories; Beast’s tenure with the Avengers; the return of the original X-Men in X-Factor; the revelation of Nightcrawler’s “original” father; a history of DC’s mutant, Captain Comet, and more! Cover by DAVE COCKRUM!

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NEW STUFF FROM TWOMORROWS!

ALTER EGO #76

ROUGH STUFF #7

WRITE NOW! #17

DRAW! #15

BRICKJOURNAL #1 (V2)

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!

Features an in-depth interview and cover

by TIM TOWNSEND, CRAIG HAMILTON, DAN JURGENS, and HOWARD PORTER offer preliminary art and commentaries, MARIE SEVERIN career retrospective, graphic novels feature with art and comments by DAWN BROWN, TOMER HANUKA, BEN TEMPLESMITH, and LANCE TOOKS, and more!

HEROES ISSUE featuring series creator/ writer TIM KRING, writer JEPH LOEB, and others, interviews with DC Comics’ DAN DiDIO and Marvel’s DAN BUCKLEY, PETER DAVID on writing STEPHEN KING’S DARK TOWER COMIC, MICHAEL TEITELBAUM, C.B. CEBULSKI, DOUGLAS RUSHKOFF, Nuts & Bolts script and art examples, a FREE BACK ISSUE #24 PREVIEW, and more!

BACK TO SCHOOL ISSUE, covering major schools offering comic art as part of their curriculum, featuring faculty, student, and graduate interviews in an ultimate overview of collegiate-level comic art classes! Plus, a “how-to” demo/ interview with artist BILL REINHOLD, MANLEY and BRET BLEVINS’ COMIC ART BOOTCAMP series, a FREE WRITE NOW #17 PREVIEW, and more!

The ultimate resource for LEGO enthusiasts of all ages, showcasing events, people, and models! #1 features an interview with set designer and LEGO Certified Professional NATHAN SAWAYA, plus step-by-step building instructions and techniques for all skill levels, new set reviews, on-the-scene reports from LEGO community events, and other surprises! Edited by JOE MENO.

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(80-page FULL COLOR magazine) $11 US Now Shipping Look for it in December’s PREVIEWS

ALL- STAR COMPANION V. 3

MODERN MASTERS VOLUME 15: MARK SCHULTZ

KIRBY FIVE-OH! (JACK KIRBY COLLECTOR #50) The regular columnists from THE JACK KIRBY COLLECTOR magazine celebrate the best of everything from Jack Kirby’s 50-year career, spotlighting: The BEST KIRBY STORIES & COVERS from 19381987! Jack’s 50 BEST UNUSED PIECES OF ART! His 50 BEST CHARACTER DESIGNS! Interviews with the 50 PEOPLE MOST INFLUENCED BY KIRBY’S WORK! A 50PAGE KIRBY PENCIL ART GALLERY and DELUXE COLOR SECTION! Kirby cover inked by DARWYN COOKE, and an introduction by MARK EVANIER, making this the ultimate retrospective on the career of the “King” of comics! Edited by JOHN MORROW. (168-page tabloid-size trade paperback) $24 US ISBN: 9781893905894 Diamond Order Code: JUL078147 Ships April 2008

SILVER AGE ALTER EGO: BEST SCI-FI COMPANION OF THE LEGENDARY COMICS FANZINE In the Silver Age of Comics, space was the place, and this book summarizes, critiques and lovingly recalls the classic science-fiction series edited by JULIUS SCHWARTZ and written by GARDNER FOX and JOHN BROOME! The pages of DC’s science-fiction magazines of the 1960s, STRANGE ADVENTURES and MYSTERY IN SPACE, are opened for you, including story-bystory reviews of complete series such as ADAM STRANGE, ATOMIC KNIGHTS, SPACE MUSEUM, STAR ROVERS, STAR HAWKINS and others! Writer/editor MIKE W. BARR tells you which series crossed over with each other, behind-the-scenes secrets, and more, including writer and artist credits for every story! Features rare art by CARMINE INFANTINO, MURPHY ANDERSON, GIL KANE, SID GREENE, MIKE SEKOWSKY, and many others, plus a glorious new cover by ALAN DAVIS and PAUL NEARY! (144-page trade paperback) $24 US ISBN: 9781893905818 Diamond Order Code: JUL073885

Go to www.twomorrows.com for FULL-COLOR downloadable PDF versions of our magazines for only $2.95! Subscribers to the print edition get the digital edition FREE, weeks before it hits stores!

In 1961, JERRY BAILS and ROY THOMAS launched ALTER EGO, the first fanzine devoted to comic book history. This book, first published in low distribution in 1997, collects the original 11 issues of A/E from 1961-78, with creative and artistic contributions by JACK KIRBY, STEVE DITKO, WALLY WOOD, JOHN BUSCEMA, MARIE SEVERIN, BILL EVERETT, RUSS MANNING, CURT SWAN, & others—and important, illustrated interviews with GIL KANE, BILL EVERETT, & JOE KUBERT! See where a generation first learned about the Golden Age of Comics—while the Silver Age was in full flower—with major articles on the JUSTICE SOCIETY, the MARVEL FAMILY, the MLJ HEROES, and more! Edited by ROY THOMAS & BILL SCHELLY with an introduction by the late JULIUS SCHWARTZ.

More amazing secrets behind the 194051 ALL-STAR COMICS—and illustrated speculation about how other Golden Age super-teams might have been assembled!

Also, an issue-by-issue survey of the JLAJSA TEAM-UPS of 1963-85, the 1970s JSA REVIVAL, and the 1980s series THE YOUNG ALL-STARS and SECRET ORIGINS, with commentary by the artists and writers! Plus rare, often unseen art by KUBERT, INFANTINO, ADAMS, ORDWAY, ANDERSON, TOTH, CARDY, GIL KANE, COLAN, SEKOWSKY, DILLIN, STATON, REINMAN, McLEOD, GRINDBERG, PAUL SMITH, RON HARRIS, MARSHALL ROGERS, WAYNE BORING, GEORGE FREEMAN, DON HECK, GEORGE TUSKA, TONY DeZUNIGA, H.G. PETER, DON SIMPSON, and many others! Compiled and edited by ROY THOMAS, with a new cover by GEORGE PÉREZ!

(192-page trade paperback) $26 US ISBN: 9781893905887 Diamond Order Code: DEC073946

(224-page trade paperback) $31 US ISBN: 9781893905801 Diamond Order Code: MAY078045

(10TH ANNIVERSARY EDITION)

SUBSCRIPTIONS:

Surface

Airmail

JACK KIRBY COLLECTOR (4 issues)

$44

US

1st Class Canada $56

$64

$76

$120

BACK ISSUE! (6 issues)

$40

$54

$66

$90

$108

DRAW!, WRITE NOW!, ROUGH STUFF (4 issues)

$26

$36

$44

$60

$72

ALTER EGO (12 issues) Six-issue subs are half-price!

$78

$108

$132

$180

$216

BRICKJOURNAL (4 issues)

$32

$42

$50

$66

$78

Features an extensive, career-spanning interview lavishly illustrated with rare art from Mark’s files, plus huge sketchbook section, including unseen and unused art!

By ERIC NOLEN-WEATHINGTON. (120-page TPB with COLOR) $19 US ISBN: 9781893905856 Diamond Order Code: OCT073846

MODERN MASTERS: MICHAEL GOLDEN DVD Shows the artist at work, discussing his art and career!

(120-minute Std. Format DVD) $35 US ISBN: 9781893905771 Diamond Order Code: MAY073780

For the latest news from TwoMorrows Publishing, log on to www.twomorrows.com/tnt

TwoMorrows. Celebrating The Art & History Of Comics.

TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com