Back Issue #30 by TwoMorrows Publishing

Fly high with SATURDAY

MORNING HEROES!

r 2008 O c t o be

82658 27762

N$o6..3905

JACKSON BOSTWICK & JOHN DAVEY!

Interviews with

Space Ghost’s GARY OWENS & STEVE RUDE h Super Friends h Super Powers toys Captain Cosmos h Astro Boy h MARV WOLFMAN on the 1988 Superman cartoon and a DAVE STEVENS tribute by ADAM HUGHES

Volume 1, Number 30 October 2008 Celebrating the Best Com ics of the '70s, '80s, and Today!

The Retro Comics Experience!

EDITOR Michael Eury PUBLISHER John Morrow

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

DESIGNER Rich J. Fowlks

FLASHBACK: Shazam!: DC’s Captain Marvel Revival of the 1970s . . . . . . . . . . . . . . . . . . .3 The story of the Big Red Cheese’s return from comics limbo

COVER DESIGNER Michael Kronenberg CIRCULATION DIRECTOR Bob Brodsky, Cookiesoup Productions PROOFREADERS John Morrow and Eric Nolen-Weathington SPECIAL THANKS Jim Alexander Elliot S! Maggin Anthony Allan Andy Mangels Al Bigley Kelvin Mao Jackson Bostwick Eric Mayse Jerry Boyd Darrell McNeil Tony Caputo Dennis O’Neil Matt Cauley Gary Owens Nicola Cuti Daniel Pickett John Davey Ruben Procopio DC Comics Alex Ross Willie Fawcett Bob Rozakis Shane Foley Steve Rude Ramona Fradon Alex Saviuk Jason Geyer James Sawyer Grand Comic-Book Richard A. Scott Database Andy Smith Lawrence Guidry Anthony Snyder Larry Hama Ken Steacy P.C. Hamerlinck The Earth Hanna-Barbera Roy Thomas Productions Mark Tomlinson Heritage Comics Eric Treadaway Auctions Jason Ullymeyer Adam Hughes Mark Waid Internet Movie Edward Wires Database Marv Wolfman Kenner Toys Alex Wright Jason and Jeff Liebig Alan Light

GREATEST STORIES NEVER TOLD: The Captain Thunder Sequel That Went “Sha-Boom!” . . .11 Elliot S! Maggin and Alex Saviuk recall the fizzled follow-up to Superman #276

Cast from the second season of Shazam!: John Davey (Captain Marvel), Les Tremayne (Mentor), and Michael Gray (Billy Batson). TM & © DC Comics.

COVER ARTIST Alex Ross

INTERVIEWS: Jackson Bostwick and John Davey: The World’s Mightiest Mortals . . . . . .17 Two all-new interviews with the actors who brought Captain Marvel to life BACKSTAGE PASS: Those Super Friends of Mine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 A year in the life of a young Hanna-Barberian, Darrell McNeil FLASHBACK: Super Friends in Comics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 From comics to TV to comics again, DC Comics’ Justice League “lite” SPECIAL FEATURE: Adam Hughes Remembers Dave Stevens . . . . . . . . . . . . . . . . . . . . . .48 How the late creator of The Rocketeer influenced one of comics’ most popular artists ART GALLERY: The Art of Dave Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 A visual remembrance of the much-missed artist GREATEST STORIES NEVER TOLD: Super Powers: The Unproduced Fourth Wave . . . . .53 The Kenner action figures you might have seen INTERVIEW: Space Ghost Unmasked: Gary Owens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 The voice behind some of our favorite toon titans speaks to BACK ISSUE INTERVIEW: Spaced Out!: Steve Rude’s Space Ghost . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 “The Dude” looks back at Comico’s stunning 1987 Space Ghost one-shot BEYOND CAPES: Now Comics and the Original Astro Boy . . . . . . . . . . . . . . . . . . . . . . . .73 The 1980s reboot of the robotic do-gooder, with Ken Steacy and Tony Caputo OFF MY CHEST: Marv Wolfman and the Adventures of Superman . . . . . . . . . . . . . . . . .77 The superstar writer tells how he helped bring the Man of Steel to Saturday mornings INTERVIEW: Nicola Cuti: Calling Captain Cosmos! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80 The co-creator of E-Man reveals what it’s like to be a real, live space hero GREATEST STORIES NEVER TOLD: The Secret History of All-American Comics, Inc. . . . .83 Bob Rozakis’ fantasy history continues with a look at the AA heroes’ media adventures BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Reader feedback on “Heroes Behaving Badly” issue #28 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@gmail.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 Alex Ross. Captain Marvel (Shazam!) 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. S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

These kids today—they don’t know what they’re missing. Granted, you’re officially old when you refer to younger people as “these kids today,” but that aside, my remark is justified. Ubiquitous entertainment choices are a by-product of our on-demand, 24/7 society, where virtually anything anyone wants to watch or hear is merely a click or a download away. A casualty in this cultural shift is the loss of Saturday morning as a special time for children. Back in the pre-TV days, children flocked to theaters each Saturday for a pulse-pounding plethora of weekly movie serials. Among the many Saturday morning heroes of the day were champions from comic strips and comic books such as Flash Gordon, Dick Tracy, and Captain America. These daring do-gooders and their nefarious nemeses kept kids on the edge of their seats—and squirming with excitement throughout the six subsequent days until they could return for the next exciting chapter.

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

M ic h ae l Eu ry

Beginning in the 1950s, when television usurped from movie serials the role of America’s one-eyed babysitter, Saturday mornings were devoted exclusively to kids, with programming and advertising targeting child and pre-teen viewers. (This was a cherished time for parents, too, as Mom could sleep in and Dad could golf while their kids were safe and sound, chomping on a self-poured bowl of sugary breakfast cereal while glued to the living room TV set.) Comics once again provided a roster of robust rogue-wranglers who ’rassled wrong-doers on Saturday mornings for several decades—including Superman, Spider-Man, and Captain Marvel. Cut from the same cloth was a succession of made-for-TV titans such as Space Ghost, ElectraWoman and DynaGirl, and Dynomutt and the Blue Falcon. Even the independent stations recognized Saturday as kid’s day by syndicating imports like Astro Boy. From the mid-1960s through the early 1980s, comic books and Saturday morning TV walked hand-inhand, one feeding the other; illustrated ads (by Neal Adams, even!) for network kid’s shows dotted the centerspreads of late-summer DCs and Marvels for years. Unfortunately, the sanctity of Saturday mornings is a thing of the past. Kid’s programming now exists around the clock, and while the major networks still devote a block of airtime to kiddie fare, it’s shunted to a very early slot (often 7:00 a.m.) and usually over by mid-morning, to allow for programs (usually sports) that generate larger ad revenue. We’ve never forgotten how wonderful Saturday mornings once were, however, so in this edition of BACK ISSUE we salute a selection of “Saturday Morning Heroes” whose adventures regaled us in print and on television. As you’d expect the scales tip in favor of comic books this ish, but for fun we’re including exclusive interviews with two familiar faces—TV Captain Marvels Jackson Bostwick (deliciously rendered in our cover painting by awesome Alex Ross) and John Davey—and one eminent emcee— the voice of Space Ghost, Gary Owens—as well as a look at the unrealized fourth wave of Super Powers action figures. Amid our coverage of classic comics this issue is a special bonus feature, one I’m both honored and saddened to share: Adam Hughes’ tribute to Rocketeer creator Dave Stevens, who lost a long battle with leukemia on March 11, 2008. It’s followed by a tribute montage of art by Dave Stevens gathered by his friend, Kelvin Mao. You’ll also find on this very page a one-of-a-kind illo by the one-of-a-kind artist: Contributed by Mark Tomlinson, the page at left was drawn by Dave in the 1980s as a submission to an animation studio that was considering a new Spider-Man cartoon. Says Mark, “The circular panel featuring Spider-Man was published as part of the package of the Spider-Man 2 DVD,” but the page in its entirety has never before been published. Those wishing to remember Dave Stevens are encouraged to make a donation, in Dave’s name, to: Hairy Cell Leukemia Research Foundation, 2345 County Farm Lane, Schaumburg, IL 60194. Lastly, I conclude this column with another somber note: Phil LaSorda, one of the founders of Comico the Comic Company, passed away on July 6, 2008. His death was unexpected and a great loss to those of us who knew him and appreciated his sense of humor and bubbling enthusiasm. This edition of BACK ISSUE, which contains a look at Comico’s Space Ghost one-shot, is dedicated to Phil’s memory.

M ic h ae l Eu ry

In 1995, actress-turneddirector Betty Thomas was applauded by TV fans and even some hard-to-please film critics with the release of The Brady Bunch Movie. Working off an in-joke-laced screenplay penned by a round-robin team of four screenwriters, Thomas’ vision of the Brady Bunch—that kid-loaded sitcom family with the polyestered patriarch, wigged mom, and wacky housekeeper Alice—imagined, What if the very ’70s Bradys lived a very surreal life in the very modern ’90s? This “fish out of water” (or, in more appropriate BACK ISSUE terms, “trapped in a world [they] never made”) concept worked (in the first Brady film, at least). The anachronistic movie Bradys were so out of step (despite their platform heels) they became cool, their family conformity seeming rebellious when juxtaposed against the “real world.” Thirteen years earlier, DC Comics attempted a similar reimagining. The company, then scoring headlines for its “relevant” storylines (Green Lantern and Green Arrow tackle racism! Teen Titan Speedy becomes a junkie! The Justice League cleans up pollution! Robin encounters campus unrest!), revived the original Captain Marvel, the bestselling comic-book character of the Golden Age. For readers old enough to remember Captain Marvel—the ultimate wish-fulfillment concept, a boy (Billy Batson) who became the “World’s Mightiest Mortal” upon his recitation of a magic word (“Shazam!”)—this was a momentous occasion. The average comic-book reader of the day, however, was less impressed. Fawcett Comics’ Captain Marvel and his support team, Mary Marvel and Captain Marvel, Jr., had not appeared in new stories since The Marvel Family #89 (cover-dated Jan. 1954, but released in 1953), forced into dormancy after a long legal battle with DC over Captain Marvel’s similarities to, and supposed infringements upon, Superman. The Captain and company were your father’s superheroes. Carmine Infantino, at the time DC’s publisher, sought to combat Marvel’s recent market dominance by trying new things. One of those “new” things happened to be the licensing of “old” characters, including Tarzan, The Shadow, and Captain Marvel.

Captain Marvel Unchained! Dave Cockrum, who in a few short years would rocket to fame as the artist of the New X-Men, drew this ink-and-watercolor (check out our digital edition to see this in color!) illo of the World’s Mightiest Mortal in his pre-pro days of 1970. Just over two years after Cockrum completed this drawing, the hero he so wonderfully depicted would return to print—but would be legally denied the right to title his comic the name “engraved” here in stone! Art scan courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

But the Marvel Family proved no Brady Bunch. DC attempted to replicate the jocundity of Captain Marvel’s glory days, backdropped against a sanitized “now generation” world of long-haired, bellbottomed bad guys and passersby. After initial reader interest and strong issue #1 sales fed by speculators, the air slowly leaked out of the Captain Marvel balloon. Holy Moley! What went wrong?

IDENTITY CRISIS During the original Captain Marvel’s two-decade nap, Marvel Comics snatched up the “Captain Marvel” trademark in the late 1960s, introducing its Kree warrior Mar-Vell, a.k.a. Captain Marvel. As a result, DC needed an alternative title for the hero’s new adventures. And that title, proposed by editor Julius “Julie” Schwartz, was the hero’s magic word: Shazam!

C. C. Before DC Almost two years before DC’s Shazam! (re)launch, Golden Age Captain Marvel artist C. C. Beck was commissioned by Bruce Hamilton to produce this (and another) illo of the World’s Mightiest Mortal for the 1972 Phoenix Con program booklet. Note that Beck added long sideburns in an attempt to bring Cap up to date. Courtesy of Heritage Comics Auctions. TM & © DC Comics.

What If... …Marvel, not DC, had picked up the rights to publish the original Captain Marvel? Here’s our look at what might have been, imagined by Michael Eury with a little graphics wizardry by BI designer Rich Fowlks. (Yes, that’s sweet little Mary Batson in Cap’s arms—and that seventh “Sin” is apparently lurking off-camera!) Marvel art and Captain Marvel TM & © 2008 Marvel Characters, Inc. Shazam! characters TM & © 2008 DC Comics.

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

“Shazam!” What did that word mean? How did you pronounce it? Readers who tuned into TV reruns knew the word as an exclamation drawled by genial bumpkin Gomer Pyle as “Shuh-ZAY-um!” But the comics-buying kid with 20 cents in his pocket who had never before seen this barrel-chested he-man with the lightning-bolt emblem wondered, Was “Shazam” this hero’s name? The addition of cover tag lines “With One Magic Word…” and “The Original Captain Marvel” above and below the logo added more clutter than explanation. Yet, in late 1972, Shazam! #1 (cover-dated Feb. 1973) premiered to considerable fanfare. Former legal rivals Superman and Captain Marvel had kissed and made up— or, more likely, shook hands—as the Man of Steel drew back a curtain on the cover to reveal young Billy Batson and his awesome alter ego to the ’70s audience. While Shazam! #1’s cover has become one of the Bronze Age of Comics’ iconic images, its art portends the series’ ultimate downfall: Billy and the World’s Mightiest Mortal are rendered in the thick-lined, wholesome style of C. C. Beck, known to longtime fans as the chief artist of Captain Marvel of the Golden Age; but Superman epitomizes DC’s house style of the Infantino era, a Nick Cardy-drawn body with a Murphy Anderson-redrawn head. This jarring jam of artists subliminally suggested to the reader that this whole relaunch was an ill fit. Almost ten years prior, editor Schwartz had been cherry-picked to dig Batman out of a sales chasm, having proven to be DC’s “Fix-It Man” after spearheading the successful revivals of classic characters such as the Flash and Green Lantern. He knew little about Batman but surrounded himself with talent appropriate for the job, and soon Batman was a sales success and cultural phenomenon. Schwartz was equally unfamiliar with Captain Marvel, but in this case, lightning didn’t strike twice. When Schwartz and Infantino were fishing for a Shazam! artist (Schwartz “usual suspects” Kurt Schaffenberger, Bob Oksner, and Murphy Anderson were apparently considered), as reported in The Monster Times #25 (Aug. 1973), C. C. Beck wrote a few letters to DC stating his interest, then sent in a “Rip Van Marvel” drawing which clinched the deal. In “Preacher’s Son,” Beck’s early 1980s autobiographical essay (presented in edited form in the TwoMorrows book Streetwise), the artist told a different story from the Monster Times report: “Twenty years after Captain Marvel had disappeared I got a call from Superman’s publisher. They were reviving Captain Marvel and wanted me to submit samples of my work in competition with other artists whom they were considering. This was somewhat silly, it seemed to me. I had not had to submit samples of my work since I had first appeared as a callow youth at Fawcett’s door forty years earlier. But I sent Carmine Infantino a drawing of Captain Marvel as Rip Van Winkle with a long white beard, a rusted musket, and a look of wonder on his face. Carmine Infantino loved it. Julie Schwartz loved it. So did E. Nelson Bridwell and Sol Harrison. DC sent me two scripts. They were not good.” Despite his dissatisfaction with the writing, Beck accepted the Shazam! assignment. Instead of reuniting Beck with Golden Age Captain Marvel writer Otto Binder, or pairing him with Schwartz’s own assistant editor (and Captain Marvel fan) E. Nelson Bridwell, the editor signed his go-to “relevant” writer, Denny O’Neil—the scribe who helped return Batman to his “creature of the night” roots and contemporized Green Lantern and Green Arrow—to launch Shazam!

TM & © DC Comics.

TIME DISPLACEMENT Shazam! #1 begins with a BOOM!—literally— as the “Big Red Cheese” soars skyward on its splash page framed by a crackling lightning bolt. A six-page origin recap brings new and forgetful readers up to date, showing how young Batson was bestowed the abilities of “six mighty heroes” (actually, gods)—the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles, and the speed of Mercury—by mouthing the moniker of the benefactor wizard whose name just happens to be an acronym for that roster of champions. A ten-page tale by O’Neil and Beck follows, titled “The World’s Wickedest Plan,” which explains that Captain Marvel—along with Mary, Junior, arch-enemy Dr. Thaddeus Bodog Sivana and his sinister son and daughter, and a variety of supporting-cast members—had spent the last twenty years frozen in “suspendium.” Suspendium was scripted as a compound invented by Sivana, but it was in fact writer O’Neil’s invention, a clever jumpstart to the Marvels’ long-cold “engine.” Beck’s art in issue #1 was unlike anything that most DC (or Marvel, if they were straying) readers had ever seen: big, open, uncomplicated, and airy, almost like a coloring book. His art lacked the detail Golden Age readers expected; according to P.C. Hamerlinck in FCA (Fawcett Collectors of America) #134 (Jan. 2008), this was the result of Beck working without his former assistants (who often completed more detailed backgrounds), his drawing within the smaller dimensions of the artboard of the 1970s, and

the artist’s negative attitude toward stories he deemed “infantile.” When compared to DC’s other visual fare du jour—the photorealistic art of Neal Adams, the bombastic work of Jack Kirby, and the highly stylized renderings of masters Joe Kubert and Nick Cardy and newcomers Michael Kaluta and Bernie Wrightson— Beck’s vanilla illustrations fulfilled the “ill fit” promise of the jam-artist cover. But variety was the hallmark of the Infantino regime, and Beck’s corny, cutesy Captain Marvel offered readers an alternative to the meatier material found in other DC magazines. Schwartz’s threestory-per-issue formula (the third being a Golden Age reprint) further annointed Shazam! as the entry-level title in the 1973 DC Universe. “Gosh, the world sure has changed since I was in suspended animation!” laments Billy Batson, hanging out in the park amid hippies, in the opening of the O’Neil/Beck lead tale in Shazam! #2 (Apr. 1973). O’Neil is denied the chance to explore those changes, however, and this script quickly becomes yet another showcase for talking tigers, worms, and alligators, the stuff of which Captain Marvel’s Golden Age was made. In “A Switch in Time,” the lead tale in issue #3 (June 1973), Billy, whining that he’ll always be “behind my time—a freak,” convinces the wizard Shazam to advance his age twenty years to where he should be— with the unexpected side effect of his transforming into a teenage Captain Marvel! Then the references to the Marvel Family’s two decades in limbo wafted away. The Shazam! machine kept chugging along,

And Then There Were Three Drawn at the dimensions of 12" x 16", Beck’s preliminary for the cover of Shazam! #3 (June 1973), and its finished version. Prelim courtesy of Heritage Comics Auctions. TM & © DC Comics.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

Colletta’s rep might lead fans to believe) and Kurt Schaffenberger, a returnee from Cap’s Golden Age. (Oksner seemed very comfortable in Shazam!, delivering, as his fans would expect, a fetching Mary Marvel.) O’Neil and Maggin, while more adept at writing reality-based superhero stories, did an admirable job crafting children’s tales. As DC fan Rich Morrissey wrote in issue #9’s “Shazamail!” lettercol, “Shazam isn’t great stuff, but it doesn’t pretend to be! Its simple goal is to entertain the reader, and so far you’ve done a fine job of that.” Yet the effect of reading any of the Shazam! tales from the series’ first two years was like that of biting into an unsalted rice cake—a bit bland, with no compelling reason to take another taste.

THE CIRCULATION BATTLE RESUMES

Attack of the Killer Tomatoes Okay, there was only one tomato, and it didn’t kill, nor did its sentient salad allies (who followed the Head Lettuce). From Shazam! #10 (Feb. 1974). Original art scan courtesy of Heritage Comics Auctions. TM & © DC Comics.

one innocuous issue after another, with cheery scripts by O’Neil and Elliot S! Maggin, editor Schwartz’s newest addition to his “relevant” writers’ pool, who joined the Shazam! team with #2: Fawcett villain Ibac returns (issue #4); Cap tangles with a leprechaun (#5); Billy’s boy scientist friend Dexter Knox’s grandmother becomes electrified (#6); Talky Tawny the talking tiger loses his voice (#7). When spying C. C. Beck’s “The Day Shazam Went Ape!” cover for Shazam! #9 (Jan. 1974), featuring the World’s Mightiest Mortal and a chimp in a Captain Marvel suit, readers bored with such shenanigans might have overlooked that issue’s high point: its Captain Marvel, Jr. backup story, blurbed by a headshot of Junior at the bottom of the cover. “The Mystery of the Missing Newsstand!” by Maggin and Dave Cockrum, the most realistically rendered adventure to appear in the title to date, evoked memories of Mac Raboy’s similarly true-to-life Junior tales from the Golden Age. Too bad Cockrum vacated the DC premises for Marvel shortly thereafter; more Junior, or even Captain Marvel, tales from him would have been appreciated. Denny O’Neil also began inching his way out of Shazam! after that issue, only returning a handful of times in subsequent editions. Maggin took the writer’s lead, with E. Nelson Bridwell finally getting his chance to play in the sandbox as writer. Beck, too, was tiring of toiling in this “infantile” fantasyland and stepped aside for artists Bob Oksner (often inked by Vinnie Colletta, a better pairing than

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Schwartz, who knew how to milk fan reaction in letters pages, and his assistant Bridwell attempted to reignite the Superman/Captain Marvel rivalry, not in court, but in Shazam!’s “Shazamail!” and Superman’s “Metropolis Mailbag” columns, having readers weigh in on who would win the heroes’ circulation battle of the ’70s. Responses were, as expected, partisan: “Shazam! One word, and the world’s greatest super-hero (no way, Supie) of all time appears— Captain Marvel!,” claimed one Shazam! booster, while Greg Potter, who would later create Jemm, Son of Saturn for DC, wrote in an issue of Superman, “Why, compared to Superman, the original Captain Marvel is only a pathetic drip in a ‘fawcett’! Ouch!” Elliot S! Maggin was awarded a one-issue reprieve from scripts featuring invading salad-men and years without Christmas when editor Schwartz assigned him to write a Captain Marvel tale skewed toward DC’s regular, older audience. This “story you thought we’d never dare print!” took place not in the pages of Shazam!, but instead in Superman #276 (June 1974). “Make Way for Captain Thunder!” by Maggin, penciler Curt Swan, and inker Bob Oksner drops Willie Fawcett, a boy from a parallel world, onto the streets of Earth-One’s Metropolis. By rubbing his lightning bolt-adorned belt buckle and saying the magic word “Thunder!,” Willie is transformed by a “magical starburst” (with a “Sha-boom!” sound effect) into Captain Thunder, a Captain Marvel surrogate whose only significant difference from the Big Red Cheese is his starburst chest insignia—that, and the fact that his enemies, the Monster League of Evil, have placed a secret spell upon the Captain, turning him evil. This leads to the battle that longtime readers had dreamt of, as the Man of Steel and Captain Thunder tangle to see, in the Captain’s words, “who is really the World’s Mightiest Mortal!” Using mountains and lightning bolts in their super-battle, Superman ultimately outfoxes Thunder and restores him to sanity—and to his parallel universe. This superb tale is equally exciting and frustrating— it proved to readers of 1974 that a realistic Captain Marvel could exist as a DC comic, but made the fairy tales in the regular Shazam! book all the more forgettable. (Query to DC Comics: Is Captain Thunder’s world among the current 52 known Earths?) Just a few months later, Shazam! #15 (Nov.–Dec. 1974) features yet another collision of the worlds of Superman and Captain Marvel with its “startling new super-villain team-up” of Cap’s #2 arch-foe, Mr. Mind, and Supie’s #1 enemy, Lex Luthor! Penned by Denny O’Neil, with art by Bob Oksner and Tex Blaisdell (Schwartz Superman vets, all), “Captain Marvel Meets … Lex Luthor!?!” begins on Earth-One in Luthor’s Lair, as the villain tests his newest anti-Superman weapon, the “magic accumulator,” on a Shazam! comic book that was “left by a delivery boy” (as if delivery boys were allowed access in Lex’s lab). Instead of turning this “drivel” into “trash,” Luthor’s device inexplicably whisks him into the Marvel (Family) Universe, where he’s flummoxed by Mr. Tawky Tawny (“Have I landed in an animated cartoon or something?”), then joins forces with the World’s Wickedest Worm in a ploy to destroy the Big Red Cheese. While Superman #276 succeeds by repurposing Captain Marvel into Superman’s reality as Captain Thunder, Shazam! #15’s culture clash is uneven. Visually, Oksner vacillates between his straight and cartoony styles, melding them during character mergers but diluting the mix with far too many Curt Swan Luthor swipes. And the title’s editorially mandated storybook tone forces O’Neil to

characterize Luthor as a buffoon, the Eddie Valiant in a Shazam-ified Who Framed Roger Rabbit. Had Denny been allowed to portray the real Luthor, laying waste to this sugar-coated reality, that would have been a story to remember (and this “super-villain team-up” might have ended with Lex scraping a squashed Mr. Mind off the bottom of his shoe). The other big event transpiring in Shazam! #15 was the change in its subtitle—“The Original Captain Marvel” was replaced by “The World’s Mightiest Mortal” to, once and for all, avoid infringing upon Marvel Comics’ Captain Marvel trademark. No longer was the good Captain able to sneak his name onto covers. That was the latest in a succession of setbacks for Captain Marvel as a DC hero. After being promoted to monthly from eight times a year with issue #9, Shazam! was scaled back to a bimonthly with #12 (May–June 1974), with the consolation prize of pumping up its page count, converting the title to 100 pages, a score of reprints fleshing out the contents. With only one bimonthly, mostly reprint title to his name (and not to his name, at that), the Big Red Cheese was, by the fall of 1974, the clear loser in the Superman/Captain Marvel circulation rematch.

SATURDAY MORNING HERO On September 7, 1974, however, Captain Marvel scored a victory in another venue: live-action television. Filmation Associates, which in the mid- to late 1960s brought many DC characters like Superman, Aquaman, the Justice League of America, and Batman and Robin to TV in animated form, premiered Shazam!, a superheromeets-afterschool special hybrid featuring Michael Gray as a groovy Billy Batson, traversing the USA in a motorhome with his guardian, named Mentor (Les Tremayne). Each episode, they’d encounter a troubled teen or youth, and with the guidance of his mythological advisers—the six “Shazam” gods, a.k.a. the Elders— Billy would shout “Shazam!” and transform into Captain

He’s Got the Whole Worm in His Hands

Marvel (played by Jackson Bostwick in the first season and in the first two episodes of the second season before being sidelined by an injury; John Davey assumed the role for the remainder of the show’s run, through 1977). Captain Marvel would use his powers—brought to the screen by limited but imaginative special effects—to save the kid’s hide and deliver a stern but thoughtful moral. Aired on CBS-TV on Saturday mornings, Shazam! was a kid-vid ratings smash (fans are still waiting for the complete series on DVD). [Actors Bostwick and Davey are interviewed in the pages following, and Gray will be interviewed in BACK ISSUE #33, our “Teen Heroes” issue.] Meanwhile, in the pages of DC Comics, it was business as usual for Captain Marvel, and that business was suffering. Readers led to the Shazam! comic by the TV show were puzzled or disenfranchised by its dissimiliarity to the program, despite cover blurbs such as “Meet TV’s Newest Super-Star!” By issue #18 (May–June 1975), the title had returned to its original 32-page format, but sagging sales demoted it to all reprints with #21—and by issue #23, it was dressed down to quarterly publication.

Detail from the cover of Shazam! #15 (Nov.–Dec. 1974), teaming Lex Luthor and Mr. Mind. Art by Bob Oksner. TM & © DC Comics.

IRRESISTIBLE FORCE MEETS IMMOVABLE OBJECT

Superman #276 (June 1974) art by Nick Cardy

A German reprint, flopping Superman #276’s cover art art by Nick Cardy

Justice League of America #137 (Dec. 1976) art by Ernie Chua S a t u r d a y

The Power of Shazam! #46 (Feb. 1999) art by Jerry Ordway M o r n i n g

H e r o e s

I s s u e

All covers TM & © DC Comics.

From team-ups to knock-downs to shout-outs, Captain Marvel and Superman have frequently shared cover space— but no cover theme has been more popular than a near head-on collision between the powerhouses…

Crisis on Multiple Earths vol. 4 (2006) art by Alex Ross

•

B A C K

I S S U E

•

Bridwell also announced that fan Mickey Eury’s dream team of Superman and Captain Marvel would soon happen in the pages of Justice League of America. That occurred in the final chapter of the three-part Justice League/Justice Society crossover in JLA #135–137 (Oct.–Dec. 1976), which also introduced many of Fawcett’s other superheroes—Bulletman and Bulletgirl, Ibis the Invincible, Spy Smasher, and Mr. Scarlet and Pinky—to DC continuity as denizens of Earth-S (as in “Shazam”), the world where the Marvel Family also resided. Despite Bridwell’s fanfare (the JLA/JSA tale was also blurbed on Shazam! #25’s final story page), as well as the cover burst on JLA #137 (“This is it—the encounter you’ve been waiting for— the Big Red Cheese Meets the Big Red ‘S’!”), the actual Superman/Captain Marvel clash was an anticlimactic non-event. On the tale’s penultimate page, Superman, driven into a murderous frenzy by red kryptonite in the possession of King Kull, soars toward Marvel—but the Captain’s recitation of “Shazam!” brings forth a magic lightning bolt that restores the Man of Steel to normal … and robs readers of the promised pugilism.

Punchy Paragons Captain Marvel and Superman meet— and tangle—at last in All-New Collectors’ Edition #C-58 (Apr. 1978). Cover art by Rich Buckler and Dick Giordano.

THE LABORS OF SHAZAM!

TM & © DC Comics.

“To say the least, I am disappointed with SHAZAM’s new quarterly/reprint format,” wrote teenage fan Mickey Eury, as printed in issue #25’s “Shazamail!” letters column. Mickey—now known as Michael, the writer of this article and editor of this magazine—went on to suggest that DC create two Captain Marvels, converting the current Shazam! series into The Shazam Family, reprinting classic tales of the original Captain Marvel and friends, and launching a new series entitled Shazam-Isis Adventures, featuring the Earth-One-based exploits of the TV Captain Marvel, along with the stories featuring Filmation’s other live-action champion, the goddess Isis [whose history was covered in BACK ISSUE #23]. My letter also requested a meeting of Superman and my proposed Earth-One Captain Marvel. E. Nelson Bridwell responded in print, “Well, this issue may indicate how close your ideas are to our plans.” In Shazam! #25 (Sept.–Oct. 1976, restored to bimonthly status with all-new stories), Isis made her DC debut in a lead story ably written by Denny O’Neil and illustated by Dick Giordano, then spun off into her own series. Meanwhile, Bridwell, as writer, with artist Kurt Schaffenberger and editor Joe Orlando, retrofitted the original Captain Marvel continuity into that of the TV show’s, sending WHIZ-TV reporter Billy Batson on a cross-country trek in a mobile broadcast van, supervised by longtime supporting-cast member Uncle Dudley, standing in as young Batson’s “mentor.” Billy’s hair had also gotten a bit longer—although not the David Cassidy flip sported on the tube by Michael Gray—and, in a nod to a famous story trend of the Golden Age, Billy and Uncle Dudley visited different US cities in each issue. Billy and Cap were also given an “eterni-phone,” similar to the domed device with bright blinking lights seen on television which allowed Billy Batson to converse directly with the Elders. The Shazam! and Isis titles—along with the television tie-ins Welcome Back, Kotter and Super Friends, both of which launched in the summer of 1976—were branded together under the “DC TV Comic” umbrella.

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Another mighty match-up was promised in “Captain Marvel Fights the Man of Steel,” the Bridwell/ Schaffenberger/Colletta collaboration in Shazam! #30 (July–Aug. 1977), with a dynamic Schaffenberger cover showing Superman uppercutting Captain Marvel, to Dr. Sivana’s glee. This Superman was truly a Man of Steel, a robot created by Sivana to slice through the Big Red Cheese. The heavy hitters finally got to brawl in a 72-page Superman vs. Shazam! epic titled “When Worlds Collide!” Published as an oversized tabloid comic in All-New Collectors’ Edition #C-58 (Apr. 1978), the story, written by Gerry Conway, penciled by Rich Buckler, and inked by Dick Giordano, also involved the heroes’ female counterparts—Supergirl and Mary Marvel— and sinister counterparts—the “Sand” Superman (from early 1970s Superman tales) and Black Adam. Supplemental text articles compared and contrasted the two heroes (“The Great Superman Captain Marvel Match Up”) and revealed the details behind “The Courtroom Battle Between Superman and Captain Marvel.” By that time, the Saturday morning Shazam! television program had ended its three-season run, and the life-support it had given DC’s bimonthly Shazam! was about to be yanked, too. Issue #33 (Jan.–Feb. 1978) was the last issue to bear the “DC TV Comic” logo— and the last to be edited by Julie Schwartz’s Shazam! replacement, Joe Orlando. It introduced the Shazamobile, which Captain Marvel drove in the Indianapolis 500, a ridiculous notion and a clear sign that DC’s Shazam! was spinning out of control. With no TV show to parrot and nothing to lose, scribe E. Nelson Bridwell cut loose in the next issue, #34, with new Shazam! editor Jack C. Harris at the helm. Its uncharacteristically graphic cover by Alan Weiss depicted a bloodthirsty Captain Marvel, Jr. about to beat to death his arch-enemy Captain Nazi, despite Captain Marvel’s protestations. Bridwell, with interior artists Weiss and inker Josef Rubinstein, dramatically darkened the Captain Marvel series with this issue. Weiss was gone from the next issue, #35, replaced by cover artist Michael Nasser and interior artists Don Newton and Kurt Schaffenberger (a smooth new/old blend), as King Kull—more brutal than ever—entered the fray. At last … a fresh formula for

The Marvel Family Artist of the ’80s Captain Marvel, Jr. as illustrated by Don Newton (with inks by Dan Adkins). Detail from page 4 of World’s Finest Comics #275 (Jan. 1982). For a detailed look at the art of Don Newton, including his Shazam! stories, see BACK ISSUE #19. TM & © DC Comics.

updating Captain Marvel had been concocted! But it came too late—the earlier missteps had taken their toll, and Shazam! #35 (May–June 1978) ended the title’s run. The adventures of Captain Marvel resumed, however, beginning in World’s Finest Comics #253 (Oct.–Nov. 1978), with the duo of Bridwell and Newton—both longtime fans of the Big Red Cheese—continuing what would become a long-running backup series appearing through most of the early to mid-1980s. But without a title to call its own, the Marvel Family was relegated to B-player status, despite a brief return to television in 1981–1982 in the animated series Kid Superpower Hour with Shazam! [see sidebar on page 33]. In 1986 in Crisis on Infinite Earths, Captain Marvel’s Earth-S was homogenized into the one-world-fits-all restructed DC Universe. From that point on, some purists have argued that Captain Marvel’s appeal has been tarnished by his becoming one of the (super) boys. While that is a matter of opinion, DC’s frequent, and failed, resuscitations of the Captain Marvel series since suggest that the lightning has indeed lost its magic (Jeff Smith’s delightful 2007 Shazam!: The Monster Society of Evil aside). [For a full reckoning of Captain Marvel’s DC Comics revivals, see the aforementioned P.C. Hamerlinck’s FCA #134, which appeared in BI’s big-sister mag, Alter Ego vol. 3 #75 (Jan. 2008).]

A CLOSING THOUGHT FROM THE ROCK OF ETERNITY In retrospect, Julius Schwartz and C. C. Beck were the wrong choices as the original Shazam! editor and artist, an error that DC’s former publisher himself admitted (“teaming Beck and Schwartz was a big mistake”) in his autobiography, The Amazing World of Carmine Infantino (2000, Vanguard Productions). Editor Schwartz’s indifference toward the character and DC’s resistance to stray from the Marvel Family’s Golden Age doomed the revival from the start. Perhaps the magic word used to reboot Captain Marvel should have been “Orlando!” Just a few short months before Shazam! debuted in late 1972, Supergirl graduated into her own title after being Adventure Comics’ cover star since 1969. Adventure editor Joe Orlando turned that title into a hit-and-miss anthology, which took chances with the superhero paradigm with such oddities as the Sheldon Mayer/Tony DeZuniga “Black Orchid” and Michael Fleisher/Jim Aparo “Spectre” series. When Orlando edited Shazam! during the “DC TV Comic” imprint, presumably he followed the leads of writer Bridwell and the TV show. But imagine Orlando applying his patented black humor (Plop!, anyone?) and chance-taking sensibilities to Captain Marvel as the lead feature in Adventure Comics. Captain Marvel headlining Adventure may have alleviated the confusion over the “Shazam!” series title. Orlando might have selected as writer Steve Skeates,

The Shazam! Girl A 1978 Mary Marvel sketch by Alan Weiss, courtesy of Heritage Comics Auctions. TM & © DC Comics.

whose slightly askew perspective provided some of comics’ most memorable and funny moments of the early 1970s. And through his editorship of DC’s mystery anthologies, Orlando frequently worked with newcomers who would eventually establish themselves elsewhere. So in my fantasy Captain Marvel relaunch, editor Orlando would have paired writer Skeates with newbie Walt Simonson … who, coincidentally, won the 1973 Shazam Award for “Outstanding New Talent.” Imagine that. Well, isn’t wish-fulfillment the magic behind Captain Marvel? BACK ISSUE editor and contributing writer MICHAEL EURY has edited and/or written for DC, Dark Horse, Marvel, Comico, and Archie Comics. He is the author or co-author of several comics- and pop culture-related books, including the forthcoming The Batcave Companion (April 2009, TwoMorrows), with collaborator Michael Kronenberg. He extends a BIG thankyou to P.C. Hamerlinck for providing information for this article.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

SHAZAM-A-RAMA The pre-Crisis DC Comics appearances of the original Captain Marvel and the Marvel Family (a.k.a. the Shazam! Family): • • • • •

• • • •

• •

•

• • • •

1 0

Shazam! #1 (Feb. 1973) Shazam! #2 (Apr. 1973) Shazam! #3 (June 1973) Shazam! #4 (Aug. 1973) Limited Collectors’ Edition #C-21 (Summer 1973): Shazam! (reprints) Shazam! #5 (Sept. 1973) Shazam! #6 (Oct. 1973) Shazam! #7 (Nov. 1973) Shazam! #8 (Dec. 1973): 100-Page Super-Spectacular (reprints) Shazam! #9 (Jan. 1974) Shazam! #10 (Feb. 1974) Shazam! #11 (Mar. 1974) Shazam! #12 (May–June 1974): 100-Page Super-Spectacular (new story/reprint mix) Limited Collectors’ Edition #C-27 (1974): Shazam! (reprints) Shazam! #13 (July–Aug. 1974): 100-Page Super-Spectacular (new story/reprint mix) Shazam! #14 (Sept.–Oct. 1974): 100-Page Super-Spectacular (new story/reprint mix) Shazam! #15 (Nov.–Dec. 1974): 100-Page Super-Spectacular (new story/reprint mix) Shazam! #16 (Jan.–Feb. 1975): 100-Page Super-Spectacular (new story/reprint mix) Limited Collectors’ Edition #C-34 (Feb.–Mar. 1975): Christmas with the SuperHeroes (Captain Marvel reprint) Shazam! #17 (Mar.–Apr. 1975): 100-Page Super-Spectacular (new story/reprint mix) Limited Collectors’ Edition #C-35 (Apr.–May 1975): Shazam! (reprints) Shazam! #18 (May–June 1975) Shazam! #19 (July–Aug. 1975) Shazam! #20 (Sept.–Oct. 1975) Limited Collectors’ Edition #C-39 (Oct.–Nov. 1975): Secret Origins of Super-Villains (Captain Marvel/Sivana reprint) Shazam! #21 (Nov.–Dec. 1975): (reprints) Shazam! #22 (Jan.–Feb. 1976): (reprints) Shazam! #23 (Winter 1976): (reprints) Shazam! #24 (Spring 1976): (reprints)

•

B A C K

I S S U E

•

• Shazam! #25 (Sept.–Oct. 1976): first appearance of Isis • Justice League of America #136 (Nov. 1976) • Justice League of America #137 (Dec. 1976) • Shazam! #26 (Nov.–Dec. 1976) • Shazam! #27 (Jan.–Feb. 1977) • Shazam! #28 (Mar.–Apr. 1977) • Shazam! #29 (May–June 1977) • Shazam! #30 (July–Aug. 1977) • Shazam! #31 (Sept.–Oct. 1977) • Shazam! #32 (Nov.–Dec. 1977) • Shazam! #33 (Jan.–Feb. 1978) • Shazam! #34 (Mar.–Apr. 1978) • The Amazing World of DC Comics #16 (misnumbered as “17” on its cover) (Apr. 1978): special Shazam! issue • Shazam! #35 (May–June 1978) • All-New Collectors’ Edition #C-58 (June 1978): Superman vs. Shazam! • World’s Finest Comics #253 (Oct.–Nov. 1978) • World’s Finest Comics #254 (Dec. 1978–Jan. 1979) • World’s Finest Comics #255 (Feb.–Mar. 1979) • World’s Finest Comics #256 (Apr.–May 1979) • World’s Finest Comics #257 (June–July 1979) • World’s Finest Comics #258 (Aug.–Sept. 1979) • World’s Finest Comics #259 (Oct.–Nov. 1979) • World’s Finest Comics #260 (Dec. 1979–Jan. 1980) • World’s Finest Comics #261 (Feb.–Mar. 1980) • World’s Finest Comics #262 (Apr.–May 1980) • World’s Finest Comics #263 (June–July 1980) • World’s Finest Comics #264 (Aug.–Sept. 1980) • World’s Finest Comics #265 (Oct.–Nov. 1980) • World’s Finest Comics #266 (Dec. 1980–Jan. 1981) • World’s Finest Comics #267 (Feb.–Mar. 1981) • World’s Finest Comics #268 (Apr.–May 1981) • DC Comics Presents #33 (May 1981): Superman and Shazam!

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

• • • • • • •

• • •

• • • • •

• • •

• • • • • •

DC Comics Presents #34 (June 1981): Superman and the Shazam! Family World’s Finest Comics #270 (Aug. 1981) World’s Finest Comics #272 (Oct. 1981) World’s Finest Comics #273 (Nov. 1981) World’s Finest Comics #274 (Dec. 1981) World’s Finest Comics #275 (Jan. 1982) World’s Finest Comics #276 (Feb. 1982) Best of DC (digest) #22 (Mar. 1982): Christmas with the Super-Heroes (Captain Marvel, Jr. reprint) World’s Finest Comics #277 (Mar. 1982) World’s Finest Comics #278 (Apr. 1982) Best of DC (digest) #23 (Apr. 1982): Year’s Best Comics Stories (Captain Marvel reprint) World’s Finest Comics #279 (May 1982) World’s Finest Comics #280 (June 1982) World’s Finest Comics #281 (July 1982) World’s Finest Comics #282 (Aug. 1982) DC Comics Presents #49 (Sept. 1982): Superman and Shazam! Adventure Comics #491 (Sept. 1982) Adventure Comics #492 (Oct. 1982) DC Comics Presents Annual #3 (1984): Superman and Shazam! Justice League of America #232 (Nov. 1984) Crisis on Infinite Earths #6 (Sept. 1985) Crisis on Infinite Earths #7 (Oct. 1985) Crisis on Infinite Earths #10 (Jan. 1986) Crisis on Infinite Earths #11 (Feb. 1986) Crisis on Infinite Earths #12 (Mar. 1986)

TM & © DC Comics.

Action Comics #576 (Feb. 1986), one of the last Superman issues produced by outgoing editor Julius Schwartz, featured (under its Eduardo Barreto cover) two tales: “Earth’s Sister Planet” by comics veterans William Woolfolk and Kurt Schaffenberger, and “The Monumental Menace of Metropolis,” one of the earliest scripts penned by Mark Waid. Originally, however, Julie Schwartz had commissioned for that issue a sequel to one of the most fondly remembered Superman stories of the 1970s, “Make Way For Captain Thunder!” I stumbled across this buried treasure when artist Alex Saviuk contacted Roy Thomas in November 2007 about the possibility of Roy covering in Alter Ego an unpublished mid-’80s Superman tale featuring a Captain Marvel-like hero called Colonel Lightning. Knowing the 1980s to be BACK ISSUE’s stomping grounds, Roy kindly referred Mr. Saviuk to me. Once Alex informed me that he could provide scans of the 12 unpublished penciled pages he had produced from a script by one of my favorites, Elliot S! Maggin, I was convinced that the Superman/Colonel Lightning adventure was tailor made for “Greatest Stories Never Told,” and that it would make a nice coda to the Shazam! article in this very issue.

M ic h ae l Eu ry

But imagine my surprise when, in late March 2008, I received from Alex Saviuk scans of those pages—and discovered that this “Colonel Lightning” was, in fact, a previously seen hero I knew as Captain Thunder, the otherworldly Captain Marvel analogue from Superman #276 (June 1974)! Holy Moley! I mean, Creepies! (as Captain Thunder and his alter ego, Willie Fawcett, would say). Whatever happened to Captain Thunder?

Thunder Struck Colonel Lightning clobbers Dr. Art Lanta. Pencils by Alex Saviuk, who kindly contributed the pencil art used in this article.

“HERE COMES COLONEL LIGHTNING!” Before we examine the reasons for that name change and for this story being shelved, allow me to walk you through those 12 pages of pencils I had the good fortune to review. These pages are unlettered, but include Alex’s printing of Elliot’s captions and dialogue as space indicators for the letterer. The tale opens with a bald, bespectacled evil scientist named Dr. Art Lanta (the counterpart to Dr. Sivana, whose name—say it aloud—is a homonym for a famous Southern city). Lanta is aiming a high-tech cannon skyward, drawing bead on a rapidly approaching “colorful streak” rocketing toward him: Colonel Lightning, the spitting image of Superman #276’s Captain Thunder. The hero dodges the cannon’s blast and squares off against his foe, but is zapped from behind S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

TM & © DC Comics.

•

B A C K

I S S U E

•

1 1

Saviuk in Action (left) The title page of the Colonel Lightning story, and (right) a glorious glimpse of Alex’s mighty Man of Steel. TM & © DC Comics.

by a remote-control sneak attack that bathes both the hero and villain in eerie radiation. A splash-panel caption explains that this is indeed the crusader once known as Captain Thunder, although the story’s title suggests he’s been promoted: “Here Comes Colonel Lightning!” The Colonel shrugs off the effects of the blast, although Dr. Lanta’s ominous cackling alerts the reader that Colonel Lightning is in for an unexpected aftereffect. Colonel Lightning deposits Dr. Lanta at the local prison, and soon covertly rubs his belt buckle. In a flash of “magical energy” (SHA-BOOM!), he transforms into flattopped radio broadcaster Willie Watson (in the original tale, Willie Fawcett), now a young man and no longer the eight-year-old we met in his original outing. As Willie saunters down the street … he inexplicably disappears! The story cuts to Earth-One’s Metropolis, where “three good friends”—Clark Kent, Perry White, and Jimmy Olsen—are having a dinner out together. Clark’s telescopic vision spies an imperiled electrical lineman, and as Perry and Jimmy bicker over their shares of the tip, Kent politely excuses himself to locate his “missing wallet.” He switches to Superman in the restaurant’s men’s room and speeds to the scene of the action, where a downed electrical wire is about to shock a youthful passerby. The Man of Steel saves the kid, repairs the severed wires, and zips back to the restaurant, where, as Clark, he discovers White and Olsen still arguing. 1 2

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

As the trio exit, wandering Willie Watson spots the familiar face of Clark Kent and realizes where in the DC Universe he’s landed. He approaches Clark and the two engage in conversation, with Perry and Jimmy saying goodbye. Kent is puzzled to see how much older Willie is, the lad having matured considerably beyond the age he was “a year or so ago” in the heroes’ Superman #276 adventure. Willie recounts Colonel Lightning’s origin, which shows minor changes from the first time Maggin told it in 1974: After following a horned owl into the woods near an orphans’ camp, little Willie meets the Native American Tonca, the “last shaman of the Ogala Tribe.” Tonca bestows upon Willie “five spiritual powers” which will appear whenever the lad rubs the buckle of a special belt and recites the shaman’s name: Thunder (power), Owl (wisdom), Northwind (flight), Colt (energy), and Antelope (speed). [In Superman #276, the shaman’s name was Merokee, “last of the great medicine men of the Mohegan tribe.” Willie was given seven “spritual powers” and a different magic word, “Thunder,” standing for Tornado (power), Hare (speed), Uncas (bravery; an editor’s note defined “Uncas” as “an outstanding warrior chief of the Mohegan tribe”), Nature (wisdom), Diamond (toughness), Eagle (flight), and Ram (tenacity).] We discover that Willie Watson, now 22, is weary of his bodyexchanging alter ego, “who’s never really grown up! The guy still says ‘Creepies!’ when he’s excited.” Willie can no longer stomach the danger Colonel Lightning attracts, pointing to a copy of Newstime magazine with Superman’s foe Brainiac on its “Villains” cover to illustrate the type of “funky stuff” always awaiting him on his own world. The next panel shows the magazine not in Willie Watson’s hands but in Dr. Art Lanta’s, suggesting that the ray blast from the earlier scene has somehow linked

Secret Origins Note the alterations between Captain Thunder’s origin in Superman #276 (above), by Maggin/Swan/Oksner, and Colonel Lightning’s slightly revised origin on this unpublished Maggin/Saviuk page (right). TM & © DC Comics.

WILL THE REAL CAPTAIN THUNDER PLEASE STAND UP? As Marvel Comics’ acquisition of the “Captain Marvel” trademark forebade DC to title its 1972 World’s Mightiest Mortal relaunch Captain Marvel, a similar matter made the name “Captain Thunder” off limits for Elliot Maggin. TM & © DC Comics.

THUNDER ALLEY Comics’ other Captain Thunders: (left) the reimagined (and renamed) Earth-One Captain Marvel created by writer Roy Thomas and artist Don Newton; and (right) the father-son Captain Thunder and Blue Bolt, co-created by by Roy and Dann Thomas and Dell Barras (seen here in a 2007 trade paperback collection). S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

the sinister scientist to his arch-foe. Now operating from what appears to be an apartment (not the jail into which he was deposited), the sneering Lanta selects from the magazine a photo of Mr. Mxyzptlk and intimates that he’s going to use Superman’s impish foe against Colonel Lightning. Page 12 opens with Willie staying with Clark in Kent’s 344 Clinton Street apartment, unaware that his host is secretly the hero Willie hopes will help sort out his displacement. While Kent leaves for work, across the street a car’s grille magically morphs into a ram’s head, sparking an uncontrollable outburst of laughter from observing pedestrians. Is this one of Mr. Mxyzptlk’s pranks? You can’t tell from reading the penciled pages, since the story abruptly stops there! Luckily, on Earth-BACK ISSUE, we’re able to contact the tale’s writer and penciler, Elliot S! Maggin and Alex Saviuk—as well as writer Roy Thomas, who plays an indirect role in this greatest story never told—to shed some light on this comic-book curiosity.

I S S U E

•

1 3

According to Maggin, it was his understanding at the time that Action editor Julie Schwartz was asked by writer Roy Thomas not to use the name “Captain Thunder,” so as not to conflict with a character of Thomas’ with the same name … yet exactly which of Thomas’ Captain Thunders roadblocked Maggin’s story has caused some confusion. “Roy told Julie he’d rather we didn’t use the name again,” Maggin recalls. “Of course I got pissed. I did that a lot then. I wasn’t even pissed at Roy (although if he hadn’t been a friend of mine I suppose I might have been), but I was pissed that Julie would roll over for the possibility that somewhere, someone might do something in conflict.” “I’m afraid that I have no memory whatever of any of the stuff Eliot Maggin mentions,” says Roy Thomas. “If I ever asked Julie to hold off— which seems unlikely, but I wouldn’t 100% rule it out and I certainly have no reason to feel anybody’s memories are anything less than sincere, whether accurate or not—I’ve forgotten it.” When asked to help piece together the reason for editor Schwartz’s hesitancy to use the Thunder name, Maggin’s first suspicion was that Thomas’ character in question was the hero of Heroic Publishing’s Captain Thunder and Blue Bolt fame, the father-and-son superhero duo co-created by Roy and wife Dann Thomas and artist Dell Barras and originally published from 1987 to 1988. Yet, as Elliot and I discovered, that apparently wasn’t the case, as Roy reveals, “I deliberately did not mention the Captain Thunder and Blue Bolt project to anyone at DC. My personal feeling was that, despite that one nice throwaway story by Elliot and Curt Swan, DC didn’t deserve to have the name ‘Captain Thunder,’ since they had sued Captain Marvel out of existence ... and that it might as well be mine. I was already at that time working at least on the embryonic form of the concept that became the Shazam!: A New Beginning series. I wasn’t trying to ‘harm’ DC in any way … I simply wanted to be able to use a good name that I had every bit as much right to as DC did. “Of course, there was that earlier Captain Thunder who was going to be done for DC, originally as an (Earth-One?) AfricanAmerican version of Captain Marvel named Captain Thunder,” Thomas notes. In tandem with penciler Don Newton, in 1983

Long before either comics version of Captain Thunder appeared in print—and a decade before the Big Red Cheese himself, Captain Marvel, first bellowed “Shazam!”—filmgoers met an entirely different Captain Thunder … and if you believe the reviews, they probably regretted it! Warner Bros.’ Captain Thunder, a 1931 south-of-theborder action flick about a likable Mexican bandit, was billed as a swashbuckling adventure but was mostly played for laughs, many of them unintentional as its stars, Hungarian native Victor Varconi (right) and his love interest, a pre-King Kong Fay Wray, effected some of the poorest Spanish accents ever captured on film. Don’t look for it on Blu-Ray, but you might catch an occasional (probably reeeeeeal late night) airing on TCM. 1 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

Photo courtesy of Heritage Hollywood Auctions.

THE ORIGINAL CAPTAIN THUNDER

I s s u e

Thomas proposed to DC this reimagined World’s Mightiest Mortal. “But with Don Newton’s death, that went by the boards … maybe that’s the ‘Captain Thunder’ of mine people are thinking about. But that had no connection with the hero Dann and I co-created for Heroic Publishing except, of course, the name.” “Doesn’t ring any bells at all,” remarks Maggin when informed of this version of Captain Thunder. Presumably, however, it rang bells of concern for Julie Schwartz, since the proposal was in DC’s pipeline not long before Elliot Maggin’s story was written. Action #576, the planned home for the Captain Thunder sequel, was cover-dated Feb. 1986, meaning it shipped in late November 1985; Maggin’s script was probably penned sometime in early 1985. “My guess is that Julie was just being overly cautious,” reflects Maggin. “He was a cautious guy. He had this phobia about being ‘inaccurate.’ “I suspect he never read Einstein.”

ALTERED STATES Schwartz’s caution threw many of Maggin’s original Captain Thunder concepts to the wind, and the writer was pressured by his editor to make cosmetic changes. “What we wanted to do was excise any notion that the Captain Thunder we did earlier was related to the Colonel Lightning we were doing now,” says Maggin. “Willie Fawcett’s name meant something, in that Fawcett was the name of the publisher that originally gave birth to Billy Batson (the real Captain Marvel character three iterations ago; try to keep up). I’m not sure where I got ‘Willie Watson,’ but I don’t think there was any particular story behind it.” [A play on the name “Billy Batson”?] “‘Tonca’ was the Lakota word for ‘horse,’ which was not significant other than the fact that it was one of only six or seven words I knew in that language. “Essentially we just changed the names and the specific circumstances from the original script I did,” Maggin continues. “But the fact that Superman ‘remembered’ Willie Watson from the earlier story of Willie Fawcett pretty much obviated that. We were hoping no one would notice.” Sorry, Elliot. I noticed. If “Colonel Lightning” had been published back in late ’85, barely a decade after the original, I suspect that others would have noticed, too, as the original story resonated with many DC readers. [In case you don’t have the original, “Make Way For Captain Thunder!” has thrice been reprinted: in 1981 in The Best of DC digest #16, in the 2000 TPB Superman in the Seventies, and in the 2008 TPB Shazam!: The Greatest Stories Ever Told.] Script alterations aside, this story-in-progress leaves unanswered questions. First, since Clark remarks that it had “only been a year or so” since their previous meeting, how could Willie age 14 years in, say, 14 months? “That was a kind of continuity joke,” Maggin explains. “It was my attempt to take ‘Billy Batson’ to the logical stage of adolescent and post-adolescent rebellion that, as far as I can tell, is generally inevitable when you share property or living space with a more dominant person like a parent—let alone share a body and a consciousness. I think it was an unsubtle passive-aggressive way for me to snap at Julie, my own annoying parental figure in those days.” In “Colonel Lightning,” Willie was fed-up with his shared existence with a superhero. Where was Maggin headed with this idea? “I’m not sure I intended to take it much of anywhere except there,” the writer says. “I expect the next logical step would be for Willie to do what young adults tend to do in response to an overbearing parent: try and outshine him. Willie (like Billy) would probably grow up to be this super-Yuppie high achiever who takes an indulgent attitude toward the Captain or the Colonel (or by then he’s probably a Brigadier at least) long before it’s appropriate to do so.”

Since the plug was pulled on this story as of penciled page 12, one wonders what happened next? Was it indeed Mr. Mxyzptlk, or a Dr. Art Lanta-created makeshift Mxy, playing prankster on Metropolis’ streets? Would Superman and Colonel Lightning once again bump heads, as they did during their first meeting? “I honestly do not remember what the outcome of this story was going to be—only that I was disappointed that I couldn’t get to finish it,” says Alex Saviuk. “I was having a lot of fun with my version of the Captain for the first time and some sort of a battle between him and Superman would have been wonderful to draw.” “I’ve got no idea how I wanted to finish the story,” Maggin admits. “In fact, I did finish the story, but I don’t remember how. The only way I have the script is if it’s still readable from a five-inch disk I used to use in my Kaypro 2. It’s probably in the garage of some house I’ve lived in sometime since the ’80s.” Once thing Elliot S! Maggin does recall, quite clearly, is that it wasn’t just Georgia on his mind when coming up with the name “Dr. Art Lanta.” “Okay, I’m getting a flashback…” Maggin jokes. “Wasn’t I in Atlanta at a convention a few weeks before I wrote this thing? That’s why I named the bad guy that. I fell madly in lust with this cop who was moonlighting patrolling the Underground. I sent her a root beer because she was on duty and I told the waitress to tell her it was from Captain Marvel. Southern women. Girls with guns. I love it.”

THE LIGHTNING STORM SUBSIDES So, why was the plug pulled on “Here Comes Colonel Lightning!”? Many readers would have enjoyed a Superman/Captain Thunder rematch, even if they had to call the Captain by another name. “I think what it came to was that Julie and I just got tired of trying to retool the script to avoid stomping on Roy’s copyright,” Maggin offers. “The story was finished, then rearranged, and apparently even assigned to an artist who drew 12 pages.” Until BACK ISSUE shared scans of Alex Saviuk’s pencils with Elliot Maggin, the writer wasn’t even aware, or had forgotten, that penciling had begun on his script. Maggin does have this to offer his collaborator: “Nice work, Alex, by the way. Would have been great.” Saviuk’s artwork is indeed spectacular. His Colonel Lightning is, like Curt Swan’s Captain Thunder before him, a powerful, realistically rendered character sprinkled with a dash of whimsy—what Captain Marvel might have looked like had he been absorbed into DC’s mainstream (Earth-One) beginning with his early 1970s adventures. “Growing up I was never a Captain Marvel fan, only because I was never exposed to the character and never read any of his stories until I was almost an adult,” Saviuk explains. “DC and all the great superheroes that made up the JLA were my favorites, even after I discovered Marvel comics in the early ’60s. I believe I must have learned about Captain Marvel from a fanzine that dealt with all the superheroes in the 1940s from all the different companies.” The artist admits that he never read the original Captain Thunder tale in Superman #276, but surmises “that at the time [associate editor] E. Nelson Bridwell must have supplied me with some Xerox reference for the Captain Thunder character, but I cannot be certain.” Regarding this unfinished tale, Alex Saviuk has one lingering regret: “It would have been awesome if I could have gotten Kurt Schaffenberger to ink this story if it would have gone to completion. Thankfully, we did work together on a few occasions—three issues of Superboy, a DC Comics Presents (with Elastic Lad, Elongated Man, and Plastic Man), and my last issue of Action Comics, #582.”

(left) Elliot S! Maggin and Alex Saviuk. Photos courtesy of Bob Rozakis.

Bring on the Bad Guys Dr. Lanta scopes out possible Earth-One partners. TM & © DC Comics.

The abortion of “Here Comes Colonel Lightning!” was a rarity for Elliot Maggin: “I think in the whole twenty-, thirty-odd years I did work for DC, this was one of only three scripts I wrote that didn’t get published. The other two were a Batman fill-in story I did around 1985 or so, and a Gorilla City pilot script Cary Bates and I wrote in the mid-to-late ’70s.” [The Gorilla Grodd comic got the “Greatest Stories Never Told” treatment back in BACK ISSUE #15.] And fortunately for Maggin’s fans, his latest venture—Lancer, his new novel—is being published online, one chapter at a time. Says the writer, “It’s at www.maggin.com and it’s a pet project, a fantasy story that began kicking around in my head well before I wrote the Colonel Lightning script.” As of this writing, the first three chapters of Lancer are downloadable for free. For those of you who wish to read the entire 12 penciled pages of Maggin and Saviuk’s Colonel Lightning adventure, copyright restrictions limit us to sharing only a few pages with you. And since the “real” Captain Marvel was absorbed into the DC Universe over two decades ago, the novelty of such a fantasy meeting between the Man of Steel and World’s Mightiest Mortal has since lost a bit of its luster. So for the time being, at least, and perhaps for eternity, the Superman/Captain Thunder sequel will remain one of comics’ greatest stories never told.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

1 5

$200,000 PAID FOR ORIGINAL COMIC ART! COLLECTOR PAYING TOP DOLLAR FOR “ANY AND ALL” ORIGINAL COMIC BOOK AND COMIC STRIP ARTWORK FROM THE 1930S TO PRESENT! COVERS, PINUPS, PAGES, IT DOESN’T MATTER! 1 PAGE OR ENTIRE COLLECTIONS SOUGHT! CALL OR EMAIL ME ANYTIME!

330-296-2415 mikeburkey@aol.com OR SEND YOUR LIST TO:

MIKE BURKEY

P.O. BOX 455 • RAVENNA, OH 44266 CASH IS WAITING, SO HURRY!!!!!

Advertise With Us! ALTER EGO! • BACK ISSUE! • DRAW! ROUGH STUFF! • WRITE NOW! COVERS: 8.375" Wide x 10.875" Tall (plus 1/8" bleed all around) FULL-PAGE: 7.5" Wide x 10" Tall HALF-PAGE: 7.5" Wide x 4.875" Tall QUARTER-PAGE: 3.75" Wide x 4.875"

These rates are for ads supplied on-disk (PDF, JPEG, TIF, EPS, or Quark Xpress files acceptable). No agency discounts apply. Display ads are not available for the Jack Kirby Collector.

Ad Rates: Back cover COLOR: $800 ($700 for two or more) Inside cover B&W: $400 ($350 for two or more) Full-page B&W interior: $300 ($250 for two or more) Half-page B&W interior: $175 ($150 for two or more) Quarter-page B&W interior: $100 ($87.50 for two or more)

Bulk Ad Rates! Run the same size ad for 26 insertions and these discounts apply: Back cover COLOR: $10,000 ($385 per ad) Inside cover B&W: $6000 ($231 per ad) Full-page B&W interior: $4000 ($154 per ad) Half-page B&W interior: $2000 ($77 per ad) Quarter-page B&W interior: $1000 ($39 per ad)

We accept check, money order, and all major credit cards; include card number and expiration date.

Send ad copy and payment (US funds) to: TwoMorrows Publishing 10407 Bedfordtown Dr. • Raleigh, NC 27614 919-449-0344 • fax 919-449-0327 • E-mail: twomorrow@aol.com

P. C . H a m e r l i n c k

The Shazam! live-action television series, aired on CBS from 1974–1977, still resonates within the hearts and minds of its young impressionistic viewers from decades ago whom—like Billy Batson’s transformation into Captain Marvel—have since transformed into (hopefully) wisdom-filled, justice-seeking adults themselves. Like so many other TV comic-book adaptations, Shazam! fell victim to network policies and artistic liberties that were often an eternity away from its source material. Yet, the live-action Saturday morning show— produced by Filmation, a studio more commonly known for its memorable animated cartoons—still became a ratings success, with numbers out-performing many primetime scheduled programs. Along with cast members Michael Gray (Billy Batson) and Les Tremayne (Mentor), there were two actors who portrayed Captain Marvel during the series’ three-year run. The first was Jackson Bostwick, who passionately approached the role with conscientious care, and thus convincingly captured the mythical essence of the hero. With his stark, almost ethereal appearance and uncanny resemblance to the comic-book Marvel, it was clear Filmation had made the “world’s mightiest” casting choice. Jackson’s forthcoming autobiography, Myth, Magic, and a Mortal, is a vividly visual, personally revealing memoir with a closeup and panoramic cameraview of the beloved Shazam! series. (Check in for updates at

jacksonbostwick.com.) Jackson, along with his wife Elizabeth and daughter Erin, live in Tennessee where he continues to act, write, produce, and direct films. Bostwick’s disturbingly abrupt departure early into the show’s second season left the Captain’s boots unfilled for only a couple of hours, and after the lightning struck again and the smoke dissipated, there stood affable but apprehensive John Davey. After the professional boxer-turned-actor’s initial reluctance towards donning the red tights (smoothed over by the exuberant prodding of Davey’s enthusiastic eight-year-old Shazam-fan son), he finally accepted his fate and eventually developed a defensive pride over his involvement with the show. Retired from acting, Davey and his wife Linda now enjoy smalltown bliss in northern California. In his spare time he wrote a novel set in the world of boxing entitled The Fighter Still Remains. He claims it is in no way autobiographical, and while hating the cliché “coming of age,” he surrenders that it’s still a good descriptor for his redemption-filled piece of prose that’s in search of a publisher. I’ve interviewed both actors previously on separate occasions— both now out of print. The following fresh new pair of interviews were conducted in April 2008. My thanks to Jackson and John for their cooperation. – P.C. Hamerlinck

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

1 7

P.C. HAMERLINCK: Jackson, you were born in Pennsylvania, but grew up in Montgomery, Alabama. Your father was a neurosurgeon. What were your childhood years like? JACKSON BOSTWICK: I was blessed with a wonderful family life to grow up in down in the Deep South; there were my two younger sisters, Joan and June, our two dogs, a cat, and my mom and dad. I loved (and still do) the outdoors, where I often enjoyed hunting (both bow and gun) and fishing. I leaned toward the sciences in school and played trumpet in the school band and orchestra, and also played in a small dance band for local gigs. I was active in golf, water skiing, swimming, basketball (on a third-place team in the city—still have the medal), shot archery, and rode my bicycle everywhere. On the career aptitude tests they gave us in school it was determined that I would be good as either a CPA or a Forest Ranger. Oh, yeah, there was tax money well spent! [laughter] HAMERLINCK: You’re a graduate of the University of Alabama—a pre-med student who majored in Biology and minored in Physics and Chemistry—but the acting bug had bit you in 1968, while you were still in the Army. Were your parents supportive that their pre-med son’s thoughts had turned to acting? BOSTWICK: The thought of acting never crossed my mind until I was on The Dating Game (great in the audition, pathetic on the show) and a scout from Paramount asked me if I was interested in getting into the movies. I told him that I had never done anything in that line of work in my life. He suggested I should get some training and then look him up. I was still in the Army (Ft. Irwin) at the time and without my knowledge my secretaries had sent my name into The Dating Game and I was invited down to audition for the show. A short time later, after I had finished my tour of duty, I asked my dad what he thought about my giving acting a shot. He said as long as I was continuing my schooling, I could give it a try. (He later told me that of all the fields I could have pursued, acting was the one area he couldn’t help me with.) So, not knowing the ridiculously incredible odds for someone who had never done any formal acting before in his life— much less, even remotely considered doing any— I casually bop on over to USC and take a stab at getting into their “acting school” (as I, then, naively referred to their program). Now it will naturally follow that after being accepted as one of the 11 original members of the Master’s Company that I regard it as not being such a big deal. I mean … hey! Anybody can do it. Right! Just walk in off the street, thick southern drawl and all ... just tootle in on a lark, apply for a slot in a subject that you are thoroughly unacquainted with 1 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

Say “Cheese” Jackson Bostwick as Captain Marvel, the star of CBS-TV’s Shazam! A promo headshot from 1974, revealing the actor’s uncanny resemblance to his comic-book counterpart. Unless otherwise noted, all Shazam! photos are courtesy of P.C. Hamerlinck. Shazam! TM & © DC Comics.

H e r o e s

I s s u e

(I didn’t even know who Lawrence Olivier was), and then get unconsciously welcomed into one of the premier programs in the country in that field. Hah! Now, talk about “being at the right place…” or, “when it’s meant to be …” or—even more aptly in my case— just “your plain, good ol’ dumb luck…” HAMERLINCK: A year before Shazam!, you received your MFA at USC. Did you already have an agent at this time? BOSTWICK: I had gotten an agent—Dale Garrick— before I had even entered school, and had already done a national commercial for Mutual of Omaha on Wild Kingdom by the time I had stepped into my first class at USC. HAMERLINCK: How did going to Filmation’s “cattle call” for the role of Captain Marvel come about? BOSTWICK: I had just signed with the Jack Wormser commercial talent agency, so when I got the call [for Captain Marvel] I naturally think it’s for a Captain Crunch-type cereal (not serial) and so I show up in my usual commercial “cattle call” garb—jeans, white T-shirt, and cowboy boots. When I arrive at Filmation Studios, where the audition is being held, there is nobody in the lobby. (Not normal for a commercial audition where there isn’t a parking space for ten blocks and the casting room is packed like a “free beer and pizza night” at the local bowling alley.) No, this was more like a deserted town in a Sergio Leone Western—complete with a tumbleweed blowing by. As I sit down, the producer, Bob Chenault, comes out and I soon am made to realize “this definitely ain’t no breakfast cereal.” HAMERLINCK: Did Filmation cast you before casting Michael Gray as Billy Batson? How did your first meeting go with Filmation, and when did you first meet costars Michael Gray and Les Tremayne? BOSTWICK: It could be somewhat contentious as to who was on first, but I do know what was on second and that was they had been searching for a Captain Marvel for four months before I had arrived—actors that were athletes, then athletes that were actors, then back to actors that were athletes. When I first meet Michael and Les, I still haven't been told that I have gotten the part. The meeting is supposedly just to let the CBS executives have a look-see. When I come into the room, I am the last to arrive. A quick look around and I guess that Michael is up for the part of Billy Batson, but I wrongly surmise that Les is probably to be considered for the old wizard, Shazam. It turns out he’s to be the Mr. Mentor character who has been concocted by the writing gang at Filmation for the sole purpose of satisfying the Saturday morning censors’ worries about a young boy (Billy) traveling the highways and byways on his own. Everybody is cordial and a good time is had by all. However, it had slipped by my attention that there had been a “sky in the morning…” HAMERLINCK: Did you have to read for the part of Captain Marvel, or were they only searching for a particular look at the time? BOSTWICK: As I recollect, Bob Chenault and I just had a little chit chat at our first, and only, interview and that I showed him some photos of myself, including a couple of flying side kicks in karate, to which he commented, “Heck, you don’t even need any wires to fly”—or something to that effect—and that about summed up the whole affair. I figure that after I told him that I had an MFA from USC that he probably felt that I could handle any Captain Marvel dialogue. He later told me that once he saw the smile and heard the voice that he pretty much had made up his mind.

Myth and Magic Bostwick’s heroic portrayal of Captain Marvel captured the mythical essence of the hero. TM & © DC Comics.

HAMERLINCK: Do you think Filmation had set out to (as close as they could) match the Captain Marvel look from the comic book—and if so, do you think that it had anything to do with them selecting you for the part? You’ve told me previously that Mark Harmon had been one of the final few considered for the part, but of course he doesn’t look at all like Captain Marvel. BOSTWICK: Only The Shadow could know what lurked in the hearts and minds of the two executive producers at Filmation Studios. However, I do know that the show’s original producer, Bob Chenault, wanted only to create the best [show] he could, allowing for the budget and equipment he was afforded to work with at the time. (Bob departed abruptly before the start of the second season, and in my opinion the show suffered an irreplaceable loss with his untimely withdrawal.) Ironically, Filmation was chiefly billed as an animation studio before they did Shazam!, and yet, I feel, the weakest part of the show was the cheesy cartoon work that they contributed rendering the Elders as stilted, “still life” psychedelic drawings with the only part of their entire anatomy ever allowed any kind of “animation” being an ever so slight lip movement as they spoke some philosophical “wisdom” to Billy. And then, of course, there was the unimaginative canned music they imported in from Belgium— or some outfit in that neighborhood— that would have fit more appropriately in one of those floor-hopping inventions patented by Otis. Now, as for selecting me for the role of the Big Red Cheese ... as far as I am aware, that action was the exclusive doings of Bob Chenault. Mark Harmon had just graduated from UCLA as their star quarterback, so he was pretty much in the “athletes-who-were actors” phase of the search. He was in the final four when I arrived. Now I feel quite certain that some of Mark’s loyal fan base could very easily see him playing the part of the good Captain or Superman, et al., but in my opinion,

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

1 9

Mark is better suited in a role other than one calling for the classic superhero look. You say, “What is that look, Jackson?” Well, to put one on the right track, in modern times you don’t have to look any further than browsing through the Golden Age of Comics and checking out their renditions of a superhero. However, if one wishes to advance one’s awareness to an even greater degree, then you can do no better than to move on to the Hellenistic period of Greece, or to the Golden Age of the Roman Empire, and gaze upon the statues and classical mythological gods and heroes found in the fanciful and storied artwork of these two ancient cultures. HAMERLINCK: I know before getting the role you were already quite familiar with Captain Marvel from reading the Fawcett comics when you were growing up, which had obviously been a beneficial factor to your approach in portraying the character—not to mention your uncanny resemblance to Cap’s facial features and heroic look. Isn’t it true that you had to advise Filmation on the proper way to design the CM costume? BOSTWICK: Bob Chenault and I went over to the legendary Western Costume armed with a color version of C. C. Beck’s Golden Age Captain Marvel. I talked with the designers there and used the picture to point out the features of the costume that made it unique. The buccaneer-style boots (I asked for three different types of soles: one for running, regular, and one for traction), the propeller designs on the cape, etc. I also made sure that they were diligent in matching the red color of the costume (several batches were tried before they got it) and the yellow in the lightning bolt, gauntlets, and boots. One feature I asked for, specifically, was that the cape’s rope that goes around the neck have Velcro and little garment attachment hooks affixed in strategic places so that it could be worn in different positions on the shoulders and could be removed, if need be, with very little effort. This, I told Bob, was because in the original comic of the 1940s, Captain Marvel is sometimes seen running, or doing other actions,

without his cape being worn and that this would give us a little added feature that the writers could put to good use in plot development. (In fact, in one of the first episodes, “The Brothers,” I did take the cape off and covered a teenager with it after he had been bitten by a rattlesnake.) To my best recollection, other than the above mentioned costume dye color trials, the only real problem we had was fitting me into a girl’s Danskin stretch ballet top and then trying to hide the elastic around the waist that held up the men’s leotard bottoms. The judicious placement of Cap’s belt solved that piddling issue, however. HAMERLINCK: Didn’t you also advise the producers to use Cap’s famous catchphrase “Holy Moley” into the scripts? BOSTWICK: Bob Chenault approached me one day during preproduction shooting and asked if I could come up with a catch saying or phrase that Captain Marvel would use when he was surprised or befuddled. I immediately replied, “What’s wrong with ‘Holy Moley’?,” to which he responded, “Holy Moley ... yeah, that’s good. We can go with that!” I said, “Bob, that’s what Captain Marvel says. It’s from the comics. It’s his world famous expression. Ask the writers to at least read a Captain Marvel [Adventures] or Whiz comic book in their research of the character.” It wasn’t Bob’s fault, but now I knew I needed to be alert for any miscues that might have Cap doing something that didn’t preserve the legend. HAMERLINCK: Were you discouraged with the limitations imposed upon the scriptwriters by the network, and the fact that Captain Marvel wasn’t allowed to throw any punches? BOSTWICK: Well, of course, I, as an adult, would have liked to have seen a little more of the old Republic Pictures, Tom Tyler throw-’emoff-the-building-type Captain Marvel that I grew up with rolled into the mix, but I don’t think the show lost too much of its exciting “punch” for its targeted Saturday morning audience by not having those adultly dramatizations incorporated into it. And with the provocative way kids are carrying on nowadays—being subjected to ultra violence and graphic sex in video games, on the Internet, on cable TV, etc., every waking hour—I don’t think it would hurt us too terribly much as responsible parents to try and keep our children young at heart as long as we possibly can by protecting them from the mature emotions and actions of adults that they, as immature minds, can’t possibly comprehend, or much less contend with. HAMERLINCK: Even with its tight budget of around $70,000 per episode, would you have liked to have seen more of the comic-book elements brought into the program, implementing more of the Shazam “magic” into the show’s format and scripts? BOSTWICK: Absolutely. The “magic” of the Golden Age comics and, especially, Captain Marvel, the Marvel Family, and the Marvel Family villains would have been a tremendous boost to the overall concept of the show. Unfortunately, money (not art) is the bottom line with film and television studios (get in as cheaply as possible, get out as wealthy as possible), and Filmation Studios was no exception to that rule. (They even fired me, thinking I was holding out for more money, when in fact, I had injured myself doing a stunt.) As I’ve said before, we the artists did the best we could with what we were provided and we we’re happy to have the jobs and to be creating. HAMERLINCK: Do you think the show could have enjoyed greater longevity if it would have been properly developed as a primetime series? BOSTWICK: No question about it. What we did in the Saturday morning time slot Shazam! was put in, I think was very commendable. However, with more money and time (we shot a show every 21⁄2 days) that is allotted a primetime series, and with no worries about Saturday morning politics and language policing, the “magic” of the shows, I think, could have immensely been improved upon.

Saturday Morning Fever Partial 1974 CBS Saturday morning ad appearing in the Shazam! #15 comic, announcing the debut of the new “Live In Person” Shazam! TV series. CBS logo © CBS Broadcasting. Shazam! TM & © DC Comics.

2 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Also, Billy would have been able to have Shazam, the ancient wizard, as his spiritual guide, and not a Mr. Mentor, or a hallucinatory cluster of stilted sketches called “the Elders” to deal with. I told Bob when I first realized that the Mr. Mentor character had been created to be a chaperon for the young Billy with the sole purpose of satisfying the CBS screeners as well as some ever-meddlesome sociological and psychological Ph.Ds from a well-known local university who somehow had gotten themselves attached to the show; these were our kindly and compassionate Saturday morning censors (read: overly sensitive, jack-booted, academic elitists). I explained to Bob that the writers could have the wispy spirit of Shazam drive the motor home and be Billy’s companion thus ensuring the young lad’s propriety. This would make the show a lot more fun and fanciful for the kids and at the same time appease the heavy-handed guidelines of the language and bias police. And furthermore, Captain Marvel could now fly out into space and visit the old wizard at the Rock of Eternity whenever he needed some proper ethical guidance. Other Saturday morning characters—Scooby Doo, Bugs Bunny, etc.—were dealing with ghosts, genies, etc., all the time, so the young folks will have no problem going along with the Shazam gag, I told him. Oh, well, I tried. HAMERLINCK: Can you briefly comment on fellow cast members Michael Gray and Les Tremayne? BOSTWICK: I thought Michael and Les both did outstanding jobs as their characters on the show. I never did a scene with Michael as Billy Batson, for an obvious reason, but I did share the screen several times with Les and found him always to be a professional and well prepared whenever the camera was rolling. However, from what I was later told, Les, in a total 360 from what I had perceived from him as being a cordial acquaintance, had actually felt quite dramatically just the opposite. It was more of a deceptive tolerance— and that’s being graciously diplomatic—of me on his part. I would never have imagined this coming from Les, but now, having had a chance to reflect back on a couple of incidents on and off the set that struck me as rather curious at the time, I must say there were some obvious tells as to his feelings that I had observed but that I had simply dismissed as not being anything to be concerned about, much less, dramatize. (I explore this rather disconcerting matter involving Les in much broader detail in my forthcoming book, Myth, Magic, and a Mortal.) HAMERLINCK: Wouldn’t you sometimes go back to Filmation Studios in Reseda and study the week’s film footage to ensure that your portrayal of Captain Marvel was on target? BOSTWICK: I would go to the editor at the studio, pick up a reel of an episode from the week before, take it to a screening room in the building, thread up the film on a projector, and then sit alone in the dark watching the show with no sound and no audience. I was mainly interested in scrutinizing my body language and the message that I was subliminally projecting as the good Captain. I was brutally subjective with myself concerning any misstep in my posturing, timing, or even wrinkling of the costume knowing that this minutia would not escape the disparaging eyes of the harshest and most judgmental audience in the world: the Saturday morning, TV watching ... child. HAMERLINCK: How did your memorable moral tags at the end of each episode come about?

BOSTWICK: All of the original tag endings for the first year’s 15 shows were filmed in one day at Franklin Canyon Reservoir in Bel-Air, and if you are observant enough, you can pick up on the rain coming down in the background behind some of the close shots. They just put me under an umbrella, hit me with some sun electrics, and we kept on rolling. The first couple of months that the show had aired, in the fall of 1974, there were no tags involved. One of my other concerns that I had suggested to Bob had been a wrap-up to the show where the hero comes back and talks to the audience, à là The Lone Ranger, The Cisco Kid, etc. He told me the network didn’t want to give up those 60 seconds of commercial time. But after the show aired and the audience response was great, the big boys relented, and the tags were a go. To me, these simple little tag endings with Captain Marvel flying back and talking one-on-one with the kids are truly what made the show a complete success. Like me with my heroes, the youngsters looked forward to the ending each week and this is what got their attention and drove home the message of each episode to their young, imaginative minds. (The tag idea was further jumped on and, unabashedly, copied by Filmation the following year with Isis, their female, rip-off version of Shazam!) HAMERLINCK: Later on you became good friends with “the Lone Ranger,” Clayton Moore. Tell me a bit about your friendship with him. Didn’t he want you to portray him in a Clayton Moore biography film, that was unfortunately never produced? S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Your Friend, Jackson Bostwick signed and inscribed this photo to the future FCA editor back in the late ’70s. Shazam! TM & © DC Comics.

•

B A C K

I S S U E

•

2 1

BOSTWICK: Clay and I became good friends after a comic convention in Dallas in 1975 that we both happened to be appearing in along with several other celebrities. I would frequently visit him and his wife, Sally, at their home by a lake in Calabassas, where he and I would talk about fishing and other outdoor activities that we both enjoyed. It was later, during the time of his dealings with Jack Wrather and the Wrather Corporation about his not being able to wear the Lone Ranger mask during personal appearances (something eerily similar to what I had experienced with “if we can’t send you out, nobody can” Filmation Studios), that he phoned me about portraying him in The Clayton Moore Story movie that ABC was then considering. He told me that he and Sally and their daughter had talked it over and that they all had agreed for him to approach me with the idea. Without hesitation, I responded that I would be deeply honored to play my childhood hero and, when do we start? Alas, in one of those mysterious black holes known to exist somewhere in a galaxy far, far away in that vast expanse known as the entertainment industry universe, the project was sucked in and unceremoniously quashed and then sent quietly to the “big sleep” in the arms of that eternally promising wasteland known as ... Development Hell. HAMERLINCK: Imagine the shock of young viewers across the nation one Saturday morning when Billy said “Shazam!” and, after the smoke cleared, there stood a different actor as Captain Marvel. I know you go into great detail regarding your on-set injury and subsequent dismissal from the show in your upcoming autobiography Myth, Magic, and a Mortal, but can you give a brief account of the events that occurred the day you were fired from Shazam! and the lawsuit with Filmation regarding the firing? BOSTWICK: Yes, the incident is attended to in much greater detail (including photos) in the book. But briefly: I was fired for being accused of holding out for more money when, in fact, I was at the doctor’s office that morning having my eye, and the busted blood underneath it, examined from an injury that I had incurred on the set doing a stunt (a take-off) the day before. I got home from the doctor’s around noon and I had a message on my machine from my lawyer that informed that if I was not at the location by 1:00 I would be fired. I called CBS in New York and said “What in the hell is going on out here? The sh*t has hit the fan!” They pleasantly replied that it had hit the fan back here, too. And that indeed if I wasn’t out on the set by 1:00 I would be fired. First of all, I had had the nurse at the doctor’s office call the studio as to my whereabouts that morning (which Filmation later tried to say they never received). Secondly, it was a remote location somewhere in the Santa Monica Mountains that I had never been to before and, furthermore, there was no way that I could have made it out there in less than an hour. And lastly, I had a large swollen “mouse” under my eye that would have kept me from working, anyway—Captain Marvel doesn’t suffer black eyes. The bottom line is: We arbitrated this precedent-setting case at the Screen Actors Guild headquarters, and we won. Filmation tried to argue that I was never injured and further insinuated that I was holding up production because I was holding out for more money. Hah! I was fired at 1:00 o’clock and they had my replacement out on the set by 3:00. Hmmmm! It took Bob Chenault over four months to find a Captain Marvel, but the execs take less than two hours to fill the slot. And why didn’t they call on one of the final four that Bob had narrowed it down to, instead of making a couple of phone calls to agents with one of the prerequisites being whoever it is they have to offer he has to be able to fit into the boots?

Alter Ego (top) CBS Shazam! promo shot from 1974. (bottom) An ’80s talent agency shot of Mr. B. Shazam! TM & © DC Comics.

2 2

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

HAMERLINCK: When Season Two had begun production, and with the series’ original director Bob Chenault no longer there, were you getting the impression that things were a bit “off”? BOSTWICK: When I arrived at the studio to pick up the new scripts for the start of Season Two, I was informed that Bob Chenault was no longer with Filmation Studios, or involved with the show. Whoa! This was the man who literally spearheaded Shazam! from the very dawn of production, and now was, like a gentle wisp of smoke from a cozy campfire, “poof!,” here one minute, soundlessly gone the next. We were now saddled with an interloping bus driver and the ride for me, as well as a majority of the old crew members from that first year (I can’t speak for my two other co-stars), had commenced from the very moment we had left the terminal to slowly becoming a spiritless and tedious experience. The magical sparkle that had formerly surrounded the entire production that whole first season had now become sufficiently dulled enough to have taken on a rather shallow and murky veneer. None of the omens were in your face, but rather prowled over the surface of the set in an insidious, subliminal fog. The crew came to me and told me about less money being allowed them compared with the new shows, Isis and Ghostbusters, and wanted me to convey their grievances to the executive producers. I asked them, “Why me?” They said because you are the star of the show and that I needed to fight for the integrity of the project and that I could talk to execs, whereas they couldn’t. They complained that we were being served stuffed bell peppers for lunch—which I didn’t mind—and the Ghostbusters' crew was getting steaks. I had noticed that the new scripts that I had initially gotten were right out of the same cookie cutter from the first season and broke no new innovative grounds. Now all of these things appear on the surface to be rather picayune and petty to the outsider, but to a seasoned crew and cast that is aware of these slights ... it matters! … and it becomes subtly displayed in their attitudes and job performance, and soon infiltrates the entire set with a negative disposition that can easily shunt artistic inspiration. So all of these things (and much more that I describe in my book) were there for me to read into in these daily “weather reports” that I was receiving from the crew. But I totally underestimated the severity of this situation until it had become combined with other more severe elements that had been brewing elsewhere near the immediate fringes of the set—i.e., behind closed doors in the studio. Because of the secrecy of these remote and ever more dire, and unforeseen, “other elements” being out of my immediate awareness and control, when they became entwined with my shouldering and conveying the complaints from the crew to the executive producers, I was soon to be swept up into a perfect storm of personality conflicts that were ultimately driven by a raw deceitfulness from which there is no escape. Wow! Now, that plot could have made an excellent episode for second season. And the good Captain maybe would have prevailed in this instance—not like the Joe in real life. HAMERLINCK: You were also involved in a second lawsuit with Filmation regarding you being able to go out and make personal appearances as Captain Marvel. What was the story behind that? And do you have any memorable personal appearance flashbacks to share? BOSTWICK: Briefly, my booking agent at the time was Mike North at ICM and he could send me out on

appearances for a fee plus a gross percentage of the gate, whereas Filmation wanted to send me out for a sizably less fee and a percentage of the net gate. Norm Prescott was beside himself with glee when he slyly smirked at me and announced, “If we can’t send you out, then nobody can!” Why the two executive producers at Filmation were so adamant that I couldn’t have my agent send me out as well as them has always confounded me to this day. Well, eventually saner minds prevailed and I was, and still am, able to wear the costume at personal appearances. One of my earlier appearances that I fondly look back on is when the cast did the 1974 Hollywood Santa Claus Parade and John Wayne was the Grand Marshall. In the holding area just before we got into the vintage cars that drove us along the route, Mr. Wayne comes over to me and puts his arm around me and drawls, “I always wanted to be in a picture with Captain Marvel.” Some photographer snaps a couple of shots. “You remember Tom Tyler?” he asks me. “Yes, sir!” I reply. “He was the first Captain Marvel, you know,” he continues. “Yes, sir!” “Well, he was a good man and a good friend ... you take care of yourself, young fella!” And then he was gone. Another great experience around this time was being the Honorary Ringmaster of the Shrine Circus at the Shrine Auditorium in L.A. with Buzz Aldrin. He remarked that I had good handwriting as he sat beside me and we signed autographs between shows. I remember

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

The Marvel Family (left to right) Kelly Delcambre as Captain Marvel, Jr., Jackson Bostwick, and Miriam Blythe Dafford as Mary Marvel at Dragon*Con, Atlanta, Georgia, on Sept. 3, 2004. Delcambre created the costumes specifically for Bostwick’s guest appearance at the convention.

•

B A C K

I S S U E

•

2 3

thinking to myself that the lack of gravity on the moon must have altered his eyesight in some respect. I mean, my handwriting is about as easy to decipher as Chinese arithmetic. We also did a Hank Aaron’s “No Greater Love” visit to the Veteran’s Hospital in Santa Monica together. I lost the two pictures I had of him (one is him standing on the moon, the other was us together at the hospital) during the 1994 earthquake. I’ve since gotten the moon shot replaced, but the other one is gone. HAMERLINCK: Let’s discuss some of your post-Shazam! work. You had a contract for a while with Disney and appeared in Tron. You played to perfection the “Tex” character in Mutant Species, and starred in the drama A Matter of Honor. What were some of your other film roles? BOSTWICK: The Prey I did with Jackie Coogan (his last film) is a nice little horror film with some good young actors. What Waits Below is another sci-fi film that I played the main bad guy in opposite Robert Powell and Timothy Bottoms. Escape From DS3 (with Bubba Smith—“Hightower” in the Police Academy films) is a sci-fi feature I did the lead in for Anne Spielberg (Steven’s sister and co-writer of the Tom Hanks movie Big) along with another sci-fi thriller I did for her called The Killings at Outpost Zeta. I starred in The Hughes Mystery with Broderick Crawford and Cameron Mitchell in 1978. Internet Movie Database (www.imdb.com) lists most of my work and I do cover these, and others, including some voice work at Disney, in my book. HAMERLINCK: You met our mutual friend, Captain Marvel co-creator C. C. Beck, at a mid-’70s convention in Dallas. What can you tell me about your association with C. C.? BOSTWICK: C. C. was a real joy to converse with all the way around—mail, phone, and in person (only that one time in Dallas). He shared with me some great insights into his feelings on the superhero character and the later conflicts he experienced with the editors at DC about storylines. I do touch on these in better detail in my book, including some great photos of me and the “bearded one.” He made me a short “Shazam” sword which I still have. He had also made me a long sword that he was going to give to me at another convention, but I was unable to appear there at the time so he sold it to a fan at the venue. HAMERLINCK: You have your own production company now in Nashville, Tennessee—producing, directing, writing, and acting. What are some of the projects you’re currently working on?

Give a Little Lift A newspaper clipping with a photo of Jackson Bostwick boosting Captain Marvel co-creator C. C. Beck at the 1976 American Nostalgia Convention, Adolphus Hotel, Dallas, Texas— marking the beginning of the friendship between the artist and the actor. From Mr. Beck’s personal scrapbook.

2 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

BOSTWICK: I am currently finishing up editing a feature I wrote, Bloody Mary-Lite (“an urban fairy tale”), a dark comedy that I filmed and directed near the entrance to the Great Smoky Mountains in eastern Tennessee. I just completed playing a detective in a feature, Suitable for Murder, filmed in and around Denton, Texas, and a vampire in another one, Twist of the Vampire, shot in Spokane, Washington. I get killed in both of these—ouch! I have five scripts ready to go and will be aiming next for doing the featurelength version of my award-winning short, Southern Fried Shakespeare (in the 25th Century), that won the Gold Award at Worldfest Houston in 1991 in the same category and festival that Steven Spielberg won with his first short, Amblin; and the next year George Lucas won with THX 1138; and, later, David Lynch won with Eraserhead. HAMERLINCK: You had the right, heroic look for Captain Marvel. What other actors do you feel have been properly—and improperly—cast on TV and the big screen as superheroes? BOSTWICK: Properly cast: Clayton Moore as the Lone Ranger; Steve Reeves as Hercules; Johnny Weissmuller as Tarzan; Errol Flynn as Robin Hood; Chris Reeve as Superman; Tom Tyler as Captain Marvel; Sean Connery as James Bond; Lou Ferrigno as the Hulk; Lynda Carter as Wonder Woman; Buster Crabbe as Flash Gordon; and Tom Tyler as the Phantom. Improperly cast: Klinton Spilsbury as the Lone Ranger (gawd awful); none of the Batman boys (Batman Begins with Christian Bale was a good film, however); Brandon Routh as Superman (paleeeze!); Sam Jones as Flash Gordon (nope!); Nicolas Cage as Ghost Rider (what!?); Billy Zane as the Phantom (check, please!). Tom Tyler’s portrayal of Captain Marvel in The Adventures of Captain Marvel—along with Moore’s Lone Ranger, Weissmuller’s Tarzan, Reeves’ Hercules, Flynn’s Robin Hood, and Connery’s Bond—are my all-time favorites in the rendition of a superhero. I never tire of watching any of these gentlemen play those roles. HAMERLINCK: What do you feel it takes to effectively portray a superhero? BOSTWICK: First of all—and most importantly—the look and the voice. If they don’t have a heroic look, they can’t play a superhero in the classical sense. (Audie Murphy was a true hero, but he couldn’t be cast believably as a superhero.) Then, the athleticism, and, finally, the proper delivery of the dialogue complete the package. HAMERLINCK: Were there any superhero roles you would have loved to have done—or any you had pursued but didn’t get? BOSTWICK: It is 1976, and I’m called back as an alum to do Sweet Bird of Youth with Dorothy McGuire for the grand opening of the Bing Theater at USC. She likes what I’m doing in rehearsals and wants me to meet her agent for representation. They attend the opening night performance, and subsequently sign me. The first thing they send me out on is for the part of the title role in Superman: The Movie. I am sent over to Lynn Stalmaster, who is handling the casting for the film, and the first thing he greets me with when I walk in the door is, “Jackson, what are you doing here?” Well, that surprises me, as this was the first time I have met the man. “For the role of Superman,” I reply. Laughing, he says, “Man, you are dead right on for the part, but they can’t let you be Superman when you’re

Captain Marvel, too. Let me show you what I mean.” So, he calls in one of the girls from another room and asks her, “Do you know who this guy is here?” “Yes, sir,” she answers, smiling at me, “Captain Marvel.” Okay, that kills that. But now, not only am I not Jackson Bostwick, but they didn’t even validate for parking. Later, I want to go up for the part of Flash Gordon, but my agent tells me they are looking for a blond. I say, “Hell, they can dye my hair.” They still say no. So, the wind up is: brown-headed Sam Jones goes up for the part ... and they dye his hair blond. And dark-haired Klinton Spilsbury goes up for the part, and from that interview with Sir Lew Grade’s Marble Arch Productions, he is seen for the title role in The Legend of The Lone Ranger movie. Moving right along, Clayton Moore tells me that if I play the part of the Lone Ranger in the movie, he will accept their offer to be in it—but only if I play the part. We both couldn’t find out who was casting the film, so I can’t find out who to interview with, and ergo, Clay opts not to appear in it. As fate would have it, however, one of those two films turns out to be very average and the other turns out to be a monumental stinkaroo … further testimonial that very few people in the movie industry understand the formula for capturing the mythical qualities necessary for building a magical superhero legend. HAMERLINCK: Besides meeting C. C. Beck, you’ve also met Julie Schwartz and Carmine Infantino at conventions. Did you hit it off with them as well? BOSTWICK: Julie and Carmine were both pleasures to be around. I knew them from different appearances I made at Dragon*Con in Atlanta. They were both there signing their books and meeting the fans like I was. Julie would come by my table and would sit down and talk quite a bit about his times at DC and the “fun” he had with C. C. Beck and the reintroduction of Captain Marvel in Shazam! (To put it diplomatically, C. C. and Julie never quite saw eye to eye—DC vs. Fawcett.) I saw the friendly sides to both Julie and C. C., but from the things each related to me about the other, I can imagine it would be a rather salty and bumpy ride to have them in the same lifeboat together. HAMERLINCK: Do you like the modern, more realistically rendered versions of Captain Marvel, like those painted by Alex Ross? BOSTWICK: Alex Ross’ spectacular body of work (he is truly a gifted artist) most certainly speaks for itself. I’ve met Alex only once, and that was at a Wizard World convention in Chicago, and I consider him to be a friend. I can find no fault in his work as an artist. However—and this is just my humble opinion— the choice of his model for the good Captain tends to make our hero come across as rather boorish and thick in appearance, reminiscent of an updated Conan the Barbarian, or a milder version of one of Cap’s nemeses, King Kull, rather than giving us a classic hero look more in line with one of the Greek gods Marvel derives his powers from. I believe one can attempt to be “more modern and realistic” in their approach to male superhero art and still be able to render a strong and likable character that reflects raw power and at the same time, if you will, an approachable, disarming charm. (Don’t forget Captain Marvel has the costume, the magic, and the superpowers, so he doesn’t require human-onsteroids muscles, or an in-your-face, thuggish appearance to get the job done.) I’m afraid if an 8"x10" version of the good Captain that Alex offers us was sent down to the folks at Central Casting, they would immediately pigeonhole this guy into the “Heavies” category, or a

Saturday Morning Hero

World Wrestling Tour-type bad boy. His look fits more along the lines of a masher, rather than the original intent that C. C. Beck and the gang at Fawcett tried to present with their handsome, bashful-around-the-girlstype Big Red Cheese that outsold Superman in the ’40s. And lest we forget, Captain Marvel is the alter ego of Billy Batson, so unless the young Billy has underlying homicidal or bestial tendencies, I think Cap’s look should definitely lean toward more of refined and grown-up-Billy motif. Again, this has nothing to do with the beauty of Alex’s art, but is simply my opinion as to the look of the character. HAMERLINCK: DC had released a Limited Collectors’ Edition comic book of Shazam! during the ’70s with a photo of you on its cover. Was that done with your knowledge? BOSTWICK: I never knew about this large-sized issue until it hit the newsstands. When I saw the photo on the cover, I immediately remembered the guy who took that particular series of poses. I was standing on a rock up in the Santa Monica Mountains above Malibu just down from the location we were filming at that day. He told me that he had taken the classic photo of the Lone Ranger, Clayton Moore, rearing up on his horse that is always seen representing that character. I never knew who the photographer was, and he never mentioned what the photos he was taking of

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Jackson Bostwick as Captain Marvel on the (autographed) cover of Limited Collector’s Edition #C-35 (Apr.–May 1975). TM & © DC Comics.

•

B A C K

I S S U E

•

2 5

me that day were going to be used for anything other than publicity. I just figured they were more PR stills for CBS. As a young actor (“Jackson who?”), I just followed along with the suggestions of my agent, Jacks Wormser, who never wanted to “make waves” (don’t forget he was a commercial agent, not theatrical), and so I signed whatever was placed in front of me. Being new to the creative financing practices found in the movie and TV industries, it never occurred to me to question these things, so I just assumed it was part of my original contract and that the studio owned everything. And, besides, I was just happy to be seen ... especially on the cover of a comic book. HAMERLINCK: TV Guide was on the Shazam! set once to take pictures of you for an article on filming your flying footage. But when the View-Master people showed up you refused to be photographed by them, right? BOSTWICK: It was out at a mock village at the Paramount Ranch that I recognized the double-lensed, 3-D camera this guy had, and I immediately told the director for that episode, Arthur Nadel, and the producer, Bob Chenault, that I did not want this unfamiliar person (I was never introduced to him, nor did he ever come up to me and introduce himself) taking my picture. Shortly, the stranger quietly left the set after snapping some other mundane shots and that was that. I definitely knew that it was something over and above my contract with the show and felt it best not to let it get out of hand. What made me even more suspicious was that afterward, nobody ever questioned me about my request. HAMERLINCK: Were there any Shazam! guest stars or any of the crew that you particularly enjoyed working with? BOSTWICK: I had fun with all of the guest stars on the show and they all did splendid jobs, but Jackie Earl Haley, Lisa Eilbacher, Dabs Greer, and Pamelyn Ferdin [were ones] I remember having more active conversations with. And, like the guest stars, I enjoyed the company of most of the crew. Bob Chenault and I became good friends shortly after I left the show and he and I would frequently take the sailboat he was living on to Catalina for the weekend. I went SCUBA diving and

The Strength of Hercules Bostwick in action as Captain Marvel, from the first televised Shazam! episode, “The Joyriders,” aired Sept. 7, 1974 on CBS. TM & © DC Comics.

2 6

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

snorkeling with our safety man, “Big John” Carroll, over to the Channel Islands off the coast of Santa Barbara. We went deer hunting below Yosemite one year, and the next year near Bodie, a ghost town in the Eastern Sierras. Bob Sparks was very affable and a wonderful director of photography and was always fun to joke with. Hollingsworth “Holly” Morse was the director on our first two episodes and several others to follow. He did some of the old Lone Ranger shows with Clayton Moore, so he really knew his way around a superhero story. Holly and I would talk a lot about the film business and directing. I learned a great deal from him and was looking forward to working with him in the second season. However, my time on the show was cut short on the second go-around, so I was denied that opportunity. Some of the crew from the first year had changed when I started the second season, and a couple of these new ones who tried to buddy up to me, I intuitively didn’t trust. My instincts proved me correct because shortly after I was fired—having completed the first two episodes of that second season—the old crew members informed me from the set that these lovely new interlopers were now talking behind my back and that these clowns were definitely “not my friends.” Ah, show business … ya gotta love it. HAMERLINCK: I remember some exciting stunts, like the flying dive you did at Sherwood Lake in the episode “The Delinquent”—and pulling down a helicopter and then stopping the Open Road motor home while standing on top of it in “The Boy Who Said No” episode. With your natural athletic abilities, did you do all of your own stunts on the show? BOSTWICK: I did all of the gags except one. It appeared in the final episode of the first year and was filmed at the L.A. Zoo. It called for Captain Marvel to wrestle down a lion. Now, I did go so far as to let the bad boy bite me on the gauntlet, but when it came time for a pas de deux with Simba, I opted to let the trainer get in and tussle with the big Tabby. And even though they tried to convince me otherwise, I knew from experience that wild animals—even the “tame” ones—are, at the most inopportune times, highly unpredictable, and in the case of large carnivores ... take no prisoners. (Again, I go into greater detail of the happenings of that day in my book.) HAMERLINCK: Which of your stunts did you think you pulled off the best? BOSTWICK: Hanging from a helicopter runner, standing on top of the traveling motor home, and hanging by my feet with 500 lb. test piano wire as I was hauled up 60 feet and spun into the ground, were the most dangerous. But the gag I did with stunt woman Patty Eltige in “The Athlete” episode was the trickiest to stage and the most satisfying to accomplish. The guest actress in the story was supposed to be caught on a runaway horse and Captain Marvel was to fly in and pull her off of the galloping steed and then land. It was all done in cuts, of course, but when put together it was one smooth action. The last cut of the gag required me to pull Patti off her horse while it was galloping at full tilt. She starts from down the road to gain speed and as she catches up with me (I am also running at top speed) Patti signals to me with a whistle and I quickly turn, reach up, snatch her out of the saddle, and swing her down, managing to stop and hit my final mark by the camera with her cradled in my arms as the horse thunders on by. We managed to pull this off in one take, and with no misfires.

HAMERLINCK: I know you have a brown belt in judo and karate; what other sports have you done and still enjoy? BOSTWICK: The activities that I have been involved with over the years and still participate in from time to time include most all shooting sports involving rifle, shotgun, and pistol (I minor lettered in rifle at the University of Alabama and was #1 shot in smallbore in the SEC my sophomore year); water skiing (was considering professionally skiing at Cypress Gardens in Florida); SCUBA diving; swimming; snow skiing; golf; archery (hunting and target); flying (commercial license); and most all team sports. HAMERLINCK: Shazam! was filmed all over southern California. What were some of the specific shooting locations? BOSTWICK: Lake Sherwood was a great location we used. Some other locations that I remember were Vasques Rocks, Indian Dunes, Cabrillo Beach, Fisherman’s Village in San Pedro, Big and Little Tujunga Canyons, Malibu Canyon, Piuma Road, Saddle Peak Road, Las Virgenes Road, Tapia Park, the old Paramount Ranch, 20th Century Fox Ranch, Agoura Hills, Griffith Park, the L.A. Zoo, Bronson Canyon, Franklin Canyon Reservoir, San Fernando Airport, Topanga Park, Terminal Island, Malibu Canyon Road, and Ventura Boulevard, where the first preproduction flying shots using a camera car were filmed. (Some still shots of the gig appeared in an article covering the occasion in TV Guide.) HAMERLINCK: What are your thoughts and hopes regarding the Shazam movie currently in the works? BOSTWICK: I would like to see the movie stay with the true superhero motif and follow along with the fun and childlike fantasy found in the stories of the Golden Age of comics where Captain Marvel first appeared— [with] no darkness, and no modern times, [or] cheap, campy cuteness, please. HAMERLINCK: Have you enjoyed the recognition you’ve received during your convention appearances over the years? Tell me about the fairly recent con where you and JoAnna Cameron (“Isis”) conducted a Q&A session together with the fans? BOSTWICK: I always look forward to getting out and meeting people whether at comic, sci-fi, or memorabilia conventions, or at other celebrity events. The fans sometimes remember more about the show than I do, and they are always very appreciative and complimentary to me regarding Shazam! and the other films that I have appeared in. The only event I have ever been seen at with JoAnna Cameron (I never did a Shazam!/Isis crossover episode) was a convention we appeared at in Richardson, Texas. We did a Q&A session to a packed room and thoroughly enjoyed ourselves, as did the crowd, talking about the show and sharing some of the behind-the-scenes experiences that we separately encountered during our respective tours at Filmation Studios—both pleasant, and not so pleasant. HAMERLINCK: What do you hope you’ve left people with your portrayal of Captain Marvel? BOSTWICK: The pure fun of it; whether an adult of any age who on a lark happened to catch the show, or a young child faithfully planted in front of the TV set every Saturday morning, I would hope they might come away with a smile on their face and perhaps a little lighter heart after escaping reality for 30 minutes and maybe experiencing in a brief far-off, whimsical rush that somewhere, somehow, the magic of Captain Marvel could really happen.

The Shazam!/Isis Hour Artist and sculptor Ruben Procopio depicts two Saturday morning icons in this piece drawn especially for this issue’s Shazam coverage. View more of Ruben’s incredible work at maskedavenger.com and maskedavengerstudios.blogspot.com. Shazam! TM & © DC Comics. Isis © 2008 Entertainment Rights plc.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

2 7

P.C. HAMERLINCK: John, where were you born and raised? JOHN DAVEY: I was born in Winnemucca, a small town in northeastern Nevada. My dad was involved in ranching and mining and his work soon took us to northern California. When I was four years old, we moved onto a cattle ranch near the Oregon/Nevada border, and when I was ten we moved back to Winnemucca. After graduating from high school, I went into the Marines for four years before becoming a professional boxer. HAMERLINCK: Tell me about your boxing career. When did your interest in the sport begin? DAVEY: I got hooked with boxing when I was very young. My dad bought me and my brother a pair of boxing gloves and I really took to it. I weighed 118 lbs. for my first fight, and kept at it until becoming a heavyweight. My dad was a big boxing fan and, on the ranch where we lived, we couldn’t get good enough radio reception to listen to the big fights—so we’d all hop in Dad’s car and drive to a higher elevation just to hear the boxing matches. The names of all the top fighters became embedded into my young brain, and I was convinced that boxing was the key to gaining acceptance in the world. When Dad gave us that pair of boxing gloves, I carried them around with me wherever I went, and looked for anyone who’d put them on with me. There wasn’t much boxing where I grew up, so in 1957, when I left for California and entered the Marines, I only had a total of eight fights under my belt. Since our base didn’t have a boxing team, I convinced the brass there to start one. I only had another four fights as a Marine, so when I got out of the service in 1961, I had only boxed a total of 12 amateur fights. Yet, even with my deplorable credentials, I still had it in my head that I was going to become a professional boxer. So, come hell or high water, I launched myself into a career I really didn’t have any business being in. After about 15 fights I was gradually getting the hang of it, but by then I was so badly beat up and, without realizing it, was already on the tail end of my boxing career. HAMERLINCK: You were still in California at the time, right? DAVEY: Yes—it was boxing that kept me in Los Angeles. When I first got there after being discharged, I went straight to the Main Street Gym, the place where I use to spar with amateurs and pros while in the service. At the gym, I inquired about how I could get involved in a Golden Gloves tournament or something because I knew I needed more experience in the ring. Then someone walked in and gave me the spiel: “Why does a big, white kid like you wanna be in some Golden Gloves tournament when you could be makin’ some real money out there?” So I ended up boxing, mostly in L.A., for about 41⁄2 years. I had 26 pro fights … but let’s not talk about my record! I met a lot of 2 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

Big Red Cheese Re-Booted John Davey, the second actor to wear the Captain’s boots on CBS-TV’s Shazam! Photo courtesy of Andy Mangels. Shazam! TM & © DC Comics.

H e r o e s

I s s u e

interesting people along the way. I sparred with Joe Frazier in the early ‘60s, and I once met a young Cassius Clay, whom I didn’t spar with but I did loan the future Mr. Ali one of my T-shirts. HAMERLINCK: How did you get involved in acting? DAVEY: I started out being a lowly extra, and kind of worked my way up—or down, depending on your point of view. One day my manager and I were at a wedding reception at a little restaurant across from Universal Studios. There were some movie people there and my manager knew one of them. I had just come back from a fight in Idaho and my face was all cut up and bruised. My manager introduced me to this casting director who asked me, “Why the hell do you want to get yourself all busted up for with boxing? Why don’t you get into the film business instead?” Well, I had no interest—or talent—for it, so I just drifted off and started talking to other people at the reception. Then my manager came running over to me: “Are you out of your mind?” he asked. “This guy just handed you something that people would kill for!” A few days later I called the casting director and got signed up. I worked as an extra for a couple of years, and then I worked for a while as a stuntman after I met and trained with other stuntmen. Eventually, I got involved in theater groups, which of course pointed my direction more into acting than stunt work. My body was taking a beating as the stunts were getting to be too much like boxing all over again, so I switched over to acting. That’s when I got real hungry and learned to paint houses on the side. HAMERLINCK: You told me before that you had once considered acting a “sissy pursuit.” DAVEY: I did, but I do have great respect for good, talented actors. It’s not easy; you need tremendous discipline, concentration, and a special chemistry that comes through on the screen— which apparently I didn’t have. I was one of those guys who could sort of get by doing little parts here and there. I was a hitchhiker on life’s highway, and acting was a way to get a ride to somewhere else … so I rode along with it since the opportunities were there in front of me. I appeared in films (The Long Goodbye, 3 Women—both directed by Robert Altman; The Late Show, A Fine Mess—with Chevy Chase); episodic TV shows (Night Gallery, The F.B.I., The Odd Couple, Ironside, Room 222, The Rookies, S.W.A.T., Baa Baa Black Sheep, Cannon, MacGyver, The Twilight Zone, ChiPs, Remington Steele, Barnaby Jones, The Rockford Files); and between 40–50 TV commercials. HAMERLINCK: Out of all the actors you got to work with, which one was your favorite? DAVEY: Without a doubt, one of my favorites was James Garner, who I worked with seven or eight times. He was just a great guy, and a very underrated actor. HAMERLINCK: Describe the day you got the call to play Captain Marvel on Shazam! DAVEY: My eight-year old son, Tom, and I were hanging around my apartment that day when my agent called me up. He asked me if I had ever heard of a Saturday morning kids’ show on TV called Shazam! After I told him I hadn’t, he proceeded to tell me that Meryl O’Laughlin, casting director for Filmation Studios, wanted me immediately on the Shazam! set to play Captain Marvel, replacing Jackson Bostwick on the show. What first came into my mind was a kid show formatted like Mr. Roger’s Neighborhood. While I knew of the character, and had read my share of Captain Marvel comics as a kid, I still thought this show must be something like, “Okay, kids, today we’re going to take a trip to the zoo!” So I thought, “Ah, jeez, I can’t do something like that!”—and not because I was too busy

Raging Bull (top) A 1965 press photo of pro boxer John Davey. (bottom) An Apr. 1965 Boise, Idaho, newspaper clipping announcing an upcoming Davey fight with Boise bad boy George Logan. S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

2 9

having lunch with Robert DeNiro to discuss our next project. My agent pleaded, “John, it’s a job … you don’t even have to audition for it— they want you!” I told him I needed to think about it and that I’d call him back in a minute. So I called my friend and asked him if he heard of the show. He said his daughter watched it every Saturday morning. I hung up the phone and started to get stressed out over the whole thing. It’s not like I didn’t want the work—I just didn’t want to get stuck into doing some kids’ show. Finally, I conferred with my son who was standing there and explained to him that they wanted me to play Captain Marvel on Shazam! His reaction? He jumped around the room and went nuts! So, less than two hours after getting my agent’s call, my son and I had driven out to Topanga Park, location of the Shazam! set. I reported to the assistant director, who said the producers would be there shortly. Soon, this Cadillac pulls up to where I’m standing. The electric window slowly goes down, and inside are Filmation producers Lou Scheimer and Norm Prescott, and they’re just looking at me and not saying anything. It was all very weird and surreal. Then they finally said, “Okay, go get into costume. We just wanted to take a look at you first.” So I went into a dressing room where the wardrobe girl helped me squirm into the red tights. My son was beside himself with excitement about being with me on the Shazam! set. One of my first scenes was lifting a vehicle over my head, and jumping from the top of a ladder onto a pad to simulate a flight landing. On that first day, to my son, his dad was Captain Marvel. When we got home that evening, my son immediately called up his friend and said, “Guess what? My dad’s the new Captain Marvel! The real Captain Marvel got fired!” HAMERLINCK: You actually had met Jackson Bostwick after you had started work on Shazam!, right? Were you aware of the circumstances that involved his departure from the show? DAVEY: It was a couple of months after I had started on the show, and both Jackson and I happened to work out at the same gym in Santa Monica. I had seen him there, and I’m sure that he recognized me, too, but I really didn’t want to go up and introduce myself right away. Finally,

I can’t remember who initiated it, but we introduced ourselves to each other, shook hands, chatted a little, had a good laugh, and bumped into each other on a few other occasions after that. He never disclosed to me any personal opinion or anything, and I didn’t involve myself in anything that had happened. To this day, I’m still not exactly sure what happened. HAMERLINCK: Tell me a little bit more about your first day on the Shazam! set. I know you were quite apprehensive about playing the Captain Marvel role, wearing the costume, and that you may not have been physically prepared to play a superhero. What was going through your mind at the time? DAVEY: I think I was kind of in shock, but not like how you would feel if you had just won the lottery or something, because I wasn’t thrilled about it. I was soon relieved to see that it was an actual episodic-type show, and that I wasn’t simply going to be hosting a children’s program—but I was still apprehensive about the whole thing. When I arrived on the Shazam! set I was greeted very warmly, but here I was, a total stranger to all these people and walking around in a stupid costume—and I felt quite uncomfortable in that costume. But I gradually got to know everyone really well, and they were a tremendous, efficient crew to work with. Overall, Shazam! was a great experience, but that first day— that first hour—just felt very surreal and awkward. And since I had never seen the show before, I wasn’t exactly sure what was going to be expected of me. But, because of my son’s excitement that day, I figured taking the job would be the least I could do for him. If Shazam! made him happy, and if I could make a few bucks out of it, then I was going to do it. So I did it, thinking it was going to be the kiss of death of my so-called career, but it didn’t affect my career one way or another. In the end, I was quite happy I did the show. HAMERLINCK: Which people from the crew do you still remember? DAVEY: There was Holly Morse, who directed quite a few episodes. And there was Arthur Nadel, the show’s producer, who was a great guy. (He might’ve also been in that Cadillac that drove up to me that first day on the set.) And I remember a technician named “Big John,” who would also double for me whenever needed. HAMERLINCK: Can you recall one of the times you needed a double? DAVEY: We did one show off the Channel Islands near Ventura. This was around the time that Jaws was playing in the theaters, and I had been afraid of sharks since I was a kid. I’m not sure why, since I grew up in Nevada—but I still had this fear of sharks. So when Jaws came out in 1975, my wife and I went to see it and my fear became magnified. And during that time, on magazine racks everywhere, you’d find dozens of different publications on sharks, so I would read all of these articles about them. Even though I was scared to death of sharks, I still had a fascination with them. So we’re getting ready to shoot this scene in the ocean where there had already been stories circulating about great white shark sightings in that particular area. The scene required me to get into the water and get towed behind a boat by riding on a little surfboard, to achieve the look of Captain Marvel speeding through the water. At first I wasn’t going to do it, so they got “Big John” to do it. They had to stuff him into the Captain Marvel costume, and he was a big, beefy guy—I mean, I was pretty beefy myself, but he really had a hard time getting into that costume. So they got him into the water to do the stunt, but they still needed to film some closeup shots of me in the water. So they got me out there and pulled me in the water, and as I’m treading along I’m thinking, “Oh, my God, here I am in this red costume with a white cape and yellow boots, like a big fishing lure bobbing around for some great white shark. I can honestly tell you I’ve never been so scared in my life. I had only been in the water for 15–20 minutes, but it seemed like I was in it for hours. Here I was, the smiling superhero cruising

Wired In this production photo, Davey is clearly miserable hanging from the wires during the shooting of the flying scenes. Shazam! TM & © DC Comics.

3 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

through in the water, but little did people realize how scared to death Captain Marvel was that day! HAMERLINCK: How much were you paid per episode? DAVEY: I can’t remember for sure, but I think it was around $600 or some other paltry sum. However, we did get paid royalties for foreign broadcasts, so with that, and going out on personal appearances (which were fairly lucrative), overall I think I did pretty good financially. HAMERLINCK: I know you got along well with your fellow cast members Michael Gray (Billy Batson) and Les Tremayne (Mentor). DAVEY: They were both great guys and we all had a lot of fun filming the show. We were constantly horsing around and ripping on each other. I really liked them, and they seemed to have liked me. Les was a great storyteller, and Mike had a devil’s streak that would surface whenever it was time for him to play one of his pranks. I kept in touch with both of them after the show was over—especially Les, right up until his death in 2003. HAMERLINCK: You had a few crossover episodes with Isis. What do you remember about JoAnna Cameron and the rest of the Isis cast? DAVEY: Brian Cutler was a real nice guy. I didn’t really get to know JoAnna Pang at all. And I didn’t work often enough to really get to know JoAnna Cameron very well, but I thought she was a nice gal. She was kind of guarded, and I had heard from people who said she was a bit aloof, but I thought she was nice. One time, we were shooting out on location somewhere and she didn’t have a ride back so I offered to

drive her home. During that drive I got to know her a lot better than I did when we had worked together on the shows. She opened up and told me about her life, and was really quite charming and nice. As we drove along she told me about her experiences in the industry and having started out in it at a very young age, with everyone hitting on her and trying to get into her pants, which caused her to become very guarded. I could certainly see where she was coming from, and didn’t find her aloof at all. A few years later, I ran into her briefly in Long Beach and had a nice chat with her. A couple of years after that, I came home (in Long Beach) one day and found waiting for me a package at my door with a videotape inside and a note on it from JoAnna, saying she just stopped by on her way home to drop off a tape for me to see. It was a documentary about the Blue Angels that she had narrated. And that was the last time I ever heard from her. HAMERLINCK: How did you like hanging from the wires in the studio for the flying shots? DAVEY: It was very uncomfortable because I’m a pretty heavy guy, and they’d leave me hanging up there for 20 minutes or so as they set up the shots. At the same time, they filmed the first Isis flying shots; they’d shoot mine first, and then they’d shoot JoAnna’s flying shots. And I thought to myself, “My God, she has no idea what she’s in for!” But she came in and did hers like it was nothing. She was so light, so the heavier you were, the more you would suffer. HAMERLINCK: You mentioned before that during Shazam! you had gone out on personal appearances. What were those like for you?

From the Scrapbook of John Davey (clockwise from top left) 1. Davey with son Tom at a 1976 personal appearance. 2. Davey getting ready for a take-off at Zuma Beach in 1975. 3. Shazam!/Isis crossover behind the scenes: JoAnna Cameron and Brian Cutler go boating! 4. Davey, Tremayne, and Gray taking a break during filming at Zuma Beach in 1975. S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

3 1

The Real Marvel Family

The Second/Third Season Cast John Davey (Captain Marvel), Les Tremayne (Mentor), and Michael Gray (Billy Batson). Photo courtesy of Andy Mangels. Shazam! TM & © DC Comics.

DAVEY: They were bizarre. Most of them took place at auto shows and shopping malls around the country … Buffalo, New York; Nashville, Tennessee; Winston-Salem, North Carolina; Philadelphia, Pennsylvania; El Paso, Texas … we would fly out to all these different places. There was only one occasion where Michael and I appeared on stage at the same time, and it caused a lot of confusion for the kids to see Billy and Captain Marvel together. Michael was a teen idol, so all the teenage girls would show up and go crazy over him, while the younger kids were more interested in me because I was in the Captain Marvel costume. These appearances were usually held on Saturdays, and beforehand, if they had shown a Shazam! rerun on TV that particular morning with Jackson Bostwick as Captain Marvel—and then parents would drive to take their kids to go see Captain Marvel in person—here would be me standing there, a totally different guy as Captain Marvel. And some of these people would get very mad and irate about it! I told them it involved the show’s producers and that I had nothing to do with it. Some of the parents that were at these appearances would come up to me and say things like, “I just want to thank you because you have been our babysitter for the past year! You’re the only reason we get to sleep in late on Saturdays!” In El Paso, there were some liquored-up rednecks at an auto show appearance we did there, and one of the guys, with a belt buckle as big as his hat, kept heckling me about how I looked. While I got to be fine about wearing the costume on the Shazam! set, I still felt very self-conscious about it during these personal appearances, so I really didn’t want to hear this guy’s comments, and I came very close to relaunching my boxing career with him. Then he said something like, “They don’t have enough money to make me dress up like that!” And I told him, “Oh, yes, they have!” [laughter] HAMERLINCK: While the show was on the air, were you ever recognized around town? 3 2

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

DAVEY: Sometimes, but not very often. When I was recognized, it was usually only by little kids. And now, nobody recognizes me. HAMERLINCK: How did you feel when Shazam! was canceled? DAVEY: I didn’t really care and wasn’t bothered by it at all. I just enjoyed the time I had on Shazam!, and all that it had to offer. The only thing that saddened me about the show’s demise was that it put an end to all the fun and daily camaraderie we enjoyed. I was also disappointed that I wasn’t going to be making anymore money from it—not that it was much, but at least it was a guaranteed paycheck. HAMERLINCK: Where did post-Shazam! life take you? DAVEY: Since my name wasn’t exactly being considered for any big projects in Hollywood, my wife and I moved up to northern California to an area I had previously fallen in love with, and I worked in real estate for several years. Yes, I quit Hollywood, but Hollywood quit me, too, and it was a mutual parting. However, I don’t look back at the business as a black swamp or anything—my experience in the industry was pretty positive overall. I’m not going to be bashful, but if somebody had offered me a substantial part in a big project I would have stuck around for a few years longer. It’s kind of romantic to be a young, struggling actor … but when you’re a middle-aged struggling actor it’s not so romantic anymore. HAMERLINCK: What kind of legacy do you think Shazam! left its generation of viewers? DAVEY: I think the most important thing was the show’s great messages that taught kids about self-responsibility, taking care of each other, and becoming decent people with good values. That is something I’m quite proud to have been a part of. Back then, I thought Shazam! was the low point of my career, but instead it turned out to be the high point of it— not for the personal notoriety, but for the impact it had on its young viewers. If I had been a much more successful actor who had made a lot more films and TV shows, I don’t think any of them would have been a better foundation for our kids than Shazam! HAMERLINCK: —including kids like young Tom Davey. I bet your son still remembers Shazam!, doesn’t he? DAVEY: Yes, he does. Today he lives in Hawaii, and recently got a tiny part in the new Ben Stiller movie Tropic Thunder. One day, when he was on the movie set, Ben Stiller told my son that he used to enjoy watching Shazam! when he was a kid. HAMERLINCK: Your appearances on Isis were released on DVD in 2007 (right). Have you had a chance to view them again after all these years? DAVEY: Somebody sent me a copy of The Secrets of Isis DVD, but I haven’t watched it yet. Back when my granddaughter was 11 years old, she was looking bored at our house one day, so I asked her, “Hey, do you want to watch some of grandpa’s old Captain Marvel tapes?” She was up for it, so I put one in the VCR and, after watching it for only a few minutes, she looked at me and asked, “Uh, Grandpa, can I go out and climb a tree?” [laughter] A few years later, she had one of her teenage friends over at our place, and for some reason her friend really wanted to see the Shazam! episodes. So they watched them and her friend was really taken by the show. Suddenly, my granddaughter didn’t think Grandpa was so boring after all.

John Davey and wife Linda today. Photo courtesy of Mr. Davey.

THE SHAZAM! ANIMATED CARTOON

by P.C. Hamerlinck

Shazam! TM & © DC Comics.

The Fleischer Superman cartoons from the 1940s remain the pinnacle of the animated superhero. When Captain Marvel finally flew into his own animated cartoon on September 12, 1981, it was certainly a far cry from the Fleischer classics, yet the short-lived Filmation-produced series had adhered to a surprisingly faithful rendition that respected the Shazam mythology—far more than its CBS-TV live-action predecessor. Notwithstanding the usual absurdities associated with TV cartoons, the show would momentarily mirror the warmth, charm, and magic of Shazam-lore, all played out within Filmation’s quaint, stiff-moving animation. The Saturday morning NBC show was packaged as The Kid Super Power Hour with Shazam!, sharing its segments with a new supergroup of teenagers called Hero High— who appeared in both animated form and in vignettes of live-on-stage antics. Filmation had originally intended to bring The Archies to the small screen as superheroes (Captain Pureheart, anyone?), but the studio’s license to produce further Archie projects had expired. Filmation therefore created their own Archie-flavored high school super-team, including such characters as the surfboarding, barefoot superhero Captain California, whose “mega smile” blinded his adversaries … and the underhanded Dirty Trixie (played by Maylo McCaslin, wife of actor Willie Aames, who also once portrayed a superhero, in Christian circles, called Bibleman). The Hero High kids crossed over into one Shazam! episode; Captain Marvel, Mary Marvel, and even Isis made individual cameos on Hero High, which cheerfully live on today, thanks to a proficiently produced DVD release of the complete series. The 12 animated Shazam! episodes were drawn in simple, cartoon style, which would have made even C. C Beck proud—yet, Captain Marvel’s co-creator still found fault in Filmation’s Shazam art, referring to it as “grotesque caricatures of the original characters.” Besides Captain Marvel, Captain Marvel,

Jr., Mary Marvel, and their respective alter egos, also present were Uncle Dudley/Marvel, Mr. Tawny, Mr. Morris, and Freckles Marvel to play their supporting roles. (The ancient wizard Shazam—within his cavern dwelling—only appeared in one episode.) Familiar Shazam villains—Dr. Sivana and family, Mr. Mind, Black Adam, Mr. Atom, Aunt Minerva, and Ibac— all got opportunities to showcase their evilness. Comic professionals, both seasoned vets and teeth-cutting newcomers, put in time on the cartoon, including artists Russ Heath, Bruce Timm, and writer Paul Dini, the latter who made sure to incorporate “Holy Moley” and “You Big Red Cheese” into the scripts. In the “Black Adam Returns” episode, Freddy attempts to sell newspapers to a “Mr. [C. C.] Beck” and a “Mr. [E. Nelson] Bridwell” who pass him by on screen. In the same episode, Mary cites the same incantation from the live-action series which Billy used to summon “the Elders” before she receives wisdom from Solomon, who quotes Proverbs 21:7. The music from the Shazam! live-action show was recycled for the cartoon, as well as incidental music and sound effects lifted from Archie. Voice actors included Burr Middleton (grandson of Charles Middleton—“Emperor Ming” from the Flash Gordon movie serials), who did a convincing delivery of Captain Marvel/Billy Batson; Dawn Jeffory capably handled Mary Marvel/Mary Batson; and veteran, multi-talented actor Alan Oppenheimer gave life to Mr. Tawny, Dr. Sivana, and a W. C. Fields-sounding Uncle Dudley/Marvel. The only voice misfire was that of Captain Marvel, Jr./Freddy Freeman by Barry Gordon, who opted to portray the characters with a whiny-like voice. Some of the characterizations did go a bit astray at times: Ibac said his name without changing; Uncle Dudley seemingly adopted a Doc Quartz/Professor Edgewise guise as a creator of wacky inventions, with Mr. Tawny as his assistant; the generally kind and humble Mr. Morris, owner of station WIZZ (altered due to the fact that there exists a real-life TV/AM-FM radio station WHIZ in Zanesville, Ohio) is portrayed as a quick-tempered executive who once ordered Dudley and his “overgrown tabby” out of his TV station. The entire Marvel Family, including Uncle Dudley and Mr. Tawny, all live together in the same house, with lightning bolt emblems emblazed all over the walls and furniture. Yet, for its time, it was overall an inspired effort in bringing the Shazam characters to animated life. The series, unfortunately, has yet to see a DVD re-release. In the meantime, pop in something called a “VHS tape,” sit next to your overgrown tabby, and enjoy an old episode.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

3 3

D arre ll “Big D” McN eil by

What is It About the “Scarlet” Speedster You Don’t Understand?? Alex Toth-designed models of the Flash, who (along with the Atom) might’ve been colored orange on TV’s Challenge of the Super Friends were it not for Darrell McNeil! All photos and art are courtesy of “Big D’s Tonsorial Taj Mahal.” TM & © 2008 DC Comics and Hanna-Barbera Productions.

Hear ye, hear ye, y’all! ’Tis I, your friend and yours, the “Big D,” making my annual return to Euryland, with a ride that’ll be “even better than six ‘B’ coupons”! This year I have been axed to ruminate upon one of the funner (is that a word? Well, now it is!) time periods of my 32-year (and counting) animation career … the time I toiled on my all-time super-favorite superheroes: Batman and Robin, Wonder Woman, and, of course, the big red S, the Superman hisself, collectively known as the Super Friends! (And yeah, that includes Aquaman, too, but since I can’t swim…) First, some backstory: As them what knows me already knows, I was, growing up, the king HannaBarbera super-adventure geek as a “little D.” It was Space Ghost, Frankenstein Jr., the Impossibles, Young Samson, the Herculoids, and all the rest that both entertained me as a kid and inspired me to want do ’em when I grew up. The thing is, though, looking back on it as I did when the 3 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

good folk at Boomerang reran the first two seasons for the first time in their original formats since the ’70s, it was the Super Friends that really grabbed me. Why? ’Cuz it was the biggest, the coolest, the grooviest superheroes of all on one show at the same time. (Sorry, Marvel fans!) Justice League of America was at the time my favorite comic (particularly the Mike Sekowsky/Sid Greene art run). I even dug the title: Super Friends. Now, as a kid, I didn’t know why they called the team that rather than the “Justice League of America” (though I thought then: “Maybe the name’s too long?”). I loved the name so much I gave it to a team of superpowered teenagers I created and modeled after me and my Westchester High School friends. (I later got a gentle lesson from future H-B colleague Bob Singer as to what a “copyright” was.) That 1973 original hour-length Super Friends series was an interesting deal for a number of reasons. It was one of only three Saturday-morning series that consisted of actual hour-length stories. (The other two premiered

the year before: ABC’s Saturday Superstar Movie and CBS’ New Scooby Doo Movies.) I’ve already dealt with the show’s genesis in previous pieces I’ve scribed in past issues. Just getting a regular series with super-folk in that post-violent kids’ show era was enough of a trick! Violent action and really mean villains were no-nos, while pro-social messages and energy crises were go-gos. Did that stop me from digging the show? Sh-yelll, no! Because it wasn’t just the stories or animation, limited as it was (and being produced in Australia, Canada, and Mexico, not as good as what H-B’s American animators did), that drew (pun intended) me in. It was the auditory combination of H-B’s (particularly Joe Barbera’s) voice casting—joining H-B veteran voice actors John Stephenson (Col. Wilcox), Sherry Alberoni (Wendy), and Frank Welker (Marvin and Wonder Dog) with actors who played the characters in their previous Filmation incarnations: Olan Soule (Batman), Casey Kasem (Robin), and Ted Knight (the narrator), plus newto-H-B vocalists Shannon Farnon (Wonder Woman), Norman Alden (Aquaman), and Danny Dark (Superman), with H-B’s master maestro Hoyt Curtin’s background score (featuring my all-time fave H-B theme)—that created a show that sounded so stirring that geeky kid I, in those pre-VCR daze, made sound cassettes of the shows to listen to. (And 35 years later, I still do sometimes!) Now, as a kid who was addicted to “my Superman Radio Shows” as well as Filmation’s ’67 Superman/ Aquaman Hour of Adventure, it took a little getting used to hearing Danny Dark and Norman Alden portraying Supes and Aqua rather than the long-running Bud Collyer and first Aqua Marvin Miller (something I told Danny and Norman later, but again, I’m getting ahead of myself). Still, the previously cited combo, along with the too-fine visual blandishment of my soon-to-be mentor and bestest friend Alex Toth, made a 16-episode series package I’d watch over and over again. And again… And again. And—ya seeing a pattern here, folks? Yep, as a TV-watchin’ kid, I didn’t know the whys and wherefores of this stuff, ratings and renewals and all that. All I saw was a number of cartoons (and live shows, too) having new episodes of shows I wasn’t as crazy about appear like topsy, while for the next three years (’73–’76), ABC reran the same 16 hours of Super Friends. It turns

out that I wasn’t the only one frustrated … the guys at Hanna-Barbera were as well. So much so that, during one visit/pseudo “job hunt” I made there in ’75, then-design supervisor Bob Singer proclaimed (to his eternal regret, heh, heh) that the ’73 Super Friends series was “the last superhero show H-B would ever do.” Yee … epp. The All-New Super Friends Hour, under the supervision of H-B’s ABC network liaison/producer that season, Art Scott, began production in September of 1976. At the same time yours truly, having graduated from the aforementioned Westchester High in ’75 and almost going to the School of Visual Arts and the inaugural classes of both the Joe Kubert and John Buscema schools, was taking classes at both Cal State Long Beach and UCLA. At the former I was taking a course in the history of Saturday-morning animation taught by the aforementioned Art Scott who, because it took him an hour and a half to drive to Long Beach from H-B in Hollywood, would have me run films from old H-B cartoons to the class until he got there (I dug that!). Mr. Scott told us at the time that Hanna-Barbera was starting a training program under the instruction of Harry Love. Art had felt that I’d be a natural for the program and the studio; unfortunately, he had no particular pull over that program—Joe Barbera and Bill Hanna had given Harry total reign over the deal. And it was for current employees to move up in rank and training, as it were: cel ink and painters who wanted to move up to becoming background painters, inbetweeners who wanted to work up to assistants or animators, layout artists working up to storyboards, and so on. Not being a current employee—nuh-uh, as Harry informed inquisitive moi, saying when I called (after gruffly wondering how I got his special contact number … thank you, Mr. Scott!), “Nobody will be admitted until next April!” (Remember, this was the September prior to that!) I couldn’t wait six months! But it looked like I was going to have to. So … end of story? Nah… …’cuz the other class I was taking at UCLA was one ’bout children’s programming in general. That class was being taught by future ABC Saturday morning Standards and Practices ace Bonny Dare. She had invited a pair of special guests to her inaugural session: Bill Hanna and Joe Barbera. By this time I was making my own animation cel setups of various concepts of mine, plus Mr. Scott had S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

The Hall of Justice “The fact that the current and animated versions of the Justice League pay homage to this HQ never fails to bring a smile to my face,” beams Big D. TM & © 2008 DC Comics and Hanna-Barbera Productions.

The HannaBarbera “Corner Crew” (left) From 1977: Darrell McNeil, Sandra “Farrah Fawcett Minors” (as dubbed by Doug Wildey) Young, and Art Roman, son of Film Roman founder Phil Roman. Photo © 2008 Gold Medal Productions.

•

B A C K

I S S U E

•

3 5

Carmine Does Cartoons While it is well known that comic-book legends Alex Toth, Jack Kirby, and Mike Sekowsky contributed to Super Friends, few fans have seen the artistic designs styled by Silver Age DC great (and Season One consultant) Carmine Infantino during a brief post-DC stint. From the episodes “Day of the Plant Creatures” and “Super Friends vs. Super Friends.” TM & © 2008 DC Comics and HannaBarbera Productions.

3 6

•

B A C K

I S S U E

•

given me copies of several unproduced written H-B pitches so I could teach myself to write in that format. So, armed with these, I managed to snatch Bill and Joe away from the maddened throngs surrounding them (okay, so it was one other geek and me!), then showed ’em my stuff. Their responses: Joe’s was that I should pitch the seven concepts I had to their directors of development for H-B’s possible purchase. (And I was 18 then … how cool was that?) Bill’s was that I should contact Harry Love and get into his studio’s training program. I called and the following transpired: “Mr. Love? I’m calling about your training program.” “Didn’t I tell you, no new students until next April…?” “Bill Hanna said I should talk to you.” “Oh, come in, come in! How soon can you get here?” Long story short: A week later, in October ’76, I pitched seven series to H-B; they bought three of ’em. (None sold, though one came this close; since then, they all reverted back to me.) That same night, Art Scott lost a student … and H-B gained one. After three weeks (fast learner, I), and with a final push from Art Scott, I got my birthday present a week early: Hanna-Barbera hired me as an inbetweener. Bill said

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

that, at the time, I was the youngest artist H-B had ever hired. (And just think what it would’ve been if an 18-year-old’s show had been sold, too! But I digress.) So now we get to the real meat of this piece: my involvement with Scooby’s All Star Laff-a-Lympics… Just kidding! Or, as I actually said when I first sat down at my animation desk for the first time: Holy guano! Now, that reaction had a double meaning: the joy of looking at my very first batch of Batman drawings I had to inbetween … and my reaction to just how friggin’ cold the room was! Why’s that? ’Cuz that was the first year/season (’76) that Hanna-Barbera brought people in specifically to do inbetweening, to facilitate their increased workloads and a request from ABC to put more actual animation into their shows. (Previously, all the finishing animation and cleanup were done solely by assistant animators.) And they had to put us newbies someplace, so they did … that someplace being what used to be the second floor camera room, where the animation cels and backgrounds were shot and which, because of the hot lights that were being used, had to be kept cold. Even though we were now working in there, they still kept camera supervisor Roy Wade’s camera there to shoot title animation, early promo scenes, etc., so the

SUPER FRIENDS: SEASON TO SEASON Season One (1973–1974): Super Friends Season Two (1977–1978): The All-New Super Friends Hour Season Three (1978–1979): Challenge of the Super Friends Season Four (1979–1980): The World’s Greatest Super Friends Season Five (1980–1981): The Super Friends Hour Season Six (1984–1985): Super Friends—The Legendary Super Powers Show Season Seven (1985–1986): The Super Powers Team: Galactic Guardians

Almost Like Being There McNeil’s rough-drawn floor plan (“after going back three friggin’ decades, mem’ry wise!”) of Hanna-Barbera’s second floor, circa 1976– 1977. (The first floor housed the executives, producers, directors, and writers; and the basement was the home of the rest of the cameras, the postproduction and recording studios, and musical director Hoyt Curtin’s operations.) © 2008 Gold Medal Productions.

traveling cold, or as we called it, the “Atchoobackatchoo,” became an old friend, starting from the back of the room, traveling to the front room (in terms of those folk catching it), then moving to the back of the room again (by the by, that’s where I was located! Yuck!!!). My particular seating location had its own triple shot of mad cool, though: The position of the desk obscured my supervisor’s view of moi, making it hard for him to see whether I was at my desk or not. It was located right next to the door leading out to the hallway, and that was near the two offices outside the door: the big corner office belonging to Bill Hanna and the smaller office next door, which when I got there no one occupied. Two weeks later, though,’round November of ’76, it got occupied. Did it ever! As I related in my Eisner-nominated tome Alex Toth: By Design!, one of the first folk I met in my first week at H-B was Bill Hanna’s then-personal secretary, Guyla Toth, wife to one future mentor/bestest friend (though as a kid, I ironically had met her before he did!). She told me, to my noisome glee, that her hubbins was not only

going to serve as lead character designer on New Super Friends but was, for the first time in a number of years, going to actually work in-house for a change! That’s how Alex ended up officed next to Hanna’s office and not far from your not-so humble. Now, Alex was only in the studio for about half a year; he started picking up comic-book freelance work, which necessitated his having to go back to working from home. Those six months, though, were such an education to me—not just from the various and many fellow “Hanna-Barberians” who taught me more about my chosen craft in six months than I ever could’ve learned in four years anywhere else, but in the massive amount of artistic and life lessons I gleaned from these six months spent over “Unca” Alex’s shoulder as he put his model sheets together for our later animation uses. Now, how, you axe, could I spend that much time with Alex in his office and still get my work done? Simple, simple: In our inbetween/later breakdown department, we all worked under a studio mandate to produce so much footage (finished animation drawings) per week. At that time, I remember it being roughly twenty drawings a day to average around fifty feet a week. To cajole his employees to produce more footage than that (more, in fact, than the animation union wanted us to do under those circumstances), Hanna would pay “bonus” or extra money for every foot over fifty feet that we were required to do each week. The union wasn’t crazy about that (they’d rather Hanna pay us by the hour rather than the foot), but y’know whut? The union wasn’t payin’ my rent or buying me one of the first VCRs that were coming out then. Plus, as the first true Hanna-Barbera geek who really wanted to work there, on those characters (I had no ambition to do Disney!), I frankly pulled in and put out as much work as my supervisor would give me, working nights and early mornings and even weekends to get it done. Since I then (and now) relied on the “Rancid” Transit System (buses) to get around, it was actually easier much of the time to just sleep in at the studio in Hollywood rather than to take the fourhour round trip to and fro. I’d usually sleep on the couch in the women’s bathroom (men’s bathrooms didn’t have couches in ’em!) … or I did until one morning when I was awakened not by the piercing wail of my alarm clock but by the even more blood-curdling screech of an early-arriving production manager Jayne Barbera, daughter of Joe!

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

3 7

So. how much footage did I do per week? Their average: fifty feet. Moi? Oh … 200 feet or so! One week I set the studio record doing 303 feet! And this was on the mummy character on the “Mummy of Nazca” episode, which had lines on him up the yingyang and whose animator, Hugh Fraser, having keyed the mummy’s animation in the Jonny Quest classic “Curse of Anubis,” wanted this mummy to have that same look. Hey, cool … I loved doing that look! Now, you can believe it or don’t, but I’m so friggin’ anal-retentive, I can actually stop-frame an animated sequence I did 31 years ago, and point out which drawing I did. If you’d like to play “Find Big D’s Drawings,” here are a couple of clues. Clue #1: Because of the volume of work I turned out, I would usually get (particularly with the shorter segments) the first or last thirty seconds to inbetween, so a lot of my stuff appears in those time periods. Clue #2: With this article, you’ll see a pic of Superman’s chest emblem, to which design supervisor Bob Singer added a second interior line surrounding the “S” to make it “easier” for animators moving the character around. Easier for them, mebbe! To me, it just wasn’t … well, super. So whenever I got my hands on him, I’d draw the “S” the right way, without what I called the “training line” on it. Look close (since the DVDs of All-New Super Friends Hour are out now) and you’ll see—oh, look at the titles, too—most of that is my cleanup, especially the title card itself, done on a preposterously weird “short” notice… …Which is a good a way as any to segue into our next “short” subject: namely the shorts of Super Friends. To wit: About a month into production, Mr. Scott called me into a meeting (A meeting? ME?!?) with Mr. Hanna. They wanted to float an idea by king H-B/SF geek me. (Me? Ohmigod!!!) ABC was so high on what they saw developing with All-New Super Friends, both art- and storywise (story editor Norman Maurer wrote a bible for the show that ABC loved), that they proposed making Super Friends an hour again. The network’s original idea was to take the 22-minute stories already in production and “expand” them into 44-minute ones. Both Hanna and Scott weren’t all that crazy about that; Hanna from a production standpoint (having to shoehorn/

3 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

rework already in-production episodes), Scott on general principle. They wanted to ask me, strictly as a viewer, which I’d prefer for the second new half-hour: more 22-minute stories, or a varied mix of shorter stories. I told them the latter sounded like a better way to go, especially if they were going to use the same characters. Now, I’m not saying I was the reason why the ANSFH’s second half-hour metastasized the way it did, but not for nothing did Mr. Scott call me their “in-house focus group.” Which was one of the things about being a fan of both the place you’re working for and the show you’re working on … which was not the case with pretty much everyone else who worked at Hanna-Barbera (not to mention Filmation, DePatie-Freling … heck, any place that wasn’t Disney!). Most of my older compatriots were Disney/ MGM/Warner Bros. full animation/cartoony character vets, who grumbled constantly about having to animate anatomical superheroes and scenarios (and as one animator stated to his assistant … who later told me, and I later to him. “Those G-D Al Toth characters!”). That attitude, as well as the main person assigned to clean up “Unca” Alex’s models, led Alex to switch to the “simpler” drawing style (less drop shadows, thick and thin line work) you’ve seen in his model sheet design since then. So I got it from them on the “left.” And from the “right”? In this case, I’d mean the local animation fan community, which didn’t much appreciate our effort, either. (Or, as they’d call it, “that American animated crap?”) To them, Japanimation was the be-all and end-all of TV animation (in a figurative, not literal, sense it almost was, but that’s a future BI, guy!). When I hear how phrases like “Wonder Twin powers, activate!” and “Pretty sneaky, sis!” have entered the present-day lexicon and the Japanese stuff of the day, not so much… well, now it makes me smile. I was “livin’ the dream,” dudes! And those dreams took on various forms. I’ve recounted a number of ’em in Alex Toth: By Design!, which I produced with my “unca” back in ’96. Among those tales were: my unofficial “job” as the “continuity cop” of DC Comics’ characters in animation, making sure that Green Lantern didn’t fly a green and (his weakness then) yellow jet (or since he did, at least making the H-B brain trust rationalize it); keeping them from painting the Flash and Atom orange, since Superman had lots of red on him; among other things. I also cleaned up all the animation for a SF “Safety Tip” with Robin applying the Heimlich maneuver to Batman, showing our viewers how to use this to save someone’s life. Later on, a young girl viewer did just that—and gave us the credit! (And they say cartoons ain’t edumacational!) What I haven’t said ’til now, though, was the difficulty of actually animating said sequence. And said difficulty? My fellow nutjob inbetweeners who kept 1) swiping the drawing of Robs picking up Bats up off my desk and 2) kept popping their own “sick” drawings of the Dynamic Duo being a little too “Ambiguously Gay Duo.” (Not that there’s anything wrong with that!) Between that and the continued manipulations of my Mego World’s Greatest Super-Heroes action figures into all kinds of rubber eraser-assisted poses, well, it was a good thing I was the fastest inbetweener/breakdown artist in the studio! As I earlier stated, due to said speediness, I got to spend lotsa time in lotsa other folks’ offices, among them Unca Alex’s, where I got to watch him get “fired” by Joe B. with ridiculous regularity. Typical example: Joe’d call Alex to bitch about a model that one of his “pets” (as Alex called ’em) complained about; Alex would yell back, and

Owens—I met them all in the first floor bathroom. Not that our bathroom was any less interesting. (And no, I’m not talking Larry Craig here!) Hanna and I had a number of unique talks while doing our “business” there, and believe it or don’t—one of the studio’s supervisors (who won’t be named but is in the credits) actually died doing his biz … and I was the last person to see him alive! (And no, I didn’t do it, you schmuck!) And these are a few of the stories I could tell about my Super Friends experience in the space I’m allotted here. And you’ll note I haven’t even talked about the time I spent the season following The All-New Super Friends Hour, when I, through veteran Space Ghost/Jonny Quest animator Bill Hutten, became the primary (though un-credited, due to that being a non-union gig whilst I was in the union working a full-time layout deal at Filmation) layout artist on all the Alex Toth-boarded Challenge of the Super Friends episodes. Or the time my animation geekiness saved H-B from a potential lawsuit from a thenbig-time sitcom star on another H-B series. Or the week I set a studio record, got paid, got demoted, caused a longtime employee to laugh out loud for the first time, and got re-promoted back. Or how a drawing I did for laughs became the series’ title card. Or why we did only 15 episodes instead of the usual 16. Or…. Guess you’ll just have to tune in next year and see. (Unless I get to it sooner than that! How, you axe? That would be telling! And as they say, don’t axe, don’t tell!) Laterz, folk! (Or, as Jayna would say, “Don’t be spacey!”)

after a minute or so, he’d yell, “You can’t fire me, dammit … I quit!!!” He’d put the phone down, then I’d say: “Did you just quit … again?” “No, I think Joe fired me again.” “Oh, yeah?” “You want to get lunch?” “Sure. Joe’ll hire you back by 1:30.” “He always does.” And he always did. Sometimes I’d hang out (and with my DC expertise, help out) in aforementioned design supervisor Bob Singer’s office, which adjoined the cubicle of “Big” George Wheeler, the “other” SF designer. In exchange for loaning my copious DC comics collection to the studio (which proved especially handy later when H-B was planning to work on both Legends of the SuperHeroes and Challenge of the Super Friends), Bob’d let me make lots of copies of his Toth model sheet files. In addition to that, Bob letting me know I couldn’t use “Super Friends” for my teen hero group’s name ’cuz it was copyrighted, led me to call my teens the “Wonder Teens” instead! Thanks, Mr. Singer! Other times, you could find me downstairs on the first floor, where I’d flit between writer Norman Maurer’s office where I pitched SF stories, including the almostcommissioned one featuring Black Canary (again, covered in a previous BI) and kept track of what new scripts we’d be getting upstairs, and recording director (also the voice of the Atom) Wally Burr’s studio, where I’d sometimes get to watch the voice actors doing their thing. Between there and the first floor studio bathroom (the real center of power in the studio), I got to meet so many of my favorite voice artists from my childhood, not just the Super Friends but the other H-B shows being produced that season, too. Danny Dark, Norman Alden, Daws Butler, Mel Blanc, Casey Kasem, Scatman Crothers, Ted Cassidy, Michael Bell, Michael Rye, my bud Gary

Animator/animation historian DARRELL “BIG D” McNEIL, pictured here in a recent Steve “the Dude” Rude-drawn portrait only slightly removed from reality, watched the recent Writer’s Strike with a certain sense of bemusement due to a project he’s working on but can’t yet talk about…

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

3 9

SUPER POP QUIZ: Name a Bronze Age comic book which fits the following categories: 1) features a core team of well-known, long-running characters in a recognizable headquarters 2) features dozens of guest heroes, many of whom aid the main team 3) features extensive continuity with the main DC superhero line, including footnotes and long letters-column explanations about obscure DC history-opedic knowledge of comics history If you chose All-Star Squadron by Roy Thomas, you’re not completely wrong. But you’d be missing the more obvious, albeit more forgotten, choice. The correct answer is Super Friends. Yes, Super Friends, the “DC TV Comic” that debuted in November 1976 (cover date) and continued under the writership of super-fan-turned-pro E. Nelson Bridwell for 47 issues until its cancellation in August 1981. Though it was supposedly aimed at younger readers, throughout its four-year run, Super Friends took its fans on a virtual tour of DC’s Earth-One, touching not only on major elements of mainstream DC continuity, but also venturing into pre-Vertigo realms and showcasing a multiculturalism unseen in comics to date. Today’s comic fans may see Super Friends as a camp-fest, but to do so dismisses a book that was perhaps the perfect synthesis for its era, literally uniting the television viewers with the comic readers.

HERE COME TV’S SUPER FRIENDS! Inspired by the success of Filmation’s Superman, Aquaman, and Batman animated series of the late 1960s, and emboldened by Batman and Robin’s guest

Famous First Edition Limited Collectors’ Edition #C-41, published in 1975, was the first DC title to bear the Super Friends logo—although there was very little actual SF material in the tabloid-sized comic itself! TM & © DC Comics.

4 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Andy Mangels

THE SECRET ORIGIN OF E. NELSON BRIDWELL Edward Nelson Bridwell was born in 1931 in Sapulpa, Oklahoma. As a child, he was interested not only in ancient mythology and folklore, but the modern mythology of comic books (in particular Superman, Captain Marvel, and anything by Walt Kelly). Some sources cite that he wrote text pages for the American Comics Group in the late 1940s, and Dick Giordano once noted that Bridwell often wrote letters of comment to EC Comics. Bridwell himself said in an interview in Amazing World of DC Comics #17 that he started at DC “on January 13, 1964, as Mort Weisinger’s assistant. My first scripting assignments were science-fiction stories for Jack Schiff. My first writing for Mort was restricted to a few extra panels on a Krypto or Superman story.” Bridwell would soon become an editor on the Superman family titles, alongside Weisinger, who, by many accounts, delighted in torturing the young fan-turned-pro. Bridwell also began writing more in the DC Universe, though on such non-headline series as The Inferior Five and Secret Six. He later wrote for Action Comics, Adventure Comics, Superman, World’s Finest Comics, and Legion of SuperHeroes, as well as one of his childhood favorites, Shazam! He also freelanced for MAD magazine, often working with Joe Orlando (his Lone Ranger parody instituted the now-famous catchphrase, “What you mean we, white man?”), and scripted some stories for Jim Warren’s black-and-white anthologies Creepy and Eerie.

His near-encyclopedic knowledge of DC continuity and trivia made Bridwell the go-to guy when DC began doing various reprint projects in the 1970s. In Amazing World of DC Comics #13, Bob Rozakis wrote, “If ever there was a complete fact file on comics and it could be transformed into a human being, it would undoubtedly come out being Nelson Bridwell. DC’s master of trivia and ace historian remembers more about comics than most of us will ever know.” He worked on the hardcover books Superman: From the 30’s to the 70’s, Batman: From the 30’s to the 70’s, Shazam!: From the 40’s to the 70’s, and The Great Superman Comic Book Collection, as well as various treasury collections and digests. His 80-Page Giants and 100-Page Super Spectaculars were not only filled with Golden Age reprints that thematically linked to the modern stories and appearances, but he also wrote text pages and reference material telling newer readers the origins of some of the “forgotten heroes.” Bridwell passed away on January 23, 1987 of lung cancer (ironically, he didn’t smoke), and was eulogized in various DC Comics titles by both Denny O’Neil and Dick Giordano. Posthumously, he was inducted into the Oklahoma Cartoonists Hall of Fame in October 2005. In Amazing World of DC Comics #17, an unnamed DC staffer was quoted as saying, “If Nelson didn’t exist, we would have to invent him.”

appearances in a pair of CBS New Scooby-Doo Movies, as well as Superman and Wonder Woman guest shots in ABC’s The Brady Kids, Hanna-Barbera was commissioned by ABC to create a kid-friendly version of DC’s Justice League of America. The result was Super Friends, starring Superman, Batman and Robin, Wonder Woman, Aquaman, and a trio of teen sidekicks: Wendy, Marvin, and Wonder Dog. The program debuted on September 8, 1973. Although the series was a hit and viewership likely dwarfed the entire sales output of DC Comics’ line, the company was a bit slow to embrace the animated show. With DC’s Justice League of America #110 (Mar.–Apr. 1974), the cover tagline did change from “The World’s Greatest Super-Heroes!” to “Here Come TV’s Super Friends!,” but the move was reversed after only seven issues. “Many people thought a Super Friends comic would be a natural,” Bridwell would later write in a text page in Super Friends #9, “but at the time, we felt the TV series was really a version of the Justice League of America.” A one-shot treasury edition of Super Friends was produced by DC in late 1975. A framing story by E. Nelson Bridwell featured art by Alex Toth (who had designed the animated series), and it showed the introduction of Wendy, Marvin, and Wonder Dog to the Super Friends … known more specifically as the Justice League here. Following a Justice League reprint, Toth provided a hand-lettered look at how animation was produced in 1975, and his own densely written bio. In all, the actual Super Friends content for the 66-page book, counting the two covers, ran a whopping nine pages.

Roll Call The kids go zonkers when meeting the entire JLA, from the Super Friends tabloid. TM & © DC Comics.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

4 1

Double WWs Ramona Fradon’s SF -ish takeoff of Adam Hughes’ cover to Wonder Woman vol. 2 #184, courtesy of Andy Mangels. TM & © DC Comics.

Strangely, Superman’s face on the front cover was redrawn by a DC house artist, even though the back cover featured Toth’s original Superman face. In late 1976, as the animated Super Friends series was entering its third year (of reruns, as no new shows were produced after the initial run), DC debuted a line of “DC TV” books, taking advantage of the fact that it had both Super Friends and Shazam! on the air; the pair was bolstered in the mini-line by adding the licensed comics Isis and Welcome Back, Kotter. Chosen to write Super Friends (and many of the Shazam! stories, as noted in this issue’s lead article) was E. Nelson Bridwell, while longtime DC artist Ramona Fradon was tapped as the series’ regular artist (although Ric Estrada penciled the first two issues). Bridwell had functioned as DC’s story advisor to Hanna-Barbera for the animated series. Fradon tells BACK ISSUE that “I think they figured [Super Friends] was aimed at a younger audience, and my style is pretty open and simple and I think they felt it was good for a younger audience. They wanted something that would vaguely approximate TV—you know, the simplicity of animated drawing—so I think that’s why they picked me.”

DO YOU DARE ENTER … THE HALL OF JUSTICE?

GLOBAL GUARDIANS

TM & © DC Comics.

Many of E. Nelson Bridwell’s foreign heroes had a life beyond Super Friends. They were first organized and given a team name, “Global Guardians,” in DC Comics Presents #46, in a story by Bridwell. Two of the Guardians, Green Fury and Ice Maiden, would later become popular members of the Justice League as Fire and Ice, while Tasmanian Devil became a member of the short-lived Justice League Australia (and came out of a fur-filled closet). The Global Guardians also aided Justice League Europe, and despite disbanding multiple times and the death of some members, the Global Guardians have reunited (most recently in the current series Green Lantern #10). The Olympian has recently appeared in Wonder Woman and the Wonder Girl miniseries.

4 2

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Super Friends #1 (cover-dated Nov. 1976) hit newsstands on August 26th. The first story was promoted breathlessly in house ads: “Superheroes have Super-Helpers—but so do the Super-Villains! Five furious foes—backed by a sinister second team, but there’s a greater danger still—a traitor within the Hall of Justice itself!” The two-part story (continued in issue #2) found the Super Friends facing five of their foes— Penguin, Cheetah, Flying Fish, Poison Ivy, Toyman— who have recruited their own teenage sidekicks. The story showcased the elements that would be the hallmarks of Bridwell’s Super Friends run: continuity footnotes relating to other DC Earth-One titles; multiple new characters in new costumes; and a penchant to split the team up in sub-groups, as had been popular in Golden Age JSA stories and some modern JLA tales. The first issue also debuted another key element in Bridwell’s arsenal: the letters page, here titled “Super Fans” and featuring segments of the Alex Toth covers for the treasury. In the first issue, Bridwell obsessively detailed how he made sense of Wendy and Marvin’s historical relevance to the DC Universe. Wendy Harris is the niece of Harvey Harris, a detective who trained Bruce Wayne; while Marvin White is the son of the original nurse Diana Prince, whose name Wonder Woman appropriated when she came to Man’s World. No real explanation was given for Wonder Dog. Issue #2 and 3’s lettercols recapped the origins of the villains and the heroes. Denny O’Neil edited Super Friends #3–8 (and later wrote a few fill-in issues). He recalls that Bridwell was “one of the first fans-turned-pro, if not the first.” He also notes that Bridwell was “very eccentric. He was a fascinating guy. He was great to talk to. I was in his apartment once

OTHER SUPER FRIENDS In addition to the 47 issues of Super Friends, and various TVrelated licensing items, the title made four other appearances: Limited Collectors’ Edition #C-41: Super Friends (Dec. 1975– Jan. 1976) was a treasury edition with the new framing story and covers by Alex Toth, and two Justice League of America reprints (#36 and 61). Best of DC Digest #3: Super Friends (Jan.–Feb. 1980) was a digest-sized book which featured a painted cover by José Luis García-López, Bob Smith, and Joe Orlando, and reprints of Super Friends #3, 4, and 10, plus Justice League #57 and Teen Titans #18. Super Friends Special #1 (1981) was a promotional comic that featured reprints from Super Friends #19 and 36, plus various covers, as well as game and coloring pages including Wonder Woman’s Fun Shop, Aquaman’s Fun Shop, and Aquaman’s Letters Puzzle.

Phantom of the Apes The menacing Menagerie Man and furry friends on the splash to SF #6 (Aug. 1977).

TM & © DC Comics.

Super Friends: The Revenge of the Super Foes (1977, Golden Press) was a 72-page children’s book published in full color, in both hardcover and paperback editions. One of the rarest pieces of Super Friends printed memorabilia, the book is uncredited, but was written by Bridwell, and features uncredited art throughout. The story seems to be a prequel to Super Friends #1–2, featuring the same villains—Penguin, Cheetah, Flying Fish, Poison Ivy, Toyman— sans sidekicks!

TM & © DC Comics.

on 2nd Avenue over a bar called Slugger Ends and it was like floor-to-ceiling old magazines and books and comics, newspapers. I think he had a grand scheme in mind of eventually reconciling all the mythologies and continuities … he would be what we now call a ‘continuity cop.’ If you needed information on the backstory of anything, he was one-stop shopping for that.” By Super Friends #3, Bridwell was bringing in other members of the JLA to fight a new villain, the World-Beater. The villains in the series tended to alternate between known DC bad guys and Bridwell-created rapscallions; issue #6’s Menagerie Man was a jungle-themed villain whose costume paid homage to both Tarzan and the Phantom. Other comics characters were mentioned, such as Bruce Wayne’s business rival, Tony Stark, and Linda Turner, the Black Cat (both in issue #5).

WONDER TWINS POWERS … ACTIVATE! Super Friends #7 (Oct. 1977) was a continuity-shaking issue, as it introduced not only the Exorrian Wonder Twins Zan and Jayna (and their space monkey, Gleek), but also four new multicultural heroes: the Seraph (from Israel), Godiva (England), Impala (South Africa), and Owlwoman (Oklahoma). As if that wasn’t enough, it also guest-starred JLA members Hawkman, Hawkgirl, Green Lantern, Green Arrow, Elongated Man, and the Flash! The juggling act of using 21 heroes in 17 pages showed off the talents of Bridwell and artist Ramona Fradon, who kept every character looking distinct. Of her most frequent collaborator, inker Bob Smith, Fradon says, “I think Bob Smith did a wonderful job of inking that. His was clean inking and relatively simple. It may have been simpler still if I’d inked it. I think he gave it a nice, clean look.” S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

4 3

FAMOUS FANS Super Friends had many fans whose names might be familiar to today’s comics readers. See if you might know a few names from the “Super Fans” letters column: • Colleen Doran (#5) notes, “I want to be a cartoonist myself.” • Bob Rodi (#6, 18) • Jerry Siegel (#8, who reveals the secret behind one of Bridwell’s in-jokes about comedian Larry Davis (Siegel’s creation Funnyman) • Darrell McNeil (#8), touting his work on All-New Super Friends Hour

STRANGE BIRD, THAT BRIDWELL

Although some sources claim that Bridwell created the Wonder Twins, he credited Norm Maurer and his team at Hanna-Barbera for the duo in the text page in Super Friends #9. However, Bridwell was excited to have costumed, superpowered teenagers to use in his series. “Here was just what the mag needed,” he wrote. “A change of direction to bring it into line with the other DC books. I saw many possibilities. The kids would be new to Earth; they’d have to learn about it gradually—as the TV show could never depict.” The following issue introduced more foreign heroes: Rising Sun (from Japan), Jack O’Lantern (Ireland), Tuatara (New Zealand), Bushmaster (Venezuela), and Thunderlord (Taiwan). Issue #9 concluded the three-part story, and introduced Tasmanian Devil (Australia), Little Mermaid (Denmark), the Olympian (Greece), and Ice Maiden (Norway). This story also saw the exit from the series of Wendy and Marvin as they went off to college, while Zan and Jayna became superhero trainees.

Ice, Ice, Baby The heroine eventually known as Ice was originally Ice Maiden, as seen in the Fradon/Vinnie Colletta cover art to Super Friends #9. TM & © DC Comics.

4 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Ramona Fradon recalls that Bridwell designed most of the new characters for the series. “I think he must have been a Virgo or something,” she says. “He was very exacting. Very detail oriented. I don’t know if these were real mythological characters, some of them were, I know, but others I think he may have invented. “Every month he would introduce some new characters,” Fradon continues. “And you know, build a story around them … and he drew all the costumes meticulously. It was really important to him to have me follow his designs. I don’t think he was the least bit interested in the drawing in itself. He was interested in the script, you know, in his stories. And in the letters column, he would always run letters critiquing his plots. And they never mentioned a thing about the drawings.” As Super Friends rolled forward, Bridwell continued to create new characters. Some, such as #10’s monstrous Superior Man, Fangclaw, Stretch Man, Subsea Man, and Batman and Batwoman were amalgams of DC heroes, while others, such as #14’s four Elementals, were entirely new, and one, Dr. Mist (introduced in #13), was tied in to H. Rider Haggard’s She novel Wisdom’s Daughter! Bridwell also brought in nearly forgotten DC characters like T.N.T. and Dan the Dyna-Mite, Time Master, Lyla Ler-Rol, and others. He refused, however, to write in the HannaBarbera-created multicultural heroes from the TV realm. In #20’s letters column, he wrote, “Black Vulcan seems little more than a hyped-up version of our own Black Lightning, Apache Chief an Indian version of Colossal Boy, and Samurai? His power seems rather vague, though last season he was turning into anything he said in Japanese. Must make it hard to carry on a conversation in his native language—or to order in a Japanese restaurant.” The following issue, he also dissed the use of Rima the Jungle Girl. “Rima first appeared in W. H. Hudson’s novel Green Mansions in 1902. That puts her too far back to join the SF today!” Larry Hama edited Super Friends #9–16, and he recalls that Bridwell was eclectic: “I had the office right next to Nelson, or rather Nelson shared an office with Julie Schwartz and my office was next door. And they were like these tiny little offices in the Warner Communications building. We were still in Rockefeller Plaza. And I’d just be sitting there and Nelson came in and closed the door and

TM & © DC Comics.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

4 5

Fabulous Fradon MODERN APPEARANCES

Ramona Fradon-penciled splashes to Super Friends #23 (Aug. 1979) and 39 (Dec. 1980).

Besides the Global Guardians, elements of the Super Friends series have crept into modern DC continuity, including:

TM & © DC Comics.

• The Wonder Twins were revived and reinvented as members of the team shown in the Extreme Justice series, and they most recently guest starred in Young Justice. • Wendy, Marvin, and Wonder Dog reappeared as part of modern continuity in 2006’s Teen Titans #34, where they became caretakers of Titans Tower. Wendy also appeared in Phil Jimenez’s run on Wonder Woman, in #186. • The Hall of Justice (thought to be based on the Union Terminal building in Cincinnati, Ohio), is now the headquarters of the Justice League, as of the current series’ Justice League of America #7. It is located in Washington, D.C., on top of the location of the former headquarters of both the Justice Society of America and the All-Star Squadron. • Not only did the television series Justice League Unlimited feature doppelgangers of the Wonder Twins as part of the Ultimen team, but that series—as well as Superman: The Animated Series, Teen Titans, and The Batman—have all shown the Hall of Justice.

locked it. The first time he did this I was kind of alarmed,” Hama laughs. “And then he’d like sit down and put his fingertips together and then he spend the next 40 to 45 minutes telling me this story and I’d just say, ‘Well, sure…’” E. Nelson Bridwell “had a thing for the characters,” Hama continues. “He was really into it. It was the Tinkerbell factor. Nothing really matters more than the people believing in the characters … he was very enthusiastic about it. But he was enthusiastic about everything. It was a very sincere interest. It wasn’t a job like it is to most people. Nowadays, it’s all sorta driven by ‘I want to be a star’ or ‘I wanna sell a lot of books’ … everything else that wasn’t driving Nelson. You feel that he was really interested in those characters.” Hama does recall one significant editorial change that he, as editor, made to the book: removing an unintended racial stereotype that had become attached to the Wonder Twins! “When I took over the book, they were colored extremely yellow,” Hama relates, “and I remember going into the production department, and I said, ‘Why are we still coloring Asian people yellow?’ And [the production director] said, ‘Oh … because we’ve always done that.’ ‘Well, I don’t know, maybe you should stop.’” Hama laughs that this experience “was very strange. All it took was … I just asked him. It wasn’t like it went in there saying, ‘Hey!!’ It wasn’t like I was complaining. I was just asking. And then, it changed.” Although Kurt Schaffenberger, Romeo Tanghal, and a few others spelled Ramona Fradon on art on several issues (due to the book switching to monthly frequency), Super Friends #20, 22, and 24 were the only tales not written by Bridwell. Instead, Denny O’Neil (using the alias Sergius O’Shaughnessy) provided stories that introduced the villain Frownin’ Fritz Frazzle, as well as using Chronos, and some Exorrian shapeshifter villains. Nicholas Pascale scripted over Bridwell’s plot for #40, while Bob Rozakis and Bob Oksner provided scripts for #41 only.

4 6

I s s u e

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

CHANGES

TM & © DC Comics.

When DC Comics reprinted Super Friends stories for its two trade-paperback collections, Super Friends! and Super Friends!: Truth, Justice and Peace!, some editing choices were made. The Bridwell/Toth story from the treasury had at least two word balloons altered, while the first issue, which was the first of a two-parter, was left as a cliffhanger since the second part was not used! Fans without extensive back-issue collections can only hope that DC will eventually release a Showcase Presents: Super Friends edition that has not been tampered with.

Where’s Poison Ivy? Green Fury (later known as Fire) guest stars in Super Friends #42 (Mar. 1981). TM & © DC Comics.

THAT’S WHAT FRIENDS ARE FOR More global heroes were introduced in #25, as Bridwell showcased Green Fury (from Brazil) and Wonder Woman-toy-turned-character Nubia, but Green Fury was the last of Bridwell’s own major creations for a while. As 1980 dawned, Bridwell began to tie in even more closely to the DC Universe, such as in #28’s Halloween-themed issue, which saw the weirdest collection of villains a DC “kid’s” book could ever feature: Felix Faust, Bizarro, Swamp Thing, Demon, Solomon Grundy, and Man-Bat! Other issues guest-starred Mera, Aqualad, Black Orchid, Plastic Man, and Supergirl, while the Super Friends faced down Gorilla Grodd, Giganta, Scarecrow, Weather Wizard, Toyman, and others. Additionally, many issues featured only nine-page lead stories, while the prominently cover-featured Wonder Twins garnered their own eight-page solo stories. When the series upped its page count (and price) in September 1980 with issue #36, backup stories became common, spotlighting not only the Wonder Twins, but also Jack O’Lantern and the Seraph. The three features rotated regularly, except for Plastic Man inserts in #43 and 45, in tales originally intended for Adventure Comics. Ramona Fradon left the art job on the series with issue #41, with Romeo Tanghal replacing her as penciler for the remaining six issues. “I stayed on till 1980,” says Fradon. “I don’t know how long it went after that. In 1980, I got this offer to do Brenda Starr, so I left.” In issue #45, as the Super Friends faced old JLA villains Queen Bee, Kanjar Ro, and Sinestro, one new foreign hero was introduced, and others guest-starred: Wild Huntsman (West Germany) made his

debut, and it became clear that Dr. Mist was organizing others such as Little Mermaid, Olympian, Bushmaster, Godiva, and Rising Sun into a supergroup of their own. Various of the foreigners stayed alongside the Super Friends until the final issue, #47, hit stands in August 1981. On television, Super Friends continued until Fall 1984, when the series morphed into Super Friends—The Legendary Super Powers Show, to tie in to the Kenner action-figure line. The following season, the series dropped its “Friends” moniker completely, to become The Super Powers Team: Galactic Guardians. By 1986, the series ended, after a 13-year run. Three Super Powers comic-book miniseries— with art by Jack Kirby and Carmine Infantino—appeared, but their spirit was a far cry from the gentle fun and continuity-heavy stories of the original Super Friends comics. Today, the Super Friends shows are being released in all of their animated glory on DVD, and have been constant fixtures on Cartoon Network, Boomerang, and other cable networks for the past decade. DC Direct released a line of Super Friends action figures, while DC put out two Super Friends trade paperbacks. Modern creators, from Alex Ross to Geoff Johns, have paid homage—or brought back— various Super Friends characters into contemporary DC continuity. And in 2008, DC began a new Super Friends series, tied in to yet another toy line, and aimed at early readers. A look back at the original Super Friends comic-book run, however, reveals that for a series that was supposedly “for kids,” E. Nelson Bridwell and Ramona Fradon managed to tour the DC Universe, create multitudes of new characters, and tell fun stories that never involved the kind of gritty violence, dismemberment, and death of later superhero comics. In the world of Super Friends—like the stories of William Moulton Marston’s original Wonder Woman— criminals could be reformed, aliens could be accepted, and the super beings of the world could all get along. In short, they could all be Super Friends. The interviews with Ramon Fradon, Larry Hama, and Denny O’Neil were done in July 2008 and transcribed by Jon Sauer. ANDY MANGELS is the USA Today best-selling author and co-author of almost twenty books, including the recent Iron Man: Beneath The Armor, and a lot of comic books. Additionally, he has scripted, directed, and produced Special Features for over forty DVD releases. His moustache is infamous.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

4 7

Photo courtesy of www.davestevens.com.

Adam Hughes

Dave Stevens was a pretty private guy. While he was (and remains for all time) one of my great art heroes, one of the best artists to grace the medium, I’m sad to say I never got to know Dave on anything more substantial than a social level. He had closer friends than I, surely, any of whom would probably be more suited to wax rhapsodic about Dave’s many fine qualities. So … why me? Why Adam Hughes? Where’s, say, Bill Stout or Mark Evanier, gentlemen geniuses who knew the creator of The Rocketeer far more intimately than this bourgeois white boy from New Jersey? I think it’s because of the old screenwriter’s axiom: show, don’t tell. Almost any peer or compatriot of Dave’s could develop a chronic case of logorrhea going on, ad infinitum, about Dave’s humor, his generosity, and his overall sense of decency (in a sometimes precarious industry filled with what Dave would call “oily characters”). All the qualities that, I think, Dave would cringe over if you brought them up if he was within earshot. You think Cliff Secord traveled fast? Dave would’ve probably broken land-speed records exiting, stage right, any such discussion about himself. As I stated earlier, Dave Stevens = private guy. In the aforementioned sense of “show, don’t tell,” I think I was invited to share my Dave-isms because the thing that made Dave a household name (but only in the coolest of houses) was his art, his beautiful, magnificent art. And why talk about art when you can show art? If you want a testimony to Dave’s colossal stature as in illustrator, I won’t tell it to you, I’ll show you. Go look at my work. All of it. If you find yourself liking, in any way large or small, my modest scratchings and smears, then raise your glass and thank the stars above that Dave got to share his art with me, with all of us. Rereading this, I grow concerned that it might come across as slightly egocentric. It’s not meant to be, I assure you. It’s just that I can’t summon the proper words to express how much Dave’s art has influenced me in my life, in my career. All I can do is point at a body of work, my body of work, and say, “That is how fantastic Dave Stevens’ art is. That would not exist were it not for the craft of Dave Stevens. He helped make all that happen.” Not only did Dave Stevens create art, he helped create artists. In 1986, I worked in a small comics shop in Burlington, New Jersey. It was a small shop, a really small shop. I mean, it was a Bizarro-TARDIS; it was smaller on the inside than the outside. I had to close the joint to go to the bathroom, which was in a police station next door. Only one employee could be in there at a time. (The comics shop, not the cops’ toilet.) We had Marvel Comics and DC Comics, just like the newsstands. We even carried some of those wacky new premium-format comics, or books that couldn’t be sold at newsstands. I sold the original run of The Dark Knight Returns. I sold Watchmen. We also carried, God knows how, a nice selection of the new wave of independent comics, from companies like First, Comico, Eclipse, and Pacific Comics. It was a pretty eclectic shop, for one the size of a refrigerator. And with all that great inventory, it was quite an eyeful to take in. Every square inch of wall was covered in comics; it was like working in the cover to Sgt. Pepper’s Lonely Hearts Club Band. Sometimes my eyes would ache, there was so much to see. 4 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

And amidst that optic cacophony, Dave Stevens’ Rocketeer stood up and announced itself. WITH AUTHORITY. I had never seen anything like it, before or since. The artwork was lush, sensual, and dynamic. The story was fabulous, the characters fully formed and instantly approachable. A more perfect first impression, you’ll probably never have. Like so many others, I was smitten instantly. What followed was a fabulous few years of searching for Dave’s work anywhere I could lay my grubby meat hooks on it. There’s no joy quite like the joy of discovery, especially when spelunking in long, white cardboard boxes steeped in magic and must. Finding one of Dave’s Eclipse Comics covers was akin to Howard Carter’s discovery of Tutankhamun’s Tomb (for me, anyways). Imagine how I felt when I discovered that Bettie Page was a real, live girl! She had lived, breathed, and made young Dave Stevens’ world quite a fabulous place. T’ain’t nothin’ like a good woman, McGee. I studied Dave’s work relentlessly. I gleaned. I learned from it what I could. Which wasn’t much. I didn’t posses the skills necessary to deconstruct what Dave was doing. It wasn’t until I actually met Dave that doors started unlocking and opening. Chicago, summer of ’88: my first convention as a pro. Dave was the guest of honor, as the first issue of the new Rocketeer Adventure Magazine was being celebrated. Dave had better things to do, bigger fish to fry. I was a guppy, a tadpole. But two things happened that really altered the way I do things, even to this day, and both involved Dave. I made an ass of myself the night I first met Dave, I was so apprehensive. To say that I was quite the sweaty fool is putting it lightly. The next day, I went up to him and apologized for my nervousness, and Dave did Life-Altering Thing #1: he laughed it off, patted me on the back, and said, “No worries, man; I did the same thing the first time I met Steranko.” With one quick, offhand sentiment, Dave made me realize the vast cosmic order of it all, and my small place in it. I was part of a chain, a link like Dave Stevens, and Jim Steranko. Suddenly, I was “on the map of the universe, part of the mind of God,” as Garrison Keillor once wrote, all because of a few kind words from a friendly stranger. That was the first time I felt part of the greater whole, not just an outsider looking in, pretending and pantomiming. Thanks, Dave. Life-Altering Thing #2. The next day, Dave wanders Artists’ Alley, and finds me and my sad pile of photocopies, grim testaments to my even grimmer defenestrations in the field of comic-book art. Dave could’ve just glanced over them, and moved on. He was guest of honor, remember. No, Dave spent the better part of 90 minutes going over my artwork, offering advice and critiques on every page. Everything that fell out of his mouth, I took to heart. Dave extolled to me the virtues of inking with a brush (I was inking all my stuff with a technical pen). I fought, I resisted, I caved. I have spent every year since dedicating myself to what Dave was saying was the best way. I could never thank him enough. Also, with those two examples, Dave also taught me how to handle fans, especially earnest ones with artistic aspirations. Anyone who’s had a pleasant experience with me, thank Dave Stevens. Anyone who hasn’t, I apologize for not being made of the same quality stuff as Dave. He was one-of-a-kind, after all. So now, Dave is gone. He’s left us, but he can still speak to future generations of crafts persons through the all-too-slim portfolio of magnificent art he’s bequeathed us. I feel sorry for all those who’ll never get to meet him as I did. I feel sorry for his close friends and family, who didn’t lose an artist or a hero, but a brother and a son. And I feel a little sorry for myself. I never really got to know Dave Stevens as anything more than a brilliant artist, a role model, and a first-class act. Dave Stevens was a pretty private guy.

“My life has been a poor attempt/ to imitate the man/ I am the living legacy/ To the leader of the band” – Dan Fogelberg

ADAM HUGHES is among comics’ brightest stars, his poster-worthy covers gracing issues of Wonder Woman, Tomb Raider, and Catwoman. Visit his site at www.justsayah.com.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

4 9

5 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Rocketeer © Dave Stevens estate. Vampirella © Harris Publications. Jonny Quest © Hanna-Barbera Productions. Other images © Dave Stevens estate.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

5 1 Catwoman and Phantom Lady © DC Comics. Sheena © Sony Pictures. Godzooky © Toho Pictures. Other images © Dave Stevens estate.

ROMITAMAN ORIGINAL COMIC ART IF YOU LOVE COMICBOOKS, THEN YOU “MUST” CHECK OUT ONE OF THE LARGEST INTERNET WEBSITES FOR COMIC BOOK ART AND COMIC STRIP ART EVER PRODUCED! THIS MAY BE YOUR BEST ARTWORK INTERNET SOURCE! CHECK OUT OVER 1000+ “PICTURED” PIECES OF COMICBOOK AND COMIC STRIP ART FOR SALE OR TRADE. ALSO CHECK OUT THE WORLD’S “LARGEST” SPIDER-MAN ORIGINAL ART GALLERY! I BUY/SELL/AND TRADE “ALL” COMICBOOK/ STRIP ARTWORK FROM THE 1930S TO PRESENT. SO LET ME KNOW YOUR WANTS, OR WHAT YOU HAVE FOR SALE OR TRADE!

www.romitaman.com

The most trusted name in comic collectibles auctions in the world! The #1 Auction Service dedicated exclusively to Comics, Original Art, Posters and more! Call us now to participate either buying, selling or for an insurance or estate appraisal!

Let us help you realize the highest prices possible for all your prized possessions!

Office: (201) 652-1305 Fax: (501) 325-6504

The only member of the American Appraisers Association in comic art, comic books and animation art

e-mail: art@allstarauctions.net • www.allstarauctions.net

TM by

Jason Geyer

Dashed Dreams Super Powers customs for (left) Super Friend Black Vulcan, plus (right) Man-Bat, Blue Devil, and the Vigilante. Characters TM & © DC Comics.

Since the superhero comics boom of the 1960s there have been many merchandise tie-ins to the most popular characters, and many toys that have come and gone. One toy line, though, clearly stood out from the pack: Kenner’s DC Comics-based Super Powers Collection of action figures that populated store shelves from 1984 to 1986. Even now, twenty years after the demise of the line, Super Powers are considered to be the pinnacle of superhero toys, and the gold standard to judge all current toy lines against. As the 1980s began, long-running DC licensee Mego had folded and the rights to make DC-based toys were up for grabs. In 1982, DC Comics invited multiple toy manufacturers to pitch for the license to make action figures based on such iconic heroes as Superman, Batman, and the rest of the DC Universe. The Superman movies were performing well at the box office, a Batman film was in pre-production (although its long journey to the big screen would ultimately take another six years), and the long-running Super Friends Saturday morning cartoon showed no signs of losing steam. In fact, it was that cartoon series that would end up forming the backbone of the resulting toy line. Bowled over by a presentation that relied strongly on actual art from the comics, DC awarded the license of their characters to Kenner Toys. At the time, Mattel’s action-driven Masters of the Universe toys were the big sellers with kids and parents alike, so Kenner followed Mattel’s lead and devised hidden mechanisms within the figures which would trigger an action when the figures’

legs or arms were squeezed. This emphasis on each figure’s “super power” led to the naming of the line “the Super Powers Collection.” Once the line was in full force, a merchandising frenzy took place. DC and Kenner slapped a Super Powers logo on whatever they possibly could (although the “Collection” suffix was reserved solely for the action figures and accessories). Three waves of figures, vehicles, and playsets were released throughout 1984, 1985, and 1986. DC also produced three comic-book miniseries in support of the Super Powers line, featuring art by such comics legends as Jack Kirby and Carmine Infantino. However, it wasn’t just kids who were salivating over the new toys—the adult toy collector market was just then emerging due to the success of Kenner’s other hit line, Star Wars, and Super Powers was the action figure line they had been waiting for. Mark Waid, writer of such classic DC series as Kingdom Come, The Flash, and The Brave and the Bold, was one of those collectors. “Trust me, I’ll never forget the day I saw the first ad for the line.” Waid remembers. “I spent all that weekend driving to every toy store and drugstore in Dallas, where I was living at the time, and all I could find were Flash and Green Lantern. Then Batman, Superman, and Robin. Then Joker. In fact, I could probably go through all 33 figures and tell you exactly where I bought them and what the circumstances were, that’s how much I loved that line. When I was growing up, believe you me, the notion that someone would actually make a Dr. Fate toy was inconceivable.”

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

5 3

The Super Powers figures are prized today due to their uncanny adherence to their characters’ likenesses, in addition to their welldesigned action features. The latter is especially ironic, given that Kenner originally wanted visible levers to control each action feature. This plan was wisely nixed by the management at DC, who didn’t want anything to mar the features of their well-loved characters. Another reason the Super Powers Collection is so highly sought after was the inclusion of both popular and little-known characters throughout the line. While the first series featured well-known characters, the second series concentrated on figures from Jack Kirby’s New Gods Saga, and the third series mixed both DC acquisitions from other companies and figures created solely for the line by Kenner. On a side note, Kirby received some of the only royalties of his long career for redesigning his characters for Kenner. Artist George Pérez also received royalties for his design of Cyborg and redesign of Lex Luthor. The rest of the designs were based directly on José Luis García-López’s legendary DC Comics Style Guide. “I think that Super Powers is so iconic for a number of reasons.” says Eric Treadaway, of the Four Horsemen Studio, designers and sculptors of Mattel’s current DC Universe Classics toy line. “The main reason, I think, is that it contained such a broad variety of characters in a completely consistent size and scale. The line also had great vehicles, cool mini comics, and really nice packaging with classic artwork. For me, personally, it set one of the great benchmarks in superhero toys, and it remains one of the more inspirational toy lines that I collected as a kid.” After three wonderful years of production, the line collapsed. Many factors led to its demise, number one most likely being the simple fact that superheroes just weren’t selling well in 1986. It didn’t help matters that by the third series Kenner had started creating its own heroes (Golden Pharaoh? Cyclotron?) instead of using characters from DC’s vast selection. Still, although the line was dead the Super Powers figure molds would occasionally show up in other toy lines from time to time. The sudden death of the line left collectors wondering if there had possibly been any action figures left unreleased to toy stores. Two items shown on the backs of the third series packages, the All-Terrain Trapper vehicle and the truly magnificent Darkseid’s Tower of Darkness playset, never made it into production, even though they got far enough along to have final packaging printed. For years collectors heard the rumors that much like the Star Wars line,

5 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Man-Bat Prototype (above) The 1996 find that got fans buzzing! (left) The actual Super Powers figures produced, in (top to bottom) Waves One, Two, and Three. Characters TM & © DC Comics.

there were hidden treasures still locked away at Kenner headquarters in Cincinnati. These rumors only intensified when the first real proof of an unseen fourth series first showed up online at ToyOtter.com in 1996: a prototype of a highly detailed Man-Bat figure owned by former Marvel Comics editor Jason Liebig. Mark Waid had also found a Man-Bat prototype around this time, most likely from the same source. “I met someone at a Chicago convention who was walking around with a resin cast of the Man-Bat figure, and it blew me away,” Waid says. “It was a very Twilight Zone moment—seeing a Super Powers figure that was new to me! How could that be? Fortunately, after much chivvying on my part, the guy sold it to me, and I had it painted up using the exact style and type of paint used on the original figures so it would fit in beautifully among them.” But as the years passed, nothing else surfaced. There were rumors of another prototype out there, a four-armed alien that would turn out to be another Kenner-created character: Quadrex. This prototype also showed up on ToyOtter.com in 2001, having been purchased on eBay from another collector. A larger than normal figure, sporting much more articulation than the rest of the line, Quadrex not only proved that Man-Bat wasn’t a fluke, but also whetted collectors’ appetites for what else might be hiding from the public eye, unseen for nearly twenty years. As the 20th anniversary of the Collection’s debut approached it seemed as if everything there was to know about the line had been reported. And then, in late 2004, it seems in quick succession some ex-Kenner designers found the actual slide presentation that detailed the final two years of the line, and amazingly, eight never-before-seen prototypes. For the first time, we now had the definitive word on what the next series was going to be and which direction the line was taking had it continued. The images seen here are of the actual prototypes that nearly made it all the way into production before the line was canceled,

Armed and Dangerous The prototype for Kenner’s Quadrex, a character perhaps influenced by the obscure Superman villain Grax, who premieried in Action Comics #342 (Oct. 1966). © Kenner and DC Comics.

along with custom figures made by collectors, based on the original Kenner concept art. In 1985, Kenner made an internal presentation for the designers to show the execs their plans for the next few waves of the line, with color concepts pasted on presentation boards that represented the final choices for production. The slides that were found make up the entirety of that presentation. The biggest surprise is the character choice itself. We would have gotten more Hanna-Barbera Super Friendsbased figures, more Kenner-created superheroes, more New Gods characters, and, for the first time, a line of deluxe figures and even some variants. We would see the dependence on repaints and deluxe figures dominate Kenner/ Hasbro strategy over the next decade, but it’s amazing to learn that Super Powers (which many collectors hold up as a “pure” line consisting of only unique figures) was the start of the trend. So, who was going to be made? The actual sculpted prototypes were an incredibly bizarre mix: Shockwave (a Blue Devil villain), Man-Bat, El Dorado (from the Super Friends cartoon), and Silicon and Quadrex (both new characters created by Kenner for the toy line). It’s easy to see why this lineup would not have impressed buyers for the major toy store chains, but for fans this kind of depth of character was unheard of at the time. “I love seeing what could have been!” Treadaway exclaims. “When looking at some of the concept art and future plans, it impressed me to see how relevant the lineups would still be today.”

Man-Bat is probably the most famous of the unmade prototypes, in large part to having been the first one discovered back in 1996. As the concept art showed, he was one of the few figures presented two different ways. The art shows him in his traditional jeans while a second drawing has him wearing some bizarre space-age underwear; the actual sculpt appears to show almost a hybrid of the two designs. It’s possible that he was slated to get some sort of snap-on attachments, but we may never know the final answer to that. We do know that he made it all the way to steel tooling, which was a large cost for Kenner to incur before dumping the line. Man-Bat was the only prototype to be missing from this find, most likely because the missing one was used to create the duplicates that have been floating around over the years. This makes sense as of all the completed sculpts, only Man-Bat was a well-known character. The second prototype to be discovered was Quadrex. First reported online in 1999 as a “fourarmed barbarian,” it’s plain to see while they got the number of arms right, this figure was never a barbarian. He seems to be another insectoid minion of Darkseid, following in the footsteps of Mantis. Another minor controversy has been what his name really is. Kenner went through many versions in the presentation alone, starting with two “Bio Bug” concepts and ending up with the “Insecta Six” version, which was then modified even further at the sculpting stage. Thanks to the discovery of the prototypes, we now know for sure that he was named Quadrex as it was written on the bag housing the parts of the sculpt! As if all the concept art and finished sculpt weren’t enough, there was also a very unique “works like” photo in the presentation slides to prove to the execs that the concept was workable. Using parts from Superman, Batman, and the modified head of a Star Wars Ree-Yees (!), they cobbled together a rough version to see how the many arms would interact. Very cool. Created for the third season Challenge of the Super Friends show, El Dorado would have been the second Hanna-Barbera character to get his own figure, after Samurai. A very cool figure, he deviates from his cartoon counterpart in that he has a flat area on his stomach for either a sticker, hologram, or lenticular (flicker or flasher) image. This technology was hitting its stride in the mid-’80s, with Hasbro’s Visionaries line for holograms and Mattel’s Secret Wars using lenticulars. Maybe Kenner wanted in on the act. Shockwave was a minor Blue Devil villain, who had the good fortune of being one of Blue Devil’s only villains at the time of the presentation, and being a metallic one at that! While definitely not anyone’s first choice for a figure, he was at least going to be very big,

Prototypes Three (top to bottom) Super Friend El Dorado, Kenner creation Silicon, and Blue Devil baddie Shockwave © DC Comics and Kenner.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

5 5

Works in Progress (above) Cobbled-together prototypes for Quadrex and Silicon “works like” figures, and (left) designs for Bio Bug (Quadrex), Black Vulcan, Blue Devil, Creeper, Executioner, and Man-Bat. Characters TM & © DC Comics and Kenner.

and most likely have a shiny vac-metallized surface, much like Cyborg and Brainiac. Shockwave got fairly far along in the manufacturing process, and even had a hollowed-out section inside the sculpt in preparation for his internal mechanism. It is quite odd that Kenner was ignoring the rogues’ galleries of Batman, Flash, Green Lantern, Firestorm, etc. at this point, in favor of support for Blue Devil, who we can only assume was also going to be part of this series. Actually, it was mentioned in a letters column of the Blue Devil comics series back in 1986 that his figure was on the way, so we’ll take this as further confirmation. Silicon had the potential of being one of the coolest Super Powers figures of all—he was going to be cast in translucent plastic with a very colorful mechanism showing through! To further drive that point home, included in the presentation were the two “works like” photos of a clear Darkseid with painted face and colored innards that were made to demonstrate the actual manufacturing process that was going to be used for this unique figure. Plus, look at his cool boot soles! Although not indicated on the concept art, the final figure appears to sport some sort of power rings on his hands. Maybe he was to be a Green Lantern sidekick? The big question, though, is: Why Silicon? This is a Kenner-created character, much like Golden Pharaoh and Cyclotron in Wave Three. With so many unused characters from the DC Universe, why go to another figure that no one knows? 5 6

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Granted, the idea of a clear-transistor robot guy is pretty neat, and it’s been pointed out that he almost looks like a cross between the Phantom and the robot Manhunters. In any case, Silicon got further along in production than any figure except maybe Man-Bat. Recently found in addition to the hard copy is a tooled prototype with the joints prepared for manufacture. While not the only figures in the fourth series, these were the only ones that actually made it to the sculpting stage. The other characters shown in the concept art really makes one regret the line didn’t continue for a few more years: Blue Devil, Bizarro, Creeper, Metallo (green and orange Roger Corben version), Supergirl, John Stewart Green Lantern, Kid Flash, Manhunter (the ’70s Paul Kirk version), Vigilante (the ’80s New Teen Titans spin-off), Mr. Mxyzptlk, Black Vulcan (Super Friends hero), Reverse-Flash, Deathstroke, Obsidian, Black Racer, the Atomic Knight, some Superman variants (robot Superman, kryptonite Superman), and two more Kenner-created characters, Executioner and Howitzer, were all proposed as future action figures. Most of this concept art either uses existing style guide poses with new character details traced over or they’re taken straight from DC’s Who’s Who comics, which only had a few issues on the stands at the time of the presentation. It was obvious by the choices, too, that Who’s Who figured heavily in the character decisions. The vast character choices weren’t the only surprise, of course. Even more amazing was the revelation that Kenner was planning on spinning off a sub-line of battery-powered figures! The Power Plus line was to be a separate “Deluxe” set of figures that used existing body parts with new torsos that had light-ups, interchangeable parts, or larger mechanisms. Many of these new parts were sculpted and at least one entirely new figure was completed before the plug was pulled on the line. By using variants of existing figures they could make these characters cost-averagers—meaning that

Steve Trevor, Moonlighting? by using existing arms and legs from earlier figures, this line could add new features for less costs. Included in the lineup were new versions of Superman, Batman, Robin, Firestorm, Cyborg, Zan and Jayna from the Super Friends, and the all-new “Rocketman.” While the other characters were pretty much fully designed by the time of the presentation, Superman was shown with three possible variations. Thanks to the existence of the prototypes, it is apparent that they chose option #3, “Kryptonite Cape Superman.” The arms on this prototype are basically identical to the existing figure, with the addition of glove lines at the cuffs. Like the Quadrex figure, a “works like” mock-up was made with a Green Lantern figure, to show the execs how his outer shell would work. It also appears that a kryptonite shard would snap into the bottom of his cape, and possibly light up. “Capture Winch Batman” was a pretty historic figure; this was most likely the very first official “variant” of Batman ever produced (or as close as it came to production). In light of the hundreds of variations to follow, it’s all the sadder that this guy never saw the light of day. The special feature would have been an oversized Batarang on his belt that could be pulled out and used as handcuffs on a villain. Then when you pushed a button it would retract, pulling the criminal to Batman. Alternatively, it could be attached to a surface, then retract, allowing Batman to be pulled up along the cable. Unlike the other Power Plus figures that reused parts, only the arms and head were existing on this figure. Even more historic is the fact that the legs didn’t have knee joints, probably due to the weight of the new torso making it hard for the old legs to stay standing. “Bat Blade Robin” had some kind of nifty turbine backpack that actually was supposed to spin when you pushed a button—because really, why should Batman get all the fun when it comes to the useless gadgets? Sculpting hadn’t yet started on this figure when the line was canceled. Jan and Zayna looked like they were going to have snap-on alternate torso showing an ice form and

(above) The Rocketman prototype. (left) Roughs for action-packed Batman and Firestorm figures. (right) Customs of Supergirl, Bizarro, Reverse-Flash, and Kid Flash. Characters TM & © DC Comics and Kenner.

an animal form, respectively, but like Robin, neither figure was ultimately sculpted. “Fire Flash Firestorm” is just too much. Although the character would fall out of favor over the years, at the time he was one of DC’s stronger heroes, and as such deserved to be one of the few who got a second figure. And what a figure! It looks like it would have had light-up flaming translucent arms, and translucent “wings” on his back. Totally cool. “Technoskin Cyborg” was an unbelievable choice for inclusion. After all, this is the guy that barely made it into production in the third series before the line was canceled in the first place. It’s fairly astounding to learn that a second Cyborg was close behind. Still, out of all the characters, Cyborg was the most natural choice for extra cybernetic attachments. This figure might have had a light-up mechanism, but it’s also possible that it had a sound chip instead. Unfortunately, sculpting on this new Cyborg had just begun when the line was canceled. All that exists of him is the back cover to his pack. The handwritten number on his prototype bag is the highest one of all the prototypes, showing he was last into production. “Rocketman” was the final Power Plus figure, and one that actually was fully sculpted. Even though his concept art was not labeled, we know his name: it was written on the bag housing the prototype. It may have been a temporary name to be changed later, but based on other sterling monikers, like Howitzer, “Rocketman” was probably it. He was obviously going to be electronic in some fashion, as they sculpted a separate battery pack cover for him. At first glance he appears to be another Kenner-created character, but maybe not. On close

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

5 7

Makes Ya Wish… (right) Crawler and Fist Fighter vehicle designs. (inset below) The Superman Golden Edition. (left) Customs for Terminator, Mr. Mxyzptlk, Creeper, and Manhunter. Characters TM & © DC Comics.

inspection, “Rocketman” looks suspiciously like Wonder Woman’s main squeeze Astronaut Steve Trevor, who appeared in the final season of Super Friends (Super Powers Team-Galactic Guardians) in an episode titled “The Darkseid Deception.” It isn’t clear why Kenner thought we needed an astronaut, but interest in the space program was running high in 1985. In addition to all of the action-figure concepts, a handful of vehicle concept art was also part of the slide presentation. Proposed vehicles included Braniac’s Skull Ship, the Cyborg Crawler, the very goofy Fist Fighter, the Jump Jet, the Snooper Scout, Superman’s Glider, and Plastic Man’s Car. While no more outlandish than some of the vehicles that were actually produced, such as the Delta Probe One or the Justice Jogger, many of these concepts really strain the toys’ connection to the comic universe. The final part of the presentation focused on a then-upcoming special event. In 1988, DC Comics was due to celebrate the Man of Steel’s 50th Anniversary with a new movie and other scattered odds and ends. Kenner was making plans in 1985 for this celebration, too. Mainly, there were planning on painting a bunch of existing items gold. To start with, the basic Superman figure would be rereleased, possibly with new arms and a new “flying” action feature. The irony here is that gold kryptonite caused Superman to lose his powers. Kenner was also planning a golden collector’s case, much like the golden C3PO case long featured in its Star Wars line. Finally, there was a gold repaint of the existing Supermobile, which they made a mock-up of for the presentation. There is no doubt that many of these unproduced items would have pleased fans and collectors had they shown up on toy shelves in 1987 and beyond. It is also easy to see why the Kenner execs would be hesitant to take a chance that kids would buy into a line that featured characters and vehicles that they had never heard of before. Had the line lasted until the Batman movie hit, the Super Powers story might have turned out a lot differently. But it did last long enough to inspire a whole generation of fans and even some of today’s top toy designers. According to the Four Horsemen’s Eric Treadaway, who is currently planning the direction of the DC Universe Collection (DCUC) for Mattel, “Absolutely [Super Powers influences our work]! The entire time we have been doing DC characters one of our main goals has been to create a modern incarnation of Super Powers, and to even go beyond it

5 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

if we are lucky. The Superman wave that we did with Lex Luthor, Brainiac, and Darkseid was a dream wave for us, and in retrospect was the first hint of what was to come. I definitely do [think that Super Powers is ready for a revival]. In a way I think that we are already attempting to do it. Certain things in the DCUC are different—such as the scale and lack of action features, but I think that at its heart DCUC is a lot like Super Powers. We are really trying our hardest to maintain the quality and spirit of the originals. Super Powers had such an impact on fans that in some people’s eyes it can never be topped, but that won’t stop us from trying. I think the fact that Super Powers still creates that type of inspiration is the sign of a what a classic line that it really is.” JASON GEYER is a former toy designer himself, and a toy historian who has broken much of the news about Super Powers over the years. He currently runs the popular actionfigureinsider.com website with Daniel Pickett. Thanks go to Mark Waid; Eric Treadaway and Eric “Cornboy” Mayse of the Four Horsemen Studio; James Sawyer and The Earth for the concept art, Shockwave, and El Dorado pictures; Edward Wires for Silicon and Rocketman pictures; and Jason and Jeff Liebig for the Man-Bat picture. The custom action figures were created by Matt “Iron-Cow” Cauley, Daniel “Julius Marx” Pickett, and Jason Geyer. And a huge thanks to DC Comics and Kenner for making the Super Powers Collection in the first place! You can see all of the concept art and unproduced prototypes in the Super Powers Archives online at www.toyotter.com/sp.

Who is this mysterious being from another galaxy? Who is he and what does he want? Who is Gary Owens? Gary is THE fabulous voice, the announcer, the golden smog (sorry, Fat Freddie Flintstone). Gary is the voice that has streamed through the ether of all of television and radio for the last forty-plus years. He is a presence without having to be that presence. Everyone knows his voice, even if they don’t realize it. What does Gary want? Simply to entertain the masses and make them smile. For that is Gary Owens’ simple mission in life, to enjoy life and pass that enjoyment on to others. Why is Gary Owens a subject in BACK ISSUE’s “Saturday Morning Heroes”? Because he has narrated or starred in roughly 3000 cartoons. Perhaps you know him better as Roger Ramjet, Powdered Toast Man, the Blue Falcon, or Tad Ghostal, a.k.a. Space Ghost! – Richard A. Scott

Richard A. Scott

cond ucte d Febr uary 18, 2008 is and trans cribe d by Brian K. Morr

RICHARD A. SCOTT: You’ve been the voice of many “Saturday Morning Heroes.” GARY OWENS: Thank you for doing this feature on Space Ghost and my cartoon heroes. Powdered Toast Man—you know who John Kricfalusi patterned that after? It was Kirk Douglas’ face. SCOTT: I have a nice Kirk Douglas sketch by John K. I met him in San Diego one year and he was doing Ren and Stimpys for everybody. And I guess he got sick of doing Ren and Stimpys, and I was going to ask him to do a Kirk Douglas, and he started drawing. [chuckles] I was just blown away by that. OWENS: I was with John a couple of months ago and we did a Comcast commercial together on television. It’s on TV right now, I think. And the reason he hired me, he always loved Roger Ramjet, which was the first cartoon that I did as a voiceover guy back in 1965. Ramjet, I think, we did 156 episodes of that. That was Tom Selleck’s favorite cartoon, by the way, when he was going to school. SCOTT: Roger Ramjet was slightly before my time, although I did end up seeing them in syndication after the fact. OWENS: They were very funny. Two guys named Gene Moss and Jim Thurman were the writers for it and it was very, very much fun to do.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

5 9

Rod Serling used to drop over and we’d have lunch quite often. We had a big cardboard acoustic tile there and when Beginnings: Mel died, we decided to just Delivering radio news as a teenager in Mitchell, South Dakota have all that memorabilia with Noel, his son, who was the vice Trademark: president of the company. And so Hand cupped over ear while talking into microphone we worked with just about everybody over that twenty-year Milestones: period. And then beyond that Prolific radio announcer, DJ, narrator, broadcaster, and animated voice specialist, with over period, I’d worked at Hanna3000 cartoon shows and 12,000 radio shows to his credit Barbera for years and years. Among his many credits: Roger Ramjet / Space Ghost (all incarnations) / Rowan & Martin’s And also Walt Disney Laugh-In / Sesame Street / Dynomutt’s Blue Falcon / narrator of Legends Studios, and just about every of the SuperHeroes TV special / Ren & Stimpy’s Powdered Toast Man / company doing cartoons of Additional honors: honorary sheriff of Encino, California / some kind. But my first job was Radio Hall of Fame induction, 1994 / star on the Hollywood Walk of Fame / a writer at Jay Ward Productions For a full list of credits, visit tv.yahoo.com/contributor/793995/credits or when Allan Burns was there and www.imdb.com/name/nm0654365/ Chris Hayward, George Atkins, all those great comedy writers Works in Progress: who are now top producers in The Music of Your Life syndicated radio music program, which just Hollywood. Allan Burns and Jim wrapped up its run in February 2008 / Keep your ears open for more Brooks—Jim Brooks was not of Gary Owens’ voice work soon! with Jay Ward, but Allan Burns was, and they later created The Mary Tyler Moore Show, Lou Grant, Rhoda. SCOTT: I was asked by my editor to ask you about Ted Knight, since he narrated a lot of superhero cartoons… OWENS: Oh, sure! Well, we used We would record, many times, right across the hall from Frank to do cartoons together. When I was doing Space Ghost, he was Sinatra and Dean Martin and Sammy Davis, Jr. And as a matter of doing Aquaman, I think. Ted was a very, very good friend of mine. fact, on a couple of episodes—and I can’t tell you which ones And the comedian Johnny Dark, who’s a regular on the David they were because I don’t remember—but we had Frank come in Letterman show playing Mark Twain and Abraham Lincoln, we used and Dean and Sammy doing just voices, unlabelled, on the thing. to go out and have lunch together frequently, the three of us. I think that Frank played a fireman, and Dean Martin played a singer Ted was great. We used to have a luncheon thing… You’re too in a nightclub—which of course, he did very well—where Sammy did young to remember this, but Four-Star Television was a major TV the voice of a farmer. [laughs] It was in “The Treasure of the Sierra production company back in the late ’50s, early ’60s, and Collier Mattress” on the Roger Ramjet, I believe. But when you do over 150 Young was the president, along with David Niven, Dick Powell, episodes, let alone doing other things, you don’t always recall. and Gig Young, and they did a lot of the shows. Collier also owned SCOTT: Oh, right. Ironside with Raymond Burr. OWENS: But I’ve been doing this since I was a writer, first for Jay Ward. SCOTT: I used to watch that. I came to Hollywood in 1961, my wife and I and were just starting OWENS: Yeah, a very, very good show. Once a year, out in the business, and our kids were babies at that point. Our oldest for 17 years, about thirty of us would get together son, Scott, and our younger son, Chris, they’re both top TV for lunch. Not frequently, but once a year, and regproducers now in Hollywood. ulars in that group included Joseph Cotten, a great But it was always fun doing cartoons. Well, I still do. Buzz Lightyear, actor all the way from Citizen Kane on up; and I’m the announcer on that. And there’s a new cartoon that was just David Wayne; Arnie Sultan, the given to me day before yesterday and I can’t tell you the title for producer of Get Smart; Ted it yet because we don’t have a title of it. It’s me as a little boy. Knight; Ed Asner; Bill Dana; Same voice as I am today. Burt Prelotsky, the great SCOTT: You’re one of those people like, say, Sterling Holloway. You know, Pulitzer Prize-winning writer one voice tends to cover a gamut of various characters. for the L.A. Times and the OWENS: Now, that’s true. Primarily, you know, I’ve done maybe New York Times; and 3000 different cartoon episodes. But as you draw a different character, Allan Burns and Chris you raise or lower your voice in one way or another. Usually, I’m the Hayward, who created narrator or I’m the superhero, whatever, although I do other voices. The Munsters, by the But I don’t primarily pretend to [do different types of voices]— way. And of course, later not when you’ve got great talents like Frank Welker and Don Messick on, Chris was one of the and Daws Butler. creators of Barney Miller. And Did you know I owned a company in Hollywood with Mel Blanc Allan, of course, with all of the MTM producfor twenty years? tion things. But we did nothing but laugh and joke SCOTT: No, I didn’t. for five hours at a time, from noon until five in the OWENS: We had Mel Blanc Audio Media, and it was great fun. And so afternoon at a well-known restaurant called Scandia I would record with Mel at least three times a week, and we would have on Sunset Boulevard. And they put us in the every great voice person in the country there, and it was always fun. wine cellar because we all made too

GARY OWENS

6 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

much noise for the rest of the customers. [Richard laughs] That was a very big part of Hollywood, like the Brown Derby was in Hollywood on Vine Street. SCOTT: Right. OWENS: I’m so happy to be part of that era, because I was just a kid when I was the top morning man in the country at a radio station called KFWB. We had a 50 share of audience. Now today, if you have a four share of audience anywhere in the country, that’s usually #1. In 1960, 1961, at that period of time, we had a 50 share. We had half the listeners in the whole city, Los Angeles, which is, of course, now 15,000,000 people. SCOTT: That’s pretty significant numbers. OWENS: I was so lucky from day one when I came in as a young kid to be the morning man at this #1 radio station in L.A. So that helped me get a lot of things, from cartoons to TV series. I guess I’ve done maybe, oh, between 1500, 2000 television shows at one time or another, of course, including [Rowan & Martin’s] Laugh-In, which was the most powerful of them all, because we had like a 40 share—maybe 50. I guess about 40 to 45,000,000 people watched every Monday night. That’s what they considered the audience at the time on NBC. SCOTT: When I was watching Laugh-In as a kid, I picked up on the connection between your voice on Space Ghost and on Laugh-In. OWENS: Oh, that’s great. Well, I did a lot of commercials, too. I probably did, oh, between five and ten new commercials every week, which would be several hundred commercials every year for about forty years. [chuckles] And you don’t always recognize a voice from a commercial because depending on the product, I did everything from Ford Automobiles to Borden’s Kava— [imitates commercial voice] “Kava! Kava!” I don’t know if you remember those commercials. They were an acidfree coffee. “Bob Hope’s favorite coffee,” by the way. SCOTT: I seem to kind of recall that just a bit. I was born in ’64, but I tend to backtrack a bit on things. OWENS: Well, that’s great. You’re a young guy and very astute. And that’s very important. You know, it’s so good that people know things before their time, too. When I was a young kid, growing up in the Midwest, I would learn about all the things, even though I wasn’t around at the time on the Dillinger or anything like that. I would always read old newspapers and old magazines in every bookstore you could find, or books. And I used to read the dictionary from cover to cover every day. You know, let’s start in the As, let’s go to the Zs today, let’s go to the Ms, and I guess that was prophetic because I’ve been part of Sesame Street since the very beginning. SCOTT: I remember that coming on the air back in ’69. OWENS: Yeah, you’re right. Absolutely. Well, the reason I was hired was, [Sesame Street producer] Joan Cooney was a big fan of Laugh-In, which started in ’68, and she wanted Sesame Street to be like Laugh-In with short, little comedy bits that taught you the alphabet and later, New Math. I played Dirk Niblick for years. New Math… “Today, Fluff and Fold, our two little kids, are learning how to do New Math,” you know, whatever it would be. So yeah, how lucky can you be? I’ve been so fortunate to do so many different things. But I enjoy every minute of it, you know. It’s euphoric and to do the things that you loved as a little kid, and you still can do and make money for it as an adult, there’s no better life than that, is there? SCOTT: Oh, I wholeheartedly have to agree with that. I

Live, from Beautiful Downtown Burbank (left) Cup-eared Owens on Laugh-In, and (below) with Bill Cosby and Arte Johnson on The Electric Company. Photos courtesy of Gary Owens. (center) Roger Ramjet.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

6 1

mean, even this interview right now, it’s more or less along that line. I never thought that I would be doing interviews and whatnot, per se, but I was more after the art. And things just kind of developed and I let them. And I think it’s a blast to be able to talk to various people that have had an influence on me and my career over the years. OWENS: Well, thank you. Well, it’s nice being part of pop culture, and that’s kind of what it is, I guess. [chuckles] Paul Frees was a good friend of mine, too. He was up in Tiburon, Northern California. He’d moved away from L.A. oh, I guess ten years before he died, because he loved the San Francisco area. But he was wonderful. We did quite a few commercials together and quite a few things. And he always was very nice to me and we would always kid. He bought a Rolls Royce back early, early on, and just when he was not working, which was very seldom, he would go to the Unemployment Office in Hollywood. And here are these starving actors waiting to get a check for their unemployment, [chuckles] and Paul would get an unemployment check for one week and driving his Rolls Royce. They would all shake their fists at him. He’d just do it as a joke. SCOTT: [chuckles] Oh, jeez. OWENS: We used to work at quite a few things at Hanna-Barbera and [it was] delightful. And Daws Butler was a dear friend, and Don Messick. I emceed the last salute for Don Messick at a little Oriental restaurant near Universal City. And we had every voice person in the world there to salute him, as we did Daws Butler, you know. And June Foray is one

of my dearest friends. She’s been a long-time friend of ours and has done great voices forever. SCOTT: Oh, yeah. I’ve loved her work over the years, too. She’s highly recognizable as well, especially as Rocky the Flying Squirrel. OWENS: Oh, sure she is. And her voice is the same now as it was 60 years ago. And, of course, even though the writers of Rocky and Bullwinkle were seldom at the sessions when they would record things … it’s like LaughIn. The writers were in a separate building than the performers. They were across from the Smokehouse Restaurant in Burbank. I created the phrase “Beautiful Downtown Burbank” … oh, maybe eight years before Laugh-In began, in the early ’60s. I used to use it on my national radio show, my daily radio show in Los Angeles. And I would always do the weather forecast: “Here’s the weather forecast for Magnificent Monrovia, Romantic Reseda, and Beautiful Downtown Burbank.” When we put it on Laugh-In, we would do the worst footage we could find of Burbank. “Well, here’s the biggest building in Burbank right now,” and we’d show a Fotomat store which was about maybe two feet high. [laughs] But it became part of the vocabulary. It’s interesting how something like that, that you just do as a joke more than anything, became famous. And the day after Laugh-In started, NBC started answering their phones, “Good morning, NBC, Beautiful Downtown Burbank.” And then when Johnny Carson came in to L.A. from New York—he’d been doing The Tonight Show in New York—at first they’d say, “Live from Hollywood,” even though they were doing it at NBC [in Burbank]. And because of the impact we made with Laugh-In in ’68, then they picked up “Beautiful Downtown Burbank,” too. It became a common household word, but we were the ones who started it, on my radio show. SCOTT: When I first met you at the San Diego Comic-Con, you had found a stack of old Laugh-In cards and had signed the back with “Morgul as the Friendly Drelb.” What’s the backstory to that? OWENS: On each show, I would always name the guest-stars, whoever it would be: “Starring our guest-stars Jim Garner, Bob Hope, Greer Garson, Raquel Welch, and back by popular demand, Morgul as the Friendly Drelb.” And every show said that, although Morgul was only seen on one show, [chuckles] the very first show. He was like a pink Abominable Snowman and he had a sign that said, “I am Morgul.” And just as a joke, each week, I would say, “And back by popular demand, Morgul as the Friendly Drelb.” SCOTT: Had you worked with some of the people on Laugh-In before the show started? OWENS: Arte Johnson and I were good friends for, oh, probably ten years before Laugh-In. We recorded at the studios with Mel Blanc every week. Arte had done quite a few movies. He was a roommate of George Peppard, one of the great stars of Breakfast at Tiffany’s, and Arte had done several motion pictures as an actor, and always did comedy in one form or the other, as did his cousin, Cos Johnson. He was one of the 16 Laugh-In writers. Most of those writers are now the top producers in comedy in TV. John Rappaport worked for me and I sort of gave John a start on radio in Hollywood as a regular on my show. He became the producer of M*A*S*H, also was a consultant to Night Court. Albert Brooks was a regular on my radio show. He was Albert Einstein at that time. That was his real name. His father was a very famous comedian on the Eddie Cantor show—“Parkyarkarkus” was his name. And Tom Straw started on my show. Tom became the producer of Bill Cosby’s and Whoopi Goldberg’s TV series and also Night Court. And I got Allan Katz a job with Laugh-In. He was writing the back packages of Screaming Yellow Zonkers. You ever remember those? SCOTT: [chuckles] Yes, I do. OWENS: Allan was writing those when Scott and Chris, our kids, were

Goldie Hawn and Golden Advice (top) Gary and Laugh-In alumnus Goldie Hawn, and (bottom) words of wisdom in an Owens autograph. 6 2

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

small and they said, “Dad, this is really silly. Maybe you should have the guy who wrote this on Laugh-In.” So I said, “That is funny!” So I went over to [Laugh-In producer] George Schlatter’s office and I said, “George, I don’t know who this is, but perhaps one of your secretaries could find out.” We found out he was a writer for commercials in Chicago and George sent him out to L.A. from Chicago. He became a regular writer on Laugh-In and that’s how he got his job on the west coast. He later became a top TV producer. And so I’m very proud that I helped start so many people in the business. SCOTT: You’ve been very influential to a lot of people over the years. OWENS: Well, you know, when I spot talent, I’ve always been pretty good at it and they’ve always done well. Kevin Spacey told me that he auditioned when I was hosting The Gong Show—I was the original host of The Gong Show before Chuck Barris bought it. Spacey auditioned as a contestant and didn’t get chosen for it. [laughs] He was doing a disk jockey routine for television. And Mare Winningham, she got on The Gong Show and did win. And Mare Winningham and Kevin Spacey, of course, both won Academy Awards. [Editor’s note: Actually, Mare Winningham has won two Emmys. She was nominated for an Oscar in 1996 but did not win.] They auditioned for The Gong Show. Isn’t that funny? SCOTT: Yeah. [chuckles] Let’s talk about some of the cartoon series you’ve worked on during what we call the BACK ISSUE period, starting around, say, 1969 or so. OWENS: Perils of Penelope Pitstop was one that I narrated. With Janet Waldo, and Paul Lynde was the villain … Mel Blanc, Paul Winchell, so many great folks on that. SCOTT: I used to watch that and Wacky Races. I was so sold on Wacky Races. OWENS: Oh, sure. That was great. And, well, [I did] Yogi’s Space Race, Scooby’s All Star Laff-A-Lympics, all of those. SCOTT: You narrated Space Race, but were the Blue Falcon on Laff-A-Lympics. You first did Radley Crowne, the Blue Falcon, for The Scooby-Doo/ Dynomutt Hour in 1976. OWENS: Oh, sure. I was Blue Falcon in all of those, with Frank Welker, who played Dynomutt. And by the way, Frank Welker’s going to be the new Garfield [in the direct-to-DVD film, Garfield’s Fun Fest.] SCOTT: Oh, really? OWENS: Uh-huh. You know, Lorenzo Music [the original voice of Garfield] was a dear friend of mine. I was the announcer on Garfield and Friends for eight years. SCOTT: With Mark Evanier? OWENS: Yeah, Mark is a long-time friend of mine and he wrote every episode and produced every episode, with Jim Davis. SCOTT: I definitely remember Lorenzo Music, and I remember him being the doorman on Rhoda. OWENS: He was Carlton. He used to play the same character on my radio show, Carlton the Doorman. SCOTT: So you’re friends with Mark Evanier. OWENS: Oh, sure. Mark knows the business very well. He’s a historian. SCOTT: He’s been successful in both Hollywood and in comic books. OWENS: You know, Mark has been around for a long time, but he knows what happened long before he ever started anything. And he dates Walt Kelly’s daughter, you know.

SCOTT: I didn’t know that. OWENS: Yep, the daughter of Walt Kelly, the creator of Pogo. Yeah, that’s his girlfriend. SCOTT: There’s one name you haven’t mentioned that I’d like to talk about, Hans Conried. OWENS: Oh, sure! He was a dear friend. He used to record with Mel Blanc and myself. SCOTT: I figured you had to have some contact with him because of Jay Ward. OWENS: Well, he narrated Fractured Flickers. Fractured Flickers was primarily written by Allan Burns. And Allan and George Atkins were the guys in charge of writing all the Jay Ward promotional things and they were sent to every radio and TV station in America at that time and every newspaper. Like, “The Jay Ward Traveling Circus,” and they would add things like, “Amos Mongo and His Tricycle, riding from coast-to-coast.” And Allan and George Atkins were the guys who created all of that funny stuff for Jay Ward and Bill Scott. Do you know how Jay Ward started? SCOTT: No, I don’t. OWENS: He was a real estate man in Berkeley, California, and he and Oscar Anderson were friends. Oscar Anderson is the one who created the drawing of Bullwinkle. Bullwinkle was named after a used car dealer in Berkeley, California, and one day, Jay is in his office, selling real estate. He hadn’t gone into TV yet at all. And he sat behind his desk and a truck

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Blue Falcon and Dynomutt Gary Owens voiced the cowlclad crusader Blue Falcon, the superhero sidekick to the robotic crimecrushing canine Dynomutt. Commissioned illustration courtesy of its artist, Andy Smith (www.andysmithart.com). © 2008 Hanna-Barbera Productions.

•

B A C K

I S S U E

•

6 3

careened out of control, went down a long hill, smashed through the front door, and broke both of Jay’s legs. He sued the trucking company for millions of dollars. That’s how they made the money to start Crusader Rabbit. And later, Rocky and Bullwinkle. SCOTT: Oh, wow, what a story! Crusader Rabbit is something that I’ve never had the chance to see. I’ve always wanted to. Television cartoons really don’t go back much further than that. [Editor’s note: Crusader Rabbit ran on television, off and on, from 1949 through the end of the 1950s.] OWENS: No, they really don’t. Well, they do, you know, not for TV, certainly. But the old Walt Disney and Terrytoons and Walter Lantz things went back to movies, then switched to cartoons on TV. SCOTT: Crusader Rabbit was one of those early cartoons made for TV, like Hanna-Barbera’s Ruff ’n’ Reddy. For some reason, Crusader Rabbit never quite got rerun or heavily syndicated. OWENS: Of course, it was not primitive, it was funny at that time. But it didn’t become the hip thing that Rocky and Bullwinkle did. SCOTT: Recently, Adult Swim on Cartoon Network has been airing old Astro Boys. OWENS: Oh, yes. Right. SCOTT: I like running across any of the older stuff whenever I get the opportunity, because it gets shown so infrequently. They figure people don’t want to see it because it’s the old black-and-white stuff. OWENS: Oh, you know, I watch the Turner channel, Turner Classic Movies. When I went into the Broadcasting Hall of Fame a few years ago with Ted Turner and Larry King, I had a nice chat with Ted Turner, when he was married to Jane Fonda. And I said, “You know, the greatest thing in the world that you did, in addition to creating the all-TV news thing”—because I was with Gordon McLendon back in the ’50s he created the first all-news radio station—“was buying all these movie classics. It’s so great because even though most of them are black-andwhite film noir, they’re fantastic. If there’s anything bad that’s on regular TV, I always switch over to Turner Classic Movies.” SCOTT: I understand you’re also a cartoonist. OWENS: When I was 14 years old, I won an art scholarship. The man who gave me my first art scholarship was Charles Schulz. SCOTT: Oh, wow! OWENS: He was in Minneapolis and I was in South Dakota and he was the man giving scholarships to Art Instruction, Incorporated in Minneapolis, Minnesota, and I won. You know, “Draw me,” and “Draw this pirate,” “Draw this turtle,” those kind of things. SCOTT: Right. I had done that myself, to tell you the truth. [chuckles] OWENS: Well, you would know all about that, then. And that’s where I first heard from Charles Schultz. Later, in San Francisco, I was a member of the Northern California Cartoonists Association. And all the top cartoonists up there [were members], and Charles—“Sparky,” as he liked to be called—was a member up there. And then, of course, I was a member of the National Cartoonist Society and I would see him there, too. So all of my heroes I had when I was a kid, a little kid, I’ve gotten to know. And that was a thrill for me because I drew cartoons up until I was about … oh, I don’t know … 18 years old. And I still do occasionally—I drew you a couple of Space Ghosts. SCOTT: Thank you. My editor was kind of ecstatic to find out about that. [Editor’s note: How ecstatic? See page 67 … after all, how often do you get to see Gary Owens original art?] OWENS: [Space Ghost designer] Alex Toth was a dear friend of mine, and he just passed away this last year. He was, at times, cranky, a cranky person, but he was always nice to me. He gave me quite a few cartoons that he had done.

6 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

[Toth friend and animator] Darrell McNeil is a good friend of mine. I had Steve Rude and Darrell over to our house for a little party that we had one day, some years ago. Steve, of course, just loves Space Ghost. Those are marvelous cartoons, and of course, it was great working with the whole cast. You know, Don Messick played the part of Blip, Tim Matheson played the part of Jace, and Ginny Tyler was Jan on the show. SCOTT: And then you had more than a few other people there, like Ted Cassidy, who was the villain Metallus. OWENS: He was a dear friend. As a matter of fact, Ted, at one time, was our all-night disk jockey at KNBC in Hollywood. He had that great voice of his and, of course, was a marvelous actor, like McKenna’s Gold and so many motion pictures like that. [Editor’s note: Plus Lurch on TV’s The Addams Family, Black Manta and Brainiac on Super Friends, and the Thing on the 1978 Fantastic Four cartoon!] SCOTT: Keye Luke from Kung Fu. I rather liked him as Brak. OWENS: He was great, yes. SCOTT: You could probably answer this one for me because I’ve been trying to find out information for this for some time: Did Johnny Carson of The Tonight Show work on Space Ghost? OWENS: No, that was a different person named Johnny Carson. SCOTT: That’s what I thought, but I’ve heard conflicting reports about that and I’ve always wanted to clear that one up. OWENS: To my knowledge, I don’t think Johnny Carson, the Tonight Show host, did any cartoons. I was guesting on The Tonight Show with Johnny Carson and I asked him that same question. I said, “I was reading the [Space Ghost] credits the other day and Johnny Carson’s name popped up. Now, because we didn’t always do the show at the same time other people would come in, I wasn’t sure.” He said, “No, no, that’s a young man, but I’ve got to have him put a ‘W’ or something in

his name,” because you’re not allowed to have the same name, even if it is your name. That’s a Screen Actors Guild and AFTRA Union rule. It’s like Stewart Granger was really Jimmy Stewart, but he couldn’t use the name because there was a Jimmy Stewart that established in the business. If you’re in the business, already established, no one is allowed to have the same name, even if it is their real name. Tim Conway is not his real name. Tom Conway was his real name, but there was already a star named Tom Conway so he changed it to Tim when he came to Hollywood. SCOTT: [chuckles] Space Ghost returned to Saturday morning TV in 1981 in a show called Space Stars. Most of the cast was the same, but there were two different people playing Jan and Jace in that series. OWENS: I don’t even remember that. I mean, I remember the series, but I don’t remember who they had playing [those characters]. SCOTT: They had Alexandra Stewart and Steve J. Spears. OWENS: You know, I don’t know. I must have recorded my part at a different time because I don’t remember anyone else other than Ginny Tyler and Tim Matheson playing it. SCOTT: Don Messick was on the show, but he was playing other characters. He was still playing Gloop and Gleep from The Herculoids, but he didn’t play Blip. They had Frank Welker playing Blip. OWENS: Well, Frank can do almost any voice. You know, he could do any voice in Hollywood. He was a stand-up comic when he started doing cartoons and also a big TV director from Denver. I think he didn’t do any TV directing in Hollywood, but he certainly was an actor for Disney. But he’s one of the truly great impressionists of all time. SCOTT: So how did you originally get cast as Space Ghost back in 1966? OWENS: Joe Barbera and Bill Hanna, and Fred Silverman, the president of CBS at that time, were the ones who chose me as Space Ghost. I had been doing nearly all the promos for every Hanna-Barbera show, from Jonny Quest to you-name-it, The Herculoids, all of those things. And then Joe called me one day and he said, “You know, Fred and Bill and I were talking and because of your marvelous projection on every adventure show that we have, we’d like for you to be the Space Ghost character.” And I said, “Well, thank you. I’d love to do it.” And that’s how I got the job. I didn’t have to audition for it or anything. SCOTT: It just kind of happened. OWENS: Yeah. But I was already working for Hanna-Barbera at that time. I did Space Ghost from 1966 to 1994 [off and on, through different incarnations], so that was a nice, wonderful run on a cartoon. But a lot of the cartoons, most of the cartoons that I’ve done, have lasted about eight years: Bobby’s World with Howie Mandel, that lasted for eight years. Eek the Cat that I did with Savage Steve Holland was eight years. SCOTT: And you’ve done Disney work. OWENS: I did cartoons for Walt Disney himself. Walt directed two of them in the early ’60s when I came to Hollywood. I went in to narrate a reconstruction of “Casey at the Bat” that had been done by Jerry Colonna. Jerry was a regular on The Bob Hope Show. [in his announcer’s voice] “And the mighty Casey has struck out!” Anyway, I came in to narrate those two. Now, I didn’t know who the director’s going to be, because it was the first time I was at Disney in the giant buildings there on Buena Vista Avenue in Burbank. I’d just started working at KNBC Hollywood which was owned by Gene Autry, the great singing cowboy. And you’re familiar with Gene, I’m sure. Gene, of course, owned a station in Portland, KEX in Portland, Oregon, where you live. SCOTT: No kidding! Portland’s also where Mel Blanc got his start. OWENS: Sure, and also KVI Seattle, KSFO San Francisco, KOOL Phoenix, KNBC Hollywood. And our offices were right on Sunset Boulevard between Bronson Street and Van Nuys Avenue, and that’s where Charles

Ghost Planet or Bust (top) Sculpted by and signed to Ruben Procopio, a Space Ghost bust. (bottom) Alex Toth rarely drew Space Ghost after his show designs, so this specialty illo is quite a treat. © 2008 Hanna-Barbera Productions.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

6 5

Bronson got his name. One day, he and his agent were driving along Sunset Boulevard. His real name was Charles Buchinsky and he had done several movies under that name, but they felt it wasn’t “Hollywood” enough. So his agent looked up at the sign where they’re double-parked at this point on Sunset Boulevard and said, “Okay, it’s going to be ‘Bronson’ from now on.” Charles Buchinsky became “Charles Bronson.” And anyway, so Walt Disney comes down the hall and the engineer says, [whispers] “My God, Mr. Disney’s coming! Clean it up in here.” The guys were reading the newspapers on a giant desk in the studio where I was about to record and they’re all getting it ready. Well, one of the giant doors are about a foot and a half thick at Disney Studios because they were built in the ’30s and ’40s there. And I’m standing there, and I’ve got my hand against the wall, and one of the engineers from the other room doesn’t know that I’m there, opens the door quickly because they’re trying to clean it up for Mr. Disney to be there, and slams my finger in the door. SCOTT: Oh, no! OWENS: He didn’t mean to. He didn’t even see me there, but a door that’s a foot and a half thick is not much of a battle with a finger, a little finger. So anyway, it smashed my finger and I’m bleeding. And Walt comes in and he says, “Gary, we’ve never met. I’m Walt Disney. I know your boss, Gene Autry, quite well. He and Art Linkletter put money into Disneyland with me.” And I said, “Well, Mr. Disney, my God, you’re my biggest idol in the world, but I can’t shake your hand because I’m bleeding right now.” He said, “Well, you are.” He phoned, got on the phone. Within two minutes, a nurse on the lot is there, puts a splint on my finger, and it stops bleeding. I had this big bandage on my finger, then I’ve got to narrate two cartoons for Walt Disney. “Are you sure you’re all right, Gary?” [weakly] “Yes, Mr. Disney, I’m just fine. [in announcer’s voice] ‘Today, Goofy goes fishing.’” [chuckles] So anyway, I got to know him quite well later. He always would ask me, “How’s your finger?” And his daughters used to listen to my radio show all the time. Sharon and Diane Disney, they were regular fans.

Live, from Beautiful Downtown San Diego Gary Owens (center) at the 1982 San Diego Comic Con (today called ComicCon International). At left, with his hand in front of his face, is Denis Kitchen. Photo by Alan Light.

6 6

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

See, when [Walt] passed away, if you’re a giant legend in Hollywood, you can’t get a star next to a legend unless the family says it’s okay. So when I got my star between Walt Disney and Betty White, the Disney family was asked by the Hollywood Chamber of Commerce, “Is it fine?” And they both said, “Yes, we’d love to have Gary next to our father’s star.” So my star is at 6743 Hollywood Boulevard between Walt Disney and Betty White. SCOTT: I’m going to have to hunt that down. OWENS: Yeah, it’s right on Hollywood Boulevard there. And it’s a couple blocks from the Kodak Theater. SCOTT: There are a couple other programs that you had some involvement with that I wanted to ask about. One of them is a bit on the obscure side. It was The Mighty Orbots. OWENS: Oh, yeah. That was then changed to another title. I can’t remember what it was. Yeah, I was the narrator for that. SCOTT: On the Super Mario Brothers Super Show, you were Willie White. OWENS: Yes, I did that. My gosh, you’ve got a better catalog of things than I have! [laughs] SCOTT: You’ve done some movies as well. OWENS: I’ve been in 26 movies over the years and that’s always been fun. And I’ve got a new one coming out with Jonathan Winters, Robin Williams, Howie Mandel, Rob Reiner, Jimmy Kimmel, Sarah Silverman—oh, my gosh, there’s Tim Conway—and Robert Klein, a whole bunch of people. We all play ourselves in it. It’s a phony documentary coming out called Certifiably Jonathan. SCOTT: Then that’s kind of along the same lines as Comic Book: The Movie? [Editor’s note: Comic Book: The Movie was director “Donald Swan’s” (played by Mark Hamill) celebrity-laced 2004 “mockumentary” that took place at a comics convention.] OWENS: Yeah, pretty much so. But there’s not that much of a story. Comic Book: The Movie had a little bit more of a story to it, but this is about Jonathan losing his sense of humor as a painter. He’s a marvelous artist, you know. Georgia Frontiere, who just died recently, who owned the St. Louis Rams—she inherited it from Carroll Rosenbloom—she was a neighbor in Malibu of Jonathan Winters, years ago, and they became very good friends. And about three, four years ago, she bought 25 of Jonathan’s paintings for $25,000 per painting. They were in the St. Louis arena on display. So Jonny, that was enough money to buy a new sandwich, if you wanted to. [laughter] SCOTT: One would hope. OWENS: With a pickle, with a pickle, too. [laughter] SCOTT: Oh, boy. That’s hysterical. You know, I just owe Mark Hamill a big thank you, because through Comic Book: The Movie, I managed to get in contact with you. You and Jack Kirby were probably the two people that I most wanted to meet in the world because of the influence that you have imparted on me. OWENS: Richard, that is so nice. Well, you know, Jack Kirby was a friend of ours, because David Folkman was a very close friend. David is with CAPS, the Cartoon Society in Hollywood, and a very close friend with the Kirbys, and we used to have dinner together. [Editor’s note: For more about CAPS—the Comic Art Professional Society—see Michael Aushenker’s photo-packed article in BACK ISSUE #24.] And I just loved everything he ever did. Captain America was one of my favorite comics when I was a kid … Captain Marvel and Captain America.

SCOTT: Oh, yeah. OWENS: I was the MC for the newsreels for Superbman, for Fox Television. It was actually Metromedia at that time, when the movie Superman by the Salkinds came out. [Editor’s note: Superbman: The Other Movie was a 1981 parody short film featuring among its cast original Saturday morning serial Superman Kirk Alyn as “Pa Cant” and Bob Burns reprising his The Ghost Busters (from CBS-TV, 1975) role of Tracy the Gorilla.] And among the people that I interviewed there, and became pretty good friends with—and of course, right now, Mark Evanier is writing a whole book about the whole thing—were Jerry Siegel and Joe Shuster. I interviewed them at that time and helped them get a lifetime salary because they had never gotten one from DC. SCOTT: Right, I remember Neal Adams being involved with that, too. OWENS: Ray Bradbury and I were involved in it, quite a few people were. You know, one was going blind [Shuster], the other [Siegel] was working at the Post Office, and it was difficult for them. And they were only 19 [when they sold the Superman rights], so they didn’t know about business. And they were not in New York, they were in Cleveland, Ohio. And you know, it takes until you’re about forty before you know what business is about. That’s just the nature of it, and especially if you’re in the entertainment business or in the cartoon business or the writing business. It’s a whole lifetime of learning for everyone.

Gary Owens, Cartoonist

SCOTT: Well, you’ve no doubt learned a lot in your fortunate, incredible career. OWENS: Well, I’ve never had a real job, other than entertainment. Even working for my uncle who owned a newspaper back in the Midwest—I used to draw cartoons for him when I was ten years old. And I would draw gag cartoons and that’s how I got into radio and TV. Cartoons have been a major part of my life. Not only as a little kid, but as an adult, and I’m glad to be part of it because everybody’s been very, very nice to me. There’s so many wonderful people in the industry. SCOTT: People, myself included, feel a great amount of gratitude for what you’ve done. OWENS: Thank you, Richard, and thank you for doing an article on me as part of the theme for the magazine, for BACK ISSUE magazine. It’s a great magazine. I enjoy it very much.

Writer and comic artist RICHARD A. SCOTT is currently writing for three TwoMorrows publications, has several comics projects currently in development, and has assisted Andy Mangels with past endeavors. Richard is a major Space Ghost fan, having provided several pieces from his personal collection for this interview. Visit his website at wavecable.com/~richardascott/.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

6 7

Costumed crimefighters’ stocks soared in the 1960s, and by 1966 the imagination put forth by the Schwartz/Infantino “New Look” Batman and the Marvel superheroes spilled countrywide, from Broadway’s Superman musical to Hollywood TV shows like Batman and The Green Hornet … and the Saturday morning (Hanna-Barbera, to be specific) spaced-out offering, Space Ghost. Guardians of the galaxy on TV and film weren’t new, but SG was very different. He wore a dark executioner’s mask, just barely outlined with a lighter blue or white aura. He fought with large power bands that were wrapped around his forearms, and his mostly white (think ghostly) outfit came with a flowing cape that looked almost shapeless or ragged (think torn drapes in a haunted house) when he flew into action. Space Ghost was a big hit and his success paved the way for other H-B superheroes to come. The magic of the character was caught again by Comico the Comic Company in a one-shot in December of 1987. It was a beautifully realized comic book in all aspects—the coloring made each panel look like an animation cel, the writing exquisitely captured the show’s flavor, and its wonderful artwork by Steve “the Dude” Rude was everything a fan of the show (which I can wistfully claim to be) could ask for. Editor Diana Schutz did a great job rounding up the talents involved. Mark Evanier handled the writing and Ken Steacy did the coloring, and penciling the project (with inks by Willie Blyberg) was the realization of a childhood dream for Rude. – Jerry Boyd JERRY BOYD: Steve, you were a kid when Space Ghost began on CBS-TV in the fall of 1966. Why did he become your favorite character in the Hanna-Barbera World of Super Adventure pantheon? STEVE RUDE: Trying to explain “cool” is sometimes a useless exercise, but it was the animation, working along with the character voices, great sound effects, and music, that formed my total impression. They had a little over six minutes to wrap up an episode, and every second had to count. Especially since that’s how animation was done, in terms of frame-by-frame action. BOYD: The H-B staffers seemed to really grasp what made the Marvel and DC superheroes so cool in the mid-’60s. Did you ever try to sketch the various characters, their outfits, and mechanical devices as you watched the cartoons on TV? RUDE: Actually, I did try and draw when the TV was on, or maybe after the show was over and then try and draw what I remembered. It was a challenge that I tried many times, certainly 15 years later, and still do today. But regarding the staffers, I don’t know what makes a certain generation “get” anything. I just know that if they didn’t, the show would have no lasting appeal beyond [our] childhood. When I would ask any of these men, many of whom were still active when I visited the H-B Studios in the ’80s, [about this,] they would simply say, “Hey, it was just a job, kid.”

Co-meeee-ko! The as-seen-on-TV cover to Comico’s Space Ghost one-shot.

6 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

Jerry Boyd

condu cted via e-mail on Decem ber 3 and 12, 2007

H e r o e s

I s s u e

Beginnings: Nexus (1981)

Milestones: Nexus / Jonny Quest / Space Ghost / World’s Finest / Superman vs. the Incredible Hulk / X-Men: Children of the Atom / Legends of the DC Universe (Superman’s Pal, Jimmy Olsen) / Spider-Man: Lifeline / The Moth / Nexus the Animated Promo / the book Steve Rude: Artist in Motion (Flesk Publications) / multiple Eisner, Kirby, and other industry awards

Works in Progress: The Moth / Nexus / Amazing Dude Tales

Cyberspace: www.steverude.com www.rudedudeproductions.com

STEVE RUDE BOYD: Gold Key put out a short-lived TV superheroes title in the late ’60s featuring the H-B heroes. There was a Space Ghost one-shot, as well. Did you buy any of these? Any lasting impressions? RUDE: Well, I remember at the time being really disappointed. Everything was off-model: the ship, the main characters, the villains, everything. The stories were not what the TV show was. Space Ghost himself was drawn very “round” and soft. The edge had been taken off him. I was very excited when I bought it, however. Comics were then such a new and exciting thing for me. BOYD: What events led up to the Comico Space Ghost one-shot in 1987? Were the company’s editors always interested in you doing the art, or did Alex Toth’s name ever come up? RUDE: The Comico people and I were always close, and when they got the licensing permission, they called. I really doubt if Alex’s name ever came up. Even back then he was known as the curmudgeon that might start something but never finish it. BOYD: Did you ever talk to Alex Toth about Space Ghost? If so, did he ever give you any advice about the designs or animation in general? RUDE: The first time I ever called Alex was around ’83 or so. I hadn’t heard anything about his reputation— I was just glad to finally have a name for the guy who designed Space Ghost. So I called him up, told him he was a genius, and went into how Space Ghost had affected me. He was very gracious and flattered. As we talked, he replied that he didn’t really like Space Ghost—too many compromises—but remembered a show I’d never heard of—Space Angel—much more fondly. In hindsight, it was easy to understand,

No “Coast to Coast” Here

since Space Angel didn’t have as many meddling hands to dilute his vision. BOYD: Mark Evanier’s Space Ghost story, “The Sinister Spectre,” got a lot in! Anything you would’ve added or taken out? RUDE: By the time the story was finally worked out, it was complete. But I remember it took Mark several turns at the script to satisfy me. Typical me. BOYD: Every panel looked like an animation cel. It was truly a beautiful comic. Ken Steacy did the coloring. Were you pleased with his work or did you wish you’d done the coloring yourself? RUDE: It is breathtaking to see how Ken had rendered the coloring, which he painted directly on the original art. No overlays or blue lines or any of that. He’s got a technical ability to render and understand color that was simply exceptional. When the originals came back, they were a sight to behold. We all owe a lot to Ken. BOYD: You couldn’t help reading this terrific comic and hoping for additional one-shots with Birdman, the Herculoids, Mighty Mightor, etc. Did Comico ever approach you and Mark about projects in that vein? RUDE: No, I believe that Space Ghost was the only book that was ever really discussed. BOYD: In BACK ISSUE #2, Michael Eury wrote about the aborted Space Ghost sequel, guest-starring the Herculoids. Any plans on the backburner concerning getting that book done one day? RUDE: Space Ghost #2 remains an aborted project. With me up and starting Rude Dude Productions, I’ll just be focusing on Nexus, The Moth, and Amazing Dude Tales. S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

6 9

STEVE RUDE HANNA-BARBERA GALLERY

7 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

THE FORGOTTEN TV SPACE HERO

by Jerry Boyd

come quickly to mind. Do you think Space Ghost is ready for the bigscreen treatment—either live-action or animation? RUDE: I doubt it. If it was ever revived, the style of drawing and animating would be something out of vogue in this day and age, and a story that was meant to fit a six-minute time slot would have to be expanded to at least 90 minutes. Very few people could pull it off successfully, and probably no one to my high expectations. Special thanks go out to Steve Rude and Darrell McNeil for their comments, John Fleskes for his help, and to the Dude again, for allowing us use of his outstanding convention sketches.

JERRY BOYD (right) is a professional school teacher in the Los Angeles area. He has written numerous articles for The Jack Kirby Collector, BACK ISSUE, Alter Ego, and The Harveyville Fun Times. He is currently contributing articles and research to the forthcoming Spooky: The Best of the Warren Fanzine, a British book on romance comics, and a documentary on Stan Lee. In addition, he's written parts of the Flesk Publications book, Steve Rude: An Artist in Motion.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

BOYD: As a reader, I was very pleased that you and Mark Evanier didn’t take SG into the “grim and gritty” mold so popular at the time. Was that ever discussed, or did you always know it’d be an expanded SG cartoon on paper? RUDE: Thanks, but no “grim and gritty” for me! Our version of Space Ghost was always done with the original show in mind. In my head the whole story moved like it was taken from a TV episode. I could see it move, [and] hear all the music and sound effects as I drew it. It stayed an obsession for many months. BOYD: You lived in the L.A. area for a few years. Were there ever any opportunities to meet Mr. Bill Hanna, Mr. Joe Barbera, or the voice of Space Ghost, Mr. Gary Owens? RUDE: I ended up meeting Gary Owens first, thanks to Mark Evanier, and eventually I met Joe Barbera, [with] both Joe and Gary still looking amazingly young. Joe must’ve been the youngest-looking 80-year-old I’ve ever met. Both were incredibly nice and honest people. Meeting them enriched my life. BOYD: In the early ’90s, you did a gorgeous Herculoids cover [see BACK ISSUE #2] for Cartoon Network Presents #17. Were you offered interior work for that issue? RUDE: I was happy to help out with covers. I was offered interior work for some of those books, but I tried to pass that onto other friends in need of work. I’m pretty sure I was doing my work for Marvel at the time those offers came in. BOYD: Superheroes have taken over the movies and still make considerable waves on television: Smallville, Heroes, etc. And other Saturday morning superpowered superstars have made the transition from television to comics and onto the big screen: Underdog, Bullwinkle and Rocky, Dudley Do-Right, and George of the Jungle

During this interview, Steve Rude mentioned that Alex Toth had fond recollections of an earlier effort, Space Angel. He was not alone. As a toddler in the early to mid-’60s, I saw Space Angel, and the impressive fusion of its blaring music score, character designs, and voices made it quite habit-forming. SA was usually decked out in a white space suit, an eyepatch, and a helmet with his rocketship’s emblem on it. No superpowers had he, but he had the kind of likable cockiness that screen legends like Tyrone Power and Errol Flynn emoted with ease, and that probably endeared him to (Errol Flynn fan) Toth all the more. The animation itself wasn’t a strong point, and the mouths of the characters were red slits that moved realistically in faces that rarely changed expression from second to second, but you could really get a grasp of Toth’s layout designs, line work, and shading from these episodes that relied heavily on his art. Space Angel hasn’t made a DVD debut yet, but this mostly forgotten (yet still of vital interest to Toth fans!) hero’s adventures can be found on a VHS tape distributed in the ’80s. So for those of you who enjoy animated space outings, try shopping in cyberspace to find this space-hero rarity.

B A C K

I S S U E

•

7 1

HAVING FUN AT YOUR EXPENSE CREATING CUSTOM COMMISSIONED ARTWORK! WRITE TODAY FOR EXCITING AFFORDABLE OPTIONS! ken@kenspublishing.com

C HARAC TERS © 2 008 BY THEIR RE SP EC T I V E OW N E RS

B&W OR COLOUR SKETCHES!

ORIGINAL PAINTINGS!

COVER RECREATIONS!

Though now it can be told in hindsight, Astro Boy is generally considered the basis of all Japanese anime. At the time of its creation (1951), Astro Boy originated as an early post-war manga called Tetsuwan Atumo (or Mighty Atom) by creator Osamu Tezuka (1928–1989), who also created the popular Kimba, the White Lion. Tezuka is now considered the “God of Manga” by many fans. The character of Astro Boy was a robot creation of Doctor Tenma (a.k.a. Dr. Boynton), designed to be a replacement for Tenma’s late son, Tobio. Astro Boy was later abandoned at a robot circus and adopted by Professor Ochanomizu. A robot family was soon created for Astro Boy, and the heroic Astro Boy was enlisted to resolve conflicts on Earth and in space using his superstrength and jet-powered ability to fly. An animated version of Astro Boy was produced by Mushi Productions and premiered on Japan’s Fuji TV on January 1, 1963, lasting four seasons and 193 episodes. Three of those episodes were compiled into a 1964 feature film called Hero of Space. One hundred and four of those episodes aired in America premiering in syndication on September 7, 1963. Those and the remaining 89 episodes have since aired on American television or have appeared on VHS or DVD. These American airings predated all other Japanese animated shows including Speed Racer, Kimba, and Gigantor, the latter being another Japanese anime series of the same vintage as Astro Boy, and also in black-and-white.

Mark Arnold

ASTRO BOY SPUTTERS THROUGH SILVER AGE COMICS In the 1950s and ’60s, Dell Comics and later Gold Key Comics seemingly snapped up the licenses to virtually every animated property, which were originally produced as theatrical shorts, and turned them into comic-book series. Disney, Warner Bros., Walter Lantz, and MGM had very successful Dell and Gold Key runs (with both lines produced by Western Publishing).

Rock ’Em Sock ’Em Robots That likable Astro Boy wallops a mechanical man in this commissioned illustration by Ken Steacy (www.kenspublishing.com), who kindly contributed it to BACK ISSUE. © Tezuka Productions.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

7 3

When animation switched from movie theaters to television, properties from Hanna-Barbera, Jay Ward, and various other series made for television had success at Western Publishing. Amazingly, the entire US output of Astro Boy comic books from its inception to the 1980s’ NOW Comics series was a grand total of two, and one of those was a giveaway. It is unknown whether the Gold Key issue of Astro Boy was a success, as Gold Key produced quite a number of one-shots over the years, particularly as part of the Four Color series. What is known is that this single “try-out” issue was released with an August 1965 cover date and is now listed as “scarce” in the Overstreet Comic Book Price Guide. This may be due to it not being a tremendous seller and the remainder copies being destroyed at the time, or perhaps due to the fact that Astro Boy never really achieved the same popularity as other contemporary television cartoons of that vintage. I am a child of the 1970s. Astro Boy was never to be seen on my television, almost entirely due to the original series being in black-and-white. Times had changed, and except for old I Love Lucy reruns, or Three Stooges shorts, black-and-white television shows were rarely seen or wiped from the tube.

Rare Robot Sighting The scarce Astro Boy #1 (Aug. 1965), published by Gold Key Comics. © Tezuka Productions.

7 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Other Japanese anime such as Speed Racer and Kimba, the White Lion were shown frequently, and it was most assuredly due to the fact that these series were produced in color over than whether they were better or worse than Astro Boy. As the Astro Boy comic book appeared almost precisely when the majority of network television switched from black-and-white to color, this probably did have an impact of sorts on the sales of the comic book. Gold Key made only one more attempt with Astro Boy before abandoning the license: March of Comics #285 (circa late 1965, early 1966). Both this and the one-shot are now highly sought after. In fact, #285 is the highest-valued March of Comics issue, eclipsed only by the earliest three or four issues and those featuring Donald Duck by Carl Barks. Issue #285 is worth on average ten times as much as other March of Comics issues produced the same year. Gold Key let the Astro Boy license go at this point, and a telling statement of its lack of fondness for the Japanese product shows no comic books attempted of the aforementioned Speed Racer, Kimba, or even Gigantor.

ASTRO BOY’S TIME IS NOW Fast-forward twenty years. A young entrepreneurial comic-book publisher by the name of Tony Caputo started a company called NOW Comics, designed to be a major player amongst the likes of Marvel and DC. By this time in 1987, the comic-book industry had changed dramatically. Publishers Gold Key, Harvey (Casper the Friendly Ghost and his pals), Charlton (which followed Gold Key/Western as comics’ number-one source for cartoon-inspired comics), and Fawcett (Dennis the Menace) were gone, or just a shadow of what they once were and virtually gone. Marvel and DC were still the major players. Dark Horse had not quite yet risen to prominence and others such as Pacific, Eclipse, and many other independents came and went faster than you can say their company names. Caputo has this to say when asked about the origins of NOW Comics: “That’s a long story in a different time, when NOW Comics sold 1,100,000 copies in comic shops and newsstands every month. Nowadays, it’s different. Truthfully, I started NOW Comics when I was 23 years old because I wanted to be more creative, potentially get rich, and more importantly, change the country’s concept of ‘the dummy’s literature.’ Comics were up and coming in the 1980s, but most of the real world didn’t know they were still published. That’s why I wanted to do more mainstream intellectual properties and not limit my audience to superhero readers and collectors, which Marvel and DC owned and still own.” Though NOW Comics published much more than what would eventually be called The Original Astro Boy, it was one of a few series that helped get NOW on the map (the others being titles such as Ralph Snart Adventures, Syphons, and Speed Racer), and this was strong enough to get a listing of “NOW Comics” placed on later versions of the old familiar circular comic-book spinrack placard that traditionally stated “Hey Kids—Comics!” Caputo got involved with The Original Astro Boy series in the following way: “I called the name of the company that was listed as owner on the original Astro Boy cartoons—Suzuki & Associates out of Japan. Lots of late night calls, as they were on the other side of the world in the pre-digital age of 1985.

Fumio Suzuki [the chairman] met me at O’Hare [International Airport] while traveling through the USA and we struck a deal. He didn’t tell me he was in a legal battle with Dr. Osamu Tezuka for the rights.” Once the licensing was establishing, Caputo proceeded to hire artist and sometimes writer Ken Steacy to illustrate the series. “I was contacted by Tony Caputo at NOW Comics early in ’87 about my possible involvement, and jumped at the chance,” says Steacy of his initial involvement. “I was already a big manga/anime fan, which had been reinforced by the recent broadcast (in French!) of the new color version of Astro Boy that I watched with my two boys.” Steacy was a good choice to headline the new series because of his background. He explains, “I decided when I was 11 years old that I wanted to write and draw comic books when I grew up (thanks to Jolly Jack and Smilin’ Stan!) and was blessed with parents who never discouraged such an atypical career path for an Air Force brat!” With Steacy at the artistic helm, The Original Astro Boy series debuted with a September 1987 issue, Caputo also proceeded with a Speed Racer comic-book series, which sported a July 1987 cover date. Caputo explains his love for anime: “Japanese animation as it was called back then—before anyone knew what anime was—was just getting popular so I tried finding [the rights to] Speed Racer and Astro Boy, which I watched as a youth and I believed were the two most popular Japanese cartoons in America because of the loads of airtime from 1968–1981.” Ken Steacy only illustrated the first seven issues of The Original Astro Boy, and then Steacy became a writer for the next ten issues through #17 (Mar. 1989). Steacy comments on the change: “I honestly don’t recall the circumstances, but again, when the opportunity to write as well was presented I was all over it. I recall writing a synopsis for each of the next half-dozen issues, and an outline of potential stories beyond that, too.” Caputo explains why Steacy was added as writer and why The Original Astro Boy series wasn’t as successful as it could or should have been: “[It was] not [a] very successful [series]—too clean for kids who enjoyed Slimer [from Ghostbusters, a series also published by NOW], but the main reason it was a poor seller was the [original] writer I chose. He decided to take eight issues to tell the origin—which would have worked out well as a manga or a graphic novel, but not good for a serial periodical.” Although The Overstreet Comic Book Price Guide states that Steacy contributed to all 20 issues, Steacy’s involvement actually ended with #17 (Mar. 1989). Steacy explains why he left the series at this point: “My workload had increased dramatically (I was painting a lot of covers back in the day), and I was unable to keep up with the rigors of a monthly book, so I had to let it go—regretfully!”

The main storyline for the first eight issues of the NOW series was a new, detailed explanation of Astro Boy’s origins. The origin explains how Astro Boy was created and how he developed his powers, establishes Astro Boy’s friends and enemies, explains why the military are so keenly interested in Astro Boy, and shows Astro Boy joining the circus and engaging in his first robot and creature battles. Beginning in issue #9 (May 1988), shorter tales commence with Astro Boy learning new skills; the Cybersharks attack in issue #10 (July 1988); Astro Boy meets his new step-parents in #11 (Aug. 1988); #12 (Sept. 1988) has Astro Boy battling Megathreat; there’s Mutex the Mutant Marvel in #13 (Oct. 1988); Astro Boy battles dinosaurs in #14 and 15 (Nov. 1988 and Jan. 1989); the Cybots develop slaves in #16 and 17 (Feb. and Mar. 1989); Astro Boy needs to be rebuilt in #18 (Apr. 1989); someone’s trying to stop an important meeting in #19 (May 1989); and the series concludes with an adventure on Mars in #20 (June 1989).

All-New, All-NOW A sizzling page from NOW’s The Original Astro Boy #1 (Sept. 1987), illustrated and signed by Ken Steacy. Courtesy of Heritage Comics Auctions (www.ha.com). © Tezuka Productions.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

7 5

The Original Astro Boy continued with other competent artists and writers from #18 (Apr. 1989) through 20 (June 1989), including Brian Thomas and Marc Hansen, but diminishing sales and the greater popularity of other NOW Comics licenses and properties spelled the end of The Original Astro Boy in 1989.

NOW NO MORE What happened next has been the subject of rumors and speculation. Tony Caputo sets the record straight about what really happened to NOW Comics: “Most of the story is over people’s heads. I needed investors in 1989 because the company got too big for just me. Cash flow was in the hundreds of thousands, as were the bills. Warner Publisher Services (our newsstand distributor) was selling 55% of our book sales, but wasn’t paying for 180 days—hence, the poor cash flow. We were under capitalized and teetering on the verge of bankruptcy and so I thought I needed help in 1990, but no one took comic books seriously. No one. I had

Catch Me If You Can Astro Boy teams up with 2008 movie star Speed Racer in this illo by Ken Steacy. Astro Boy © Tezuka Productions. Speed Racer © Speed Racer Enterprises.

interest from Columbia Pictures, but that only started a hostile takeover by Quebecor (a company that just bought my printer and unofficial ‘partner,’ which imploded into bankruptcy). In late 1990, when it was too late, along came a 25-year-old educational publisher with 140 employees and 44,000 square feet of office space who seemed to have the money to pay people, with no worries of cash flow, but they were thieves and scammers. [These investors] ripped a lot of people off, including me. I had to sue them myself for non-payment and it took me five years to get a pathetic settlement. Unfortunately, I was the only ‘face man,’ so I got all the blame. The bottom line is that I picked them—it’s my fault because they weren’t the best deal, just the only deal, and so I had a choice: Let NOW die, or give it and its millions of fans a second chance. You can’t make everyone happy all the time—just some of the people happy, some of the time. Having helped three of my friends build their companies in the 1990s, I learned that what I went through was not unique at all.” Whither Astro Boy? Caputo and Steacy both express their thoughts at a possible series revival. Says Caputo, “[I’d do it] only with the blessing of Dr. Osamu Tezuka [who passed away in 1989], but I don’t publish comics anymore. Not enough time, money, and cash flow in it. [Today] I only create with a couple new investors as a graphic novel production studio and a small independent film company.” Steacy is more enthusiastic about a revival: “You bet! Any idea who’s got the North American rights?” Both Caputo and Steacy keep busy with other projects. Caputo has a personal project being published through Vespers Graphic Novels (see www.vespersgraphicnovel.com for more details), while Steacy is working on a number of other projects: “My wonderful wife Joan and I are currently working with Titan books in the UK to bring many of our Ken Steacy Publishing titles to retail outlets near you (please visit www.kenspublishing.com, or see our ad elsewhere in this ish!) and I’m having a totally swell time working with my pals Harlan Ellison and Paul Chadwick doing the digital painting on a four-part graphic novel for DC titled Seven Against Chaos, plus I’m repurposing my existing intellectual property for the screen, both small and large—stay tuned!” The possibilities of Astro Boy making a comic book or graphic novel revival are encouraging as a new animated series made its debut on WB on January 17, 2004, and is still running on cable and on home video. In the mid-2000s, Dark Horse Comics published over © Tezuka Productions. two dozen digest-sized reprints of the original Astro Boy manga. The 20-issue NOW Comics series is not valued very highly today, but is worth seeking out for the extensive origin and faithfulness to the animated series. MARK ARNOLD is a comic-book and animation historian. He is currently at work on a book about Total TeleVision (Underdog, Tennessee Tuxedo), and published his first book in 2006, a history of Harvey Comics.

7 6

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

While he may be best known for writing many of comics’ most popular titles (from Amazing Spider-Man to Tomb of Dracula to New Teen Titans to Crisis on Infinite Earths) and for creating a score of enduring characters (Cyborg and Blade, to name merely two), Marv Wolfman has also written for virtually every medium imaginable, including non-fiction books (such as Homeland, The Illustrated History of the State of Israel) and animated cartoons. For the latter, his short-lived Superman animated series of 1988 remains fondly recalled by fans (and a curious absence from Warner Bros.’ DVD listings!), and Marv has some recollections about that series he’d like to get off his chest… Work comes from the strangest places. An animation writer, story-editor, director friend of mine, Gordon Kent, called one day to ask if I’d be interested in writing an episode of Garbage Pail Kids, a cartoon show that was going to be produced by Southern Star, where he worked. He knew I was writing the [Adventures of] Superman comic and thought it would be great to have me write a Garbage Pail Kids [Superman] parody version as well. I said sure, wrote the episode, had a great time doing it, then moved on to my next project. After the shows were animated but before they aired, church groups managed to get the show killed based on the idea that the Garbage Pail Kids gum cards were “disgusting,” so the show must somehow be bad for kids, too, despite the fact that nobody had seen any of the episodes. In truth, the shows were cute parodies and quite funny. But I digress....

Marv Wolfman

About a year later, I got a call from CBS Children’s TV asking if I’d be interested in being story-editor of the brand-new Superman animated series they were planning. I, of course, assumed I was being asked because A) I was writing the Superman comic and therefore knew the character, and B) I was also writing animation, so it would make sense to hire me. In point of fact, I was wrong. I was hired because although the Garbage Pail Kids show never came out, the people at CBS Children’s had seen my episode and liked it and thought since I wrote a funny parody of Superman, I’d be great to do the actual Superman series. I guess they thought because I could make fun of Superman I could write it, too. Weirder things have happened. I wrote the pilot script and actually based it on my Garbage Pail Kids story, only done straight. Both stories had Luthor creating giant robots which Superman had to stop. The GPK was, of course, funny and silly and the “real” show was “serious,” but they came from the same place. CBS liked the pilot and the show was then assigned to the animation company Ruby-Spears to do. Although I had never worked with Joe Ruby or Ken Spears, the founders of Ruby-Spears (R&S), I came with the show. A funny story. As I mentioned, CBS didn’t hire me because I wrote the Superman comic. So one day I’m invited to a meeting where they spend a lot of time introducing me to DC president Jenette Kahn, who I had been working with for almost a decade.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

Come On and Do the Locomotive With Me Gil Kane storyboards from the actionpacked title sequence of Ruby-Spears’ Adventures of Superman. (below) A screen capture of Lois Lane and Supie. TM & © DC Comics.

•

B A C K

I S S U E

•

7 7

When Jenette mentioned that, it was the first time they realized I did the comic. I could see in their eyes that had they known I probably would not have been hired for the show. They didn’t necessarily want someone who knew the character, they wanted someone who would answer to them alone. Fortunately, they didn’t change their mind and I stayed with the series. Once ensconced at R&S, I suggested the title The Adventures of Superman, based on the original live-action show I had watched as a kid. That show was the reason I got into comics in the first place. I also suggested using the opening from the TV show (and radio show): “Look! Up in the sky!” etc. ... but set it to the John Williams Superman movie score. The best of both possible worlds. At R&S, Joe was the story man and Ken ran the business, so Joe and I would often huddle together to work out the episodes. I realized since I was thrust on them by CBS rather than having them pick me to run the show, I had to learn their way of working. I’m very pleased that within a few episodes they were very happy with what I was doing. I also helped them develop other non-Superman ideas, including taking artwork that the always-brilliant Jack Kirby had created for them years before and try to weave series ideas

Character Designs by Gil Kane (above) Superman model sheets by Kane, John Doorman, and Dick Seablast, who also did the Lex Luthor model (center right). (above right) Kane’s Daily Planet building design. TM & © DC Comics.

7 8

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

around his concepts. I also helped develop their submission for the Captain Planet series Ted Turner was pushing at the time. In fact, Turner picked my concept over all the others and though Ruby-Spears ultimately didn’t get the contract (for business reasons only), Turner bought my concepts and turned them over to DIC which did get the show. When the Superman show finally ended, Joe asked me to stay on, but without an actual show to work on, I moved elsewhere. Anyway, I did a final draft of the pilot and it was sent to CBS. The first thing that happened was that the Standard and Practices, the censorship arm of the network, came back with one note. I had a big scene at the end where Superman, using all his powers, smashes through a series of attacking giant robots, destroying them in a big action scene. This was back in ’88 or so (my memory for the exact date is not great here), and unlike these days, fighting on cartoon shows was not permitted by any of the networks. In fact, one character aggressively touching another was forbidden. S&P said we had to change the ending. Superman, they said, can’t destroy the robots because, and this is a direct quote, “Even robots have souls.” If anyone asks why I don’t have as much hair as I used to, it’s because after this I started pulling it all out. I rewrote the ending of have Superman reprogram the robots into hitting themselves and the show sailed through. I was very pleased with the episode when we got it back from

wherever it was animated. Korea, I think. All of us were sitting in Ken Spears’ office watching it, including writer Jack Mendelsohn, who was story editing R&S’s other show, Police Academy. When it ended, Jack, who had written among other things, the animated Yellow Submarine movie, was impressed and said the episode felt like a movie, not like a standard TV cartoon. To hear that from someone like Jack was amazing. We began the process of turning out episodes. I wasn’t always allowed to hire all the writers I wanted, but I managed to work with a few who had also done lots of other work at R&S, including Gerry Conway, Larry Ditillio, Steve Gerber, Marty Pasko, Buzz Dixon, and others. Fortunately, I had known all those guys for many years and they were on my short list anyway. There were others I wanted to use, but since they hadn’t previously worked for R&S, I couldn’t. Still, the writers we did use were all A-listers and I was thrilled to work with them. We had a lot of fun with the series, even though we occasionally got weird notes and suggestions (demands!) from S&P or the networks (example: Lex Luthor has to buy the Great Wall of China. Example: A baseball story where we had Superman playing against a team of robots had to be changed to Superman and robots vs. ordinary humans— big tension there. And to further complicate the story, Lois had to fall into a volcano—no, I’m not joking!). Still, despite these or maybe because of those notes, the show was great fun to work on. As the shows progressed I got a little more control over what I was allowed to do. Even with network guidelines being so strict at the time, we got to experiment. And though silly notes are always fun to talk about, the Network came up with some really good ideas, too. They asked for a backup four-minute cartoon that started with baby Kal-El coming to Earth, and over the course of the series following him as he grows up until, 13 episodes later, we showed a now-adult Superman making his first appearance. Those stories were my favorites.

I always felt that CBS never really wanted to do a Superman show. The person in charge, Judy Price, wasn’t a fan of superhero shows, preferring comedy instead, but her bosses wanted a Superman show so it was done. But the show, aimed at an 8–12-year-old audience, was put on at 7:00 AM, which was the time set for the youngest kids. We did 13 episodes and that’s all she wrote. I didn’t think every episode worked, but in all I think it was a pretty good show and some of the episodes were really excellent. I’m very proud of the time I spent at R&S, as well as the work we did on The Adventures of Superman.

More Rough Stuff (top) Kane/Doorman/ Seablast models of Clark, Lois, Ma and Pa Kent, Perry White, and Jimmy Olsen. (middle right) Kane’s design for Luthor’s Lair.

Visit my website at www.marvwolfman.com and my blog at www.marvwolfman.com/todaysviews.html.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

TM & © DC Comics.

•

B A C K

I S S U E

•

7 9

Regular BACK ISSUE readers may best know Nicola Cuti as E-Man’s co-creator (with artist Joe Staton), but are you aware that Nick is also a real, live Saturday morning hero? Yes, Nick Cuti, comic-book writer, editor, and artist and animation designer, is actually Captain Cosmos, the Last STARveyer! In the tradition of 1950s sci-fi TV fare such as Captain Video and Tom Corbett, Space Cadet, Cuti’s Captain Cosmos is a space-spanning children’s video series that has won two Kid’s First! Awards. I’ve had the pleasure of viewing two Captain Cosmos episodes, and while those ’50s space operas from Nick’s childhood were indeed their inspiration, I was reminded of ’70s Saturday morning fare like Ark II and Jason of Star Command, programs where imagination and ingenuity outweighed any limitations of production budget. But therein lies the appeal of Captain Cosmos—its ability to transcend time and turn any viewer into a wide-eyed, eager child. Via the space-age innovation of “e-mail,” BACK ISSUE was able to traverse the cosmos to speak with the good Captain himself in early June 2008. – Michael Eury

MICHAEL EURY: What’s the basic premise of Captain Cosmos? NICK CUTI: Captain Nick Cosmos (aka Nicola Cosmosini) belonged to an organization known as STARveyers, a division of the United Worlds. The STARveyers proved to be such a dangerous organization that, after losing more than 75% of its members, it was disbanded. Nick and his partner, Lillian, were retired. They married, bought a jelly farm on the planet Silver Valley, and settled down to raise “jellies,” which are large, shapeless creatures that can be milked for their “jelly,” a substance which can be used for food or material. But Nick missed the adventure of the old days. He bought an old starfreighter, The Bedevere, and with his alien step-daughter, Zen-Ya,

Command Crew of the UWSF Bedevere (front) Captain Nick Cosmos, Nicola Cuti. (back row, left to right) Cadet Starling, Amanda Pleak-Emory, and First Mate Zen-Ya, Danielle Marie Mays. The set is located in Nick’s dining room! © 2005 Nicola Cuti.

8 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

M ic h ae l Eu ry

by his side he returned to space. He rejoined the STARveyers in an on-call capacity and used the Bedevere to haul freight and passengers between planets. His wife, Lillian, divorced him, of course. EURY: We’re familiar with star trekkers, star warriors, starfighters, star hunters, and even starslayers, but what is a “STARveyer”? CUTI: A STARveyer is a interstellar surveyor/explorer. It sounds like a pretty harmless profession except when you understand that STARveyers are the first ones dropped on a raw, unexplored world. It’s the STARveyer’s duty to explore and survey the world before it can be readied for colonization. EURY: As Captain Cosmos’ creator and producer as well as its star, did you audition yourself for the title role? CUTI: Yes, and I was brilliant (LOL). In all honesty, this has been a boyhood dream of mine come true. I grew up with such TV shows as Captain Video; Tom Corbett, Space Cadet; Space Patrol; and Rocky Jones, Space Ranger. Since I created the whole concept and thus far, I’m the only one financing it, I naturally wanted the lead role. Since I had an in with the producer, it was easy. EURY: In addition to being a kid’s vid series, Captain Cosmos is also a comic book. In which format did you originally envision the concept, and how did you develop it? CUTI: I had originally envisioned Captain Cosmos as a TV show, but since I was also in the comicbook profession when I was inspired to create the show, I asked my good friend, Joe Staton, if he would help me with the comic book and Joe, the nicest man who ever lived, agreed. The way it came about was when I was working in California at the Walt Disney Company a friend, Mike Van Cleve, showed me a VHS of Space Patrol. I said to him, “Shows like these must not be allowed to be forgotten.” They were the pioneering TV dramas who paved the way for all the other sci-fi shows: Land of the Giants, Space: 1999, Battlestar Galactica, and Star Trek and all the others. So I gutted my dining room and with the help of friends, Clark Langon, Marty Warner, and the Suprenauts, built it into a starship interior. Friends who visited my apartment after viewing the show were amazed at how we were able to give the illusion of an entire starship interior with so small a set. Wild walls (movable walls) and redressing (changing the movable parts of the set) made it possible. EURY: Tell us about the series’ other characters, and the actors who played them. CUTI: My co-star is the Captain’s adopted daughter, Zen-Ya. She is from the planet Thor, and is a shape-shifter. I gave her that ability late in the series because of all the different actresses who played her—Yvonne Craig, Danielle Marie Mays, Kimmie Fadem, Pollyanna Jacobs, and Bridget Stahl. Zen-Ya was orphaned at an early age and hitched her way across the galaxy, at one time as a pirate, until she ended up on Cosmos’ farm where the Cosmos family adopted her. We also have a cadet trainee, from a very wealthy family who own several planets and whose arrogance and constant provoking at Zen-Ya provides a lot of the humor in the show. She was originally supposed to be played by my daughter, Jaymee Rose Cuti, but instead we used one of the secretaries at Disney, Amanda Pleak-Emory,

Armed and Ready (top) Cosmos and his high-caliber peacemaker, Excalibur. (inset) The first of four issues of the comic book, illustrated by Joe Staton. (middle left) Set/model designer, Sir Bedevere, and crew member Martin Warner. (middle right) The first form of shapely shapeshifter Zen-Ya, Danielle Marie Mays. (bottom, left to right) Zen-Ya three, Pollyanna Jacobs; Cosmos; and Josh, Joshua Skiving. © 2005 Nicola Cuti.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

8 1

and presently Erica Heflin. The part of Dorodo, who has a great eye for the ladies, is played by a talented actor, Anthony Wayne. The powerful protector, Troll, is played by Universal stunt man Darryl Baldwin, and the Saurian Sisters, experts on lizards, are played by Brittany Rodriguez, who I met at the Tampa comic-book convention where she was selling comic books with her mom and dad, and Elizabeth Boone, the daughter of one of our other actresses. Our first director was James Janes [former Legion of Super-Heroes artist], who also played Captain Wendigo and Goz, the pirate/toll taker of the Forbidden Zone which Cosmos uses as a short cut in his first episode. Our present director is John Lewis, is also one of the owners of Creature Productions, the company presently producing Cosmos episodes. EURY: How many Captain Cosmos episodes have been produced to date? CUTI: Five, if you count the wraparound episode. The first was “Pirates of the Forbidden Zone,” where Cosmos and crew are pitted against the crafty pirate Goz. The second was “Rockets,” where Cosmos teaches a little girl, Marian Veselsky, the principles of rocketry

And Here Come the Villains (above left) Goz (mask by Michael Smith), former Legion of Super-Heroes artist Jim Janes, who was also the first director. (above right) The good ship UWSF Bedevere. (bottom) Publicity photo with Jim Janes as the Lizard Man. © 2005 Nicola Cuti.

8 2

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

and we see clips from the 1950s sci-fi series Space Patrol and the cartoon Colonel Bleep. The third is “Terraforming Mars,” where Cosmos takes a trip to Mars’ past when the planet was a desolate desert to the future where is has been changed into an Earthlike world. The fourth is the wraparound “The Gray Ghosts,” which allows Cosmos to visit past episodes while trying to solve the mystery of two beings, Mary Anne Edwards and Moriah Dennington, who haunt his ship. The last one is “Planet of the Reptiles,” where two young sisters, Brittany and Elizabeth, explore a world of reptiles to uncover why reptiles never developed into intelligent beings the way mammals did. EURY: Where were the videos shot? CUTI: The first three were shot in the Mojave Desert in California, which became the planets Needles, Zap-9, and Mars, and the last two were shot in Florida, mostly in the swamps and at the home of the Zakrezewskis. The interiors, in California, were shot in my apartment movie set and at the Marty Temme Studios. In Florida, the interiors were shot against a green screen at the Vater Studios and Comics & Critters with CGI backgrounds designed with incredible intricacy by the talented Henry Kujawa. EURY: Isn’t there a new Captain Cosmos comic coming? CUTI: Yes. It’s called “Dead Air” and it’s based on one of the Captain Cosmos radio dramas by the same name. The four dramas were broadcast on a little station in Carthage, Texas, by my friend Donnie Pitchford. We’re casting for it right now. EURY: Where can BACK ISSUE readers buy Captain Cosmos comic books and DVDs? CUTI: At the moment the only place you can get them is on the AC Comics website (accomics.com) and at CreatureProductions.net. However, we have signed a contract with Tapeworm Video Distributors so we hope to have them in stores soon. You can also get copies by writing to me at: 6711 Timbercove Lane, New Port Richey, FL 34653. Depending on what you want, I’ll tell you the price and shipping costs. We have one title of the DVD The Gray Ghosts which includes Planet of the Reptiles and four issues of the comic, but I only have very limited copies of the comics except for the first issue.

What if… instead of selling his share of All-American Publications to Harry Donenfeld and Jack Liebowitz in 1945, Max Charles “Charlie” Gaines had purchased National Periodical Publications (DC Comics) from them? That’s the premise of this fantasy series being divided between the pages of BACK ISSUE and its TwoMorrows big-sister mag Alter Ego and set on “Earth-22,” where things in the comics business happened

rather differently than the way they did in the world we know. Just imagine: a comic-book industry in which the Golden Age Green Lantern and Flash, rather than Superman and Batman, are the premier heroes of comics, media, and merchandising. The author, Bob Rozakis, a longtime writer, editor, and production manager for DC Comics, has imagined just that in…

The Secret History of All-American Comics, Inc. The Story of M. C. Gaines’ Publishing Empire

Book Two – Chapter Three: Multi-Media!

Bob Rozakis

Anthony (“Tony”) Allan is a noted author with books on the multi-media adventures of the All-American Comics characters. He has written liner notes for collections of radio recordings as well as DVD collections of the TV series. He is currently working on “I Saw It on the Radio,” a timeline history detailing which elements of the comic books actually came from the radio programs and other media, to be published later this year by TwoMorrows. In this installment, Tony and Bob Rozakis talk about the movie and television adventures of Green Lantern, the Flash, and the rest of the AA Universe in the 1970s and beyond. BOB ROZAKIS: These days, when there seems to be a new comic book-based movie or three coming out every summer, they are almost taken for granted. But that certainly wasn’t the case back in the ’70s when the first Green Lantern movie was released. ANTHONY ALLAN: That’s true. An entire generation of fans had never seen their favorite characters on the big screen. They’d had Green Lantern on TV in the ’50s and in reruns in the ’60s and the Flash TV series defined “camp” in the ’60s. Keep in mind, too, that both series were done on a limited budget, so special effects were kept to a minimum. ROZAKIS: And there were no computer-generated effects then, either. ALLAN: Right, so all of the superheroic effects were confined to the cartoons. GL, in particular, was a staple of Saturday morning fare for more than a decade: The New Adventures of Green Lantern, the Green Lantern/Hawkman Adventure Hour, The FlashGreen Lantern Hour.

A Picture Worth a Million Tickets The movie poster that set the stage for the return of the Emerald Warrior to the silver screen. Note that this was an early version, released when Marlon Brando was still expected to be the voice of the lantern. He was later replaced by the voice of the late Bud Collyer. From the collection of Alex Wright. (All images in this article are © DC Comics.)

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

8 3

ROZAKIS: And then Super Friends in the early ’70s. ALLAN: Exactly. It was easy to show GL’s ring doing pretty much anything in the cartoons. Where in the ’50s program, there would just be burst of energy to knock a gun out of a crook’s hand, the cartoons would show him creating a ram’s head or a giant hand or whatever other thing the writers could come up with. Same kind of thing with the Flash. His superspeed was a lot of off-screen “whooshing” effects. He’d be standing in a spot, facing one villain or another who was holding a weapon. Then he’d disappear for a moment—with the off-screen “whoosh”—and then he’d be back in the same spot but with the weapon in his hand. But showing him moving at super-speed and actually disarming the villains was a snap in the cartoons. ROZAKIS: Actually, my favorite part of those cartoons was when they would bring another character from the comics, like the Atom or Wildcat. By the time Super Friends came on, I was nearing college graduation and was not watching Saturday morning cartoons any more. I do recall seeing one or two with Wendy and Marvin and Wonderdog and thinking that this was nothing like the comic books. ALLAN: You weren’t alone in that, but the show drew a large audience, which, I’m sure, is why AA started publishing a comic-book version. Still, it was the decision to do a live-action Green Lantern movie that was the first attempt to attract an adult audience to what was long considered “kids’ stuff.” ROZAKIS: And to break away from the campy approach of the Flash TV show.

ALLAN: Ilya and Alexander Salkind saw the potential and started negotiations with Bill Gaines sometime in 1974. Their plan was to spend a lot of money and turn GL into a franchise. Their representative, Pierre Spengler, must have spent a lot of time in the AA offices. ROZAKIS: You know, it’s funny. When I first started at AA, I was sitting in a cubicle near Lyle Stuart’s office. Lyle was the AA business manager. I used to see Spengler coming and going all the time, but I didn’t know till much later what he was Master of Media there for. and His Missus ALLAN: Everything about the film was planned to Comics in Media expert be top-notch. Richard Anthony Allan, shown here Donner, who had made a name for himself with his lovely wife Rebecca. directing The Omen, Photo by Samantha Rozakis. was signed. With Gene Hackman cast as Vandal Savage and Ned Beatty as Doiby Dickles, they had a pair of big-name box-office stars. And the idea of casting relative unknowns—Christopher Reeve and Margot Kidder—as GL and Cathy Crain worked to their advantage as well. Possibly the only thing that didn’t work out as well as they’d intended was the script by Mario Puzo. Going back to the Golden Age origin and ignoring all the Kid Lantern stories made some amount of sense. The TV series and even the cartoons made no mention of Alan Scott ever having the power ring as a teenager, so much of the audience knew nothing about it anyway. However, Puzo’s script called for the power ring to have an intelligence of its own and that it would constantly be talking to Alan and that was just a bit too far out in left field. ROZAKIS: I’ve heard it speculated that when Puzo was given the research material for his script, they only gave him a few stories, one of which was the origin from 1940. He’d never read any of the comic books before, so he assumed that the lantern, which explained itself to Alan Scott in that story, always talked. And if the lantern talked, why not the ring? ALLAN: Did you know, by the way, that Marlon Brando had originally been chosen to be the voice of the ring? When the speaking part was cut back to just the short piece of the origin, they decided they could use someone who cost a lot less. ROZAKIS: That, of course, was actually something we fanboys loved— using Bud Collyer’s voice. ALLAN: Yes, despite the fact that the man had been dead for six years. They were able to edit together parts of what he’d done for the Green Lantern cartoons in ’66 to voice the lantern. It was fitting, after all, since Collyer had played GL on the radio show through the ’40s.

Now Showing on a TV Screen Near You The DVD release of Challenge of the Super Friends brought the classic cartoons of the early ’70s to a new generation of viewers. In addition to team mainstays Hawkman, Kid Flash, Flash, Green Lantern, and Wonder Woman, Wildcat and the Atom also appeared. From the collection of Alex Wright. 8 4

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

When all was said and done, the movie’s plot was “appropriately comic-booky” as one of the reviewers described it. Vandal Savage, in his quest to control the world, hijacks a pair of atomic missiles in order to set off an earthquake that will drop the US west coast into the Pacific Ocean. The special effects were impressive, though I’m well aware comic fans did not like GL using his ring to set the world spinning backwards to reverse time. ROZAKIS: I’m sure that’s what the reviewer was referring to when he said the plot was “appropriately comicbooky.” Despite the fact that Julie Schwartz would never have allowed any of his writers to use such a deus ex machina in one of his stories. I thought Gene Hackman was just a bit too campy as Vandal Savage, though he became less so in the sequel. Ned Beatty was perfect as Doiby, though. “Are we going to Addis Ababa, Mr. Lantrin?” ALLAN: [laughs] That brought back memories of both Edward Brophy and Joe E. Ross, who had played the character in the serials and TV series. Christopher Reeve and Margot Kidder proved perfect for the parts of GL and Cathy Crain, as well. You watched Reeve change his posture and voice when he became Green Lantern and you could understand why even Cathy did not recognize them as the same person. So the film opened in December of 1978 and went on to gross more than $300 million worldwide. ROZAKIS: Which left no doubt that the sequel was on its way. ALLAN: Well, much of the second film was made at the same time as the first. The stage for the Wizard, Star Sapphire, and Solomon Grundy to show up was set in the first film. ROZAKIS: Though it was never really explained how they ended up in Gotham Prison. There was a hint that some other hero—or a previous incarnation of GL—had captured them, but that contradicted the premise that Green Lantern was the first superhero to appear. ALLAN: That was a detail that got lost in the rewriting of the scripts. Initially, there was to have been a reference to a previous generation of heroes—the Justice Society, for argument’s sake—who had retired or just disappeared. Of course, Vandal Savage, being immortal, would have fought them, so there was also the option to suggest that he had somehow defeated them and banished them from Earth. ROZAKIS: Which would have satisfied a lot of fanboys. ALLAN: Yes, but like many things, it was cut out because it would not register with the larger audience. The producers were looking for a much larger audience than the couple of hundred thousand people buying the comic books. ROZAKIS: Do you think they ever filmed such a scene? Or even a couple of lines of dialogue? ALLAN: Well, it never turned up in the “extended” version or in the DVD release extras, so I suspect it never made it past an early draft of the script. Despite having much of it already completed, Green Lantern II was not without its problems. Richard Donner had numerous disagreements with the Salkinds and was ultimately replaced by Richard Lester. That resulted in some changes in the script and additional filming. Still, it opened in 1980 with a big box office. ROZAKIS: Which is why they continued the series with Part III: Richard Pryor Meets Green Lantern, as we mockingly called it in the office.

Doiby and Friends (top) BACK ISSUE editor Michael Eury and Doiby Dickles himself, Ned Beatty, at the June 2008 Green Lantern Celebration in Littletown, Pennsylvania. Photo by Karla Ogle. (bottom) The cover for the 1982 Laserdisc release of Green Lantern: The Movie, featuring Christopher Reeve as GL, Gene Hackman as Vandal Savage, and Ned Beatty as Doiby Dickles. From the collection of Alex Wright.

ALLAN: There is no question that the thinking behind this installment was bizarre. But Richard Pryor was hot—or so the studio believed—and so they promoted him as the star. The result was a less-than-stellar movie. ROZAKIS: With a lame plot, especially after the first two. ALLAN: That was the last GL film the Salkinds had a hand in, though they were the producers of the Girl Lantern film in 1984. They were looking for new spins on the franchise, but that was not it. And then the rights to GL passed to Golan-Globus, who produced Green Lantern IV: The Quest for Peace in 1987. ROZAKIS: Which made GL III look like Gone With the Wind. ALLAN: Well, I don’t think anything could do that. Still, there would not even have been a fourth movie if they had not allowed Christopher Reeve to have a say in the plot. He did not want to play the role again unless he could use the film to promote his stand on world peace.

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

8 5

Satin Tights and Super Sons (top) For a generation of fans, Lynda Carter is the only Wonder Woman. (below) Inspired by a Super Friends cartoon in which Flash and Green Lantern marry and have children, AA Comics editor Murray Boltinoff introduced the heroes’ sons in a series of tales in Comic Cavalcade. Cover design by Click Nardy, with pencils by Lawrence Guidry and inks by Shane Foley. ROZAKIS: Well, Green Lantern using his power ring to rid the world of nuclear weapons was a noble idea. But what they did to Vandal Savage… ALLAN: After the Richard Pryor debacle, they decided they needed Gene Hackman back. Unfortunately, they did not do the character justice. ROZAKIS: They turned him into an idiot! He couldn’t even pronounce “nuclear” correctly! And out of nowhere he has a nephew?! How does a man who has been alive since the dawn of history have a nephew? ALLAN: I take it you didn’t like the film. [laughs] ROZAKIS: I wrote the comic-book adaptation of it, so I got to read the original script. It was chockfull of bad science, along with so much else. ALLAN: Bad science? ROZAKIS: At one point in the film, it was supposed to be daytime in China, Moscow, and Gotham City, which is, of course, impossible. ALLAN: Perhaps we should move on to other media for awhile… ROZAKIS: [laughs] Probably a good idea. ALLAN: The Wonder Woman TV show in the ’70s was a hit. They had some missteps at the beginning with the Cathy Lee Crosby version, but Lynda Carter was perfect for the role. The version on ABC, set during World War II, and the then-present-day version on CBS performed respectably. And then the Salkinds got back into the mix with the syndicated Kid Lantern series in 1988. John Haymes Newton and then Gerard Christopher played the lead in that. ROZAKIS: Cary Bates, who wrote a lot of GL and Superman stories for Julie, was involved in that. They filmed it down in Orlando, Florida. I have a funny story about the show. We were vacationing in Orlando and Cary got us in to see some of the filming. They were doing a scene in which the guest actress was playing a rock star and had to sing a couple of lines of her hit song. We watched them rehearse and I noticed that my daughter Sammi, who was about five at the time, had memorized the song and was singing along. Well, they start filming and the actress is messing up—she can’t remember the lines to the song. But Sammi is sitting in the audience and she’s getting them right! They did three takes, each ending when she flubbed, and finally the director, who could hear Sammi singing the whole time, yells at the actress, “There’s a little kid down here who learned this %*#! song in five minutes—why can’t you!?” ALLAN: I’ll have to add that to my cache of information. Anyway, Kid Lantern ran in syndication for four years. The success of the 1989 Flash movie prompted Hollywood to start looking for other superheroes they could exploit. Superman was the first of the AA Silver Age heroes to make it onto the live-action TV screen. John Wesley Shipp starred in that one, with Amanda Pays as Iris West. It only lasted one season on CBS. Cathy and Alan: The New Adventures of Green Lantern was a much bigger hit for ABC, running for four years, beginning in 1993. It was interesting that Dean Cain refused to bleach his hair and so we had a dark-haired Green Lantern—and Alan Scott. That was the first time the studio seemed to have more clout than the people at AA when it came to the basics of Green Lantern lore. ROZAKIS: Well, keep in mind that, by that time, after the mergers and everything else, AA was a tiny subsidiary in the giant Time-Warner conglomerate and the Warner Bros. studio was actually our immediate parent. The studio people got used to calling the shots and, with Bill gone, there was no one who could stand up to them and say no. You know,

8 6

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

there were people out in Burbank who insisted that they had created Green Lantern! ALLAN: That must have ruffled some feathers! In the third season of the program, the studio decided it was time for Alan and Cathy to get married. I know there has been much debate about where that idea originated, since the plans to have a wedding in the comics were announced at about the same time. ROZAKIS: Editor Mike Carlin will tell you it was all worked out in a GL creative team retreat before the studio folks even thought of it. He thinks someone involved with the show was privy to their notes and presented it to the producers as his own idea. ALLAN: Needless to say, there was a fake wedding during the season and then they supposedly stalled till the fourth season to coincide with the comic books. ROZAKIS: While we were stalling in the comic books to coincide with the TV show. It’s amazing that it ever came off! ALLAN: Cathy and Alan lasted through that fourth season and there was supposed to be a fifth, but Warner Bros. changed their corporate mind as the season was winding down and pulled the plug. ROZAKIS: Which was the end of live-action AA characters on TV for a few years. ALLAN: Well, Littletown has been a success despite the fact that Alan Scott never wears the costume nor is he ever called Green Lantern. There are certainly enough references to him growing up and becoming the hero, and some of the other characters who have appeared—young Hawkman and the Atom, for example—use their superhero names. He just doesn’t even have the ring. ROZAKIS: True, just the green “meteor rock” that gives him his abilities when he is near it. Every time he carries it around in his pocket I expect him to say, “Maybe I should make this into a wristband or a belt buckle … or a RING!” ALLAN: Despite leaving out the costumed identity, a lot of what they do parallels what Mort Weisinger did in the ’50s and ’60s in Kid Lantern. The relationship with Carol Cole and the developing animosity between Alan and “young” Vandal Savage are right out of the comics. But the past few seasons have gotten a bit carried away with introducing characters who will play a part in the adult Alan’s life. ROZAKIS: Young Doiby is a real stretch! ALLAN: At least he no longer has that Brooklyn accent! [laughs] ROZAKIS: Do you know that I have students who don’t realize that Littletown is about the young Green Lantern? They’ve heard of GL, but they don’t see the connection with the Alan Scott on the program. Or with the character in the movie! Anyway, I think that covers the live-action TV adventures of the AA heroes. ALLAN: Yes, except for Birds of Prey in 2002: Flashette, Black Canary, and the Huntress in a future Keystone City in which the Flash has mysteriously “retired” or just left town. It was “Charlie’s Angels” with costumes and minimal super-powers. But nowhere near as successful, since it only lasted one season.

Flash in the Pan Much mystery surrounds this prototype action figure, purported to be a design for a new Flash costume. Some believe that Kenner Toys had problems keeping Jay’s helmet on and wanted to change his look to something more easily manufactured. From the collection of Alex Wright.

Faster Than a Speeding Bullet The 1990 single-season series Superman was released on DVD in 2004. That’s John Wesley Shipp under the rubberized hood. From the collection of Alex Wright. ROZAKIS: I had forgotten about that. ALLAN: So have a lot of people. [laughs] I don’t think we’ve talked about the Flash movies of the ’80s and ’90s. Many people wondered what they were thinking when they cast Michael Keaton as the Flash for the first film. I think that he did a good job. I never thought, “Hey, it’s ‘Mister Mom’” while I was watching him. The producers seemed to think that it didn’t matter who they put under the helmet, though, when they replaced him in the third movie with Val Kilmer and then replaced Kilmer with George Clooney in the fourth. The Flash and The Flash Returns made a lot of money, not just from the actual films, but from all the merchandise tie-ins. It was not surprising that they were doubling up on the villains in the second. Having the Thorn and the Fiddler in the second film gave them twice as many action figures. Then in The Flash Forever, in addition to Mr. Element and the Turtle, they brought in Kid Flash as well. ROZAKIS: And by the time Flash & Kid Flash came out in 1997, there were the Icicle, Golden Glider, and Flashette. Plus they changed Flash and Kid Flash’s costumes so there would be new versions of them as well. ALLAN: Who needed a plot when you had so many things you could turn into toys? The Icemobile, the Glider’s Glider, Flashette’s motorcycle … why exactly did a girl who could run at super-speed need a motorcycle? ROZAKIS: To sell toys, obviously. ALLAN: Well, just as they had done with Green Lantern a decade before, the studios milked the Flash for what they could get and then decided they were done with the franchise. ROZAKIS: Until they realized that Marvel was dominating the movie business and they had to reinvent both the Flash and Green Lantern for the screen. ALLAN: Which I’m sure we will be discussing at some point in the future. To be continued…

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

8 7

as to what Alan Moore was doing, it was so strange and weird and disturbing and crazy and brilliant. I also enjoyed Michael Browning’s piece on the “Flash on Trial” storyline, an odd end to one of the comicdom's biggest stars; I was fascinated to read all the behind the scenes stuff. I’ll sign off as I usually do—another fine issue! – Rob Kelly

Send your comments to: E-mail: euryman@gmail.com ( subject: BACK ISSUE) No attachm ents, please!

Postal mail: Michael Eury, Editor • BACK ISSUE 118 Edgewood Ave. NE • Concord, NC 28025

Want to see something really scary? How about your friendly neighborhood Euryman, up close and personal? I’m a guest (Saturday only) at “the SuperNatural, Sci-Fi, and SuperHero Show,” MonsterCon, to be held at the Cabarrus Events Center in my hometown of Concord, North Carolina (just outside of Charlotte), on October 4 and 5, 2008. My mentor and friend DICK GIORDANO is a tentative guest, BI buddies ANDY SMITH and AL BIGLEY will be there, and so will BI contributor DAN JOHNSON. And there’s a lineup of horror stars that’s, well, bloodcurdling! Visit www.comicmonstore.com for more details, and stop by and say “hey”! Also, at the Superman Celebration in Metropolis, Illinois, in mid-June, I was interviewed by Michael Bailey about my book, The Krypton Companion, plus BACK ISSUE and other stuff. If you’ve got some free time and would like to hear me ramble, tune into Michael’s “Views From The Longbox” podcast at http://fortressofbaileytude.com/ viewsfromthelongbox/?p=1.6. – M.E. First off, any issue of BACK ISSUE that arrives three weeks early is already off on the right foot. Add a gorgeously goofy Darwyn Cooke cover, and already it’s kicked into overdrive! (Love Stark’s addition of beer taps to his suit, BTW.) The Thing vs. the Hulk article was a lot of fun, as it should be—I mean, it’s the Thing vs. the Hulk!! And it made me think Marvel should start a monthly series where all it is the two of them beating the crap out of each other, but have different creative teams each month, and they have to pick up where the previous issue left off, à là DC Challenge. Sure, it’d be a lot of editorial work, but who wouldn’t buy it? I have been waiting for that Rampaging Hulk article for a long time, and it didn’t disappoint. I think Doug Moench did a superb job on the book, and the team of Walt Simonson and Alfredo Alcala was one of the best art teams the Hulk ever had. Jim Starlin’s cover to #5 scared me as a kid, and the battle inside it is one of the Hulk’s best throwdowns. I have a few issues of the book, but the article made me want to complete the set. Allan Harvey’s Miracleman piece was great—I remember reading that series as a teenager and being completed flummoxed

•

B A C K

I S S U E

•

S a t u r d a y

THRILLING DAYS OF YESTERYEAR Just wanted to drop you a line and tell you how much I enjoy BACK ISSUE and appreciate the hard work you and TwoMorrows Publishing put into it. I look forward to it arriving (got a subscription from the girlfriend for my b-day) and am never disappointed. For someone like me who is not just a fan of the current books, but of the whole cultural history of comics, it is great to have a magazine that peels back the curtain and gives us a view of stuff from yesteryear. – Shawn Toshikian

MEN OF BRONZE

HEROES BEHAVING BADLY

8 8

Thanks, Rob. TwoMorrows publisher John Morrow rushed BACK ISSUE #28 to press to have it ship in time for Free Comic Book Day— and it worked to our advantage, debuting the very week that Iron Man hit the box office. Darwyn Cooke’s drunk Iron Man cover was great, wasn’t it? Truth is, I was reluctant to do another Iron Man cover so close to the Bob Layton one on #25 and asked Darwyn to draw the Flash in handcuffs instead. But Dar had his heart set on tipsy Tony Stark—and I’m glad he followed his heart! Allan Harvey is returning to the topic of Miracleman in issue #34, incidentally … which will feature a Jim Starlin Warlock cover I hope won’t scare you as an adult. – M.E.

M o r n i n g

H e r o e s

I s s u e

After reading BACK ISSUE #27, which I had commented on earlier, I knew I had to get other issues. I went to the TwoMorrows website and ordered issues #25, 26, and 28. And I have to say that this magazine is for me. Every issue covers my Golden Age of comics. Issue #25 was just wonderful with one of my favorite artist/inker/writers, Bob Layton, and one of the best writers around, David Michelinie. Although I had been reading Iron Man since issue #67 (vol. 1), their work on Iron Man made it the best superhero book during that time and helped cement the fact that Iron Man is my favorite Marvel hero. I have enjoyed Mr. Layton’s work since his days at DC. I enjoyed Star Hunters a lot. I own a wonderful Star Hunters page by Don Newton and Bob Layton from DC Super-Stars #16. Luckily, I first met Mr. Layton here in Maryland at a small local convention. I think Iron Man #144 was about to come out, so it was about 1981 or so. My friends and I were just kids, basically, but Mr. Layton was there and he answered all of our questions and was really nice to everyone. I know I “pestered” him with a lot of questions. I do not remember the exact questions but I do know they went along the lines of: “Who is your favorite Iron Man villain?” “Can Wolverine’s claws cut through Iron Man’s armor?” “Technically, Iron Man beat

You’re welcome, Steve. Super Boxers is one of those comics we’ll eventually get around to—but before we do, don’t miss our in-depth examination of Star Hunters in BI #34! – M.E.

HANDS ACROSS THE WATER Michael, BI #28 looks good and I’m pleased with the [U.K. Hulk] article. There is one credit error you may want to note in a future issue: On page 33, the Night Raven page from issue #15 was by John Bolton. Anyway, really pleased to see this in print. – Ian Millsted

the Hulk in #132, so is Iron Man tougher than the Hulk?” I do remember I was hoping for a definite “yes” so I could go to school the next day and tell a friend of mine who was a Hulk fanatic that Bob Layton himself told me that Iron Man is tougher than his Hulk. But through all of those types of questions he acted like no one ever asked those questions before. He was very nice and answered those questions for us. I still have the drawing he did for me. The image is of Iron Man in the same pose from the cover of Iron Man #126. He only charged me $10.00. It is matted and framed on my wall and I look at it every day and I remember those great days. Thank you to Dan Johnson for a great interview. With issue #26, I am just amazed at all of the features and art that you guys put into this. Every issue of BACK ISSUE is chock full of stuff, but this issue covers a lot of ground and is eclectic in the material and all of the neat art. The Airboy feature was neat to see. And, of course, the Paul Gulacy feature was excellent. See, reading all of these issues of BACK ISSUE back to back made © 2008 Marvel Characters, Inc. #28 the icing on the proverbial cake. I was just so happy to see in the table of contents the interviews with Ron Wilson and Herb Trimpe. I have to say that both Mr. Wilson and Mr. Trimpe are two of the most underrated and, frankly, undervalued talents around. These guys have forgotten more than most of these so-called “hotshot” artists know. They are both tremendous talents and are so skilled at making the comic book that you are reading come to life with energy. For me, these guys, along with Mr. Layton and Mr. Rich Buckler, are our generation’s Jack Kirby, Steve Ditko, and Don Heck. I grew up with the comic books that they drew, inked, and wrote. I have to tell you I was just ecstatic when I read that Mr.Wilson’s favorite Marvel-Two-in-One cover is issue #13. It is mine as well. While I do not have the original cover, I do have a recreation by Mr. Wilson of that cover. It is one of my most prized pieces of art. I met Mr. Wilson at the Baltimore comic show and I bought from him a wonderful inked drawing of the Thing. I have enjoyed every comic that I have read that Mr. Wilson has drawn. When I was growing up, he seemed like he was always there in those comic pages that I read. Oh, if anyone out there has not read [Wilson’s graphic novel] Super Boxers, do yourself a favor go out and find a copy. If you have it in your collection, dig it out and read it again. Super Boxers never fails to blow me away every time I read it. From the story to the art and coloring it is absolutely amazing. Well, thank you for your time and thanks for some wonderful issues. I do look forward to future issues. This is some good stuff! – Steve Ogden

Usually I wait until I read the whole of BACK ISSUE before I comment, but #28 arrived today and I had to read the article on Hulk Comic straight away. I grew up on Marvel UK (MUK) titles, as opposed to the usual IPC or DC Thomson titles, and was 71⁄2 when Hulk Comic launched and it remains my favorite MUK title. I still remember #1 coming polybagged with a sticker album and stickers for the Hulk TV show (a pecularity of UK comics is the frequent inclusion of free gifts: a recent Paini/Marvel title came with a free Goblin Glider!). Anyway, further to the uncertainty regarding the cover artist to Hulk Comic #1, it was actually Brian Bolland and not Dave Gibbons. Dez Skinn wasn’t happy with Bolland’s Hulk face so pasted over a classic Romita, Sr. head! I can’t attest to it for sure, but I think the original version later ran as a centerspread color pinup in an early ’80s MUK title (I’ve definitely seen the original version somewhere). This cover is referred to in the excellent Art of Brian Bolland book. A handful of the UK-originated Hulk issues were colored and reprinted for inclusion in the Avengers reprint title Marvel Super Action, peppered throughout the last 12 issues (from #25) or so. During the last few days of Marvel UK’s US-format days, just before the ’90s comic implosion, a modern-day version of Night Raven was introduced as the purple-spandex-clad Nocturne in an eponymous four-issue series. – Nigel Lowrey Very snazzy Iron Man cover. But surely there’s a law against being drunk while in charge of a jet-propelled armored suit?! Anyway, just wanted to clarify a couple of things that leapt out at me. Ron Wilson mentions helping out with production and sketching out covers when he first joined Marvel. I'll say. From late 1973 until 1976/1977, Ron produced a huge amount of covers for Marvel’s line of UK comics, doing everything from

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

•

B A C K

I S S U E

•

8 9

Hulk covers for The Mighty World of Marvel to Apes covers for Planet of the Apes. Oh, and the occasional Captain Britain cover, too. Nice potted history of Hulk Comic. Wish you’d have asked about that cover to #1, though. It’s not by Dave Gibbons at all, but by that other 2000AD man Brian Bolland … albeit with an American Hulk head pasted on top of it. This goes a long way to explaining why that was Brian’s only work for the UK wing! A recolored version of the original, uncropped artwork appeared in 1983 as a glossy center-page poster inside the first issue of The Incredible Hulk, his second solo series, launched a few years after the demise of The Incredible Hulk Weekly (to pedantically give you its full title) in 1980. Other than that, the usual spiffing issue—keep up the good work. – Rob Kirby P.S. We’ve (that’s myself and Dez Skinn from Quality) finally started design work on the Marvel UK book, now simply titled From Cents to Pence (The Definitive Guide to Marvel's British Comics: 1951–2008), so more news (and a Web address) as soon when we get the preview Web pages active.

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

Thanks for the corrections and information, gents. – M. E.

WISH LIST I want to submit some article ideas for BACK ISSUE to be showcased for 2009. I realize that you probably already completed articles for 2008 and I hope these will be considered for future issues. 1. Lori Lovecraft (1975) 2. X-Men and the Micronauts (1984) 3. Return of the New Gods (1977) 4. The Neal Adams Treasury 5. Shade, the Changing Man 6. The Unexpected 7. G. I. Combat 8. The World’s Greatest Superheroes 9. House of Secrets 10. The Witching Hour 11. Doorway to Nightmare – Ricky T. Butler, Jr.

9 0

•

B A C K

I S S U E

•

S a t u r d a y

M o r n i n g

H e r o e s

I s s u e

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 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: Howard the Duck © 2008 Marvel Characters, Inc. BACK ISSUE TM & © TwoMorrow s.

Ricky, our 2009 issues are already planned, but you’ve given me a chance to announce their themes to our readership: BI #32 (“Tech, Data, and Hardware”), #33 (“Teen Heroes”), #34 (“New World Order”), #35 (“Villains”), #36 (“Monsters”), and #37 (“Comics Go to War”). Of your list, G. I. Combat might make it into #37. A couple of the others have been discussed earlier (New Gods in the Don Newton article in #19, and the DC Superheroes strip in #25). Your letter is a reminder that we’ve yet to cover DC’s horror titles of the ’70s, which were the training ground for a wealth of writers and artists, or Steve Ditko’s out-of-the-ordinary Shade! But in the meantime—BACK ISSUE #31 is our tribute to writer and visionary extraordinaire, the late Steve Gerber. It features an in-depth examination of Howard the Duck, plus looks at virtually all of the writer’s gems, including “Gerber’s Gruesomes” (Marvel horror titles) and Marvel Universe work, Crazy, KISS, Thundarr the Barbarian, Phantom Zone, Hard Time, and much more. Its all-star lineup of contributors includes GENE COLAN, MICHAEL GOLDEN, PABLO MARCOS, VAL MAYERIK, MARTIN PASKO, MIKE PLOOG, DAVE SIMONS, WALTER SIMONSON, MARY SKRENES, and fabulous FRANK BRUNNER, who painted its Howard (the Duck) the Barbarian cover. See you in sixty for this unforgettable issue. Your friendly neighborhood Euryman, Michael Eury, editor

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).

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. Send ad copy and check/money order (US funds), Visa, or Mastercard to: TwoMorrows Publishing 10407 Bedfordtown Drive • Raleigh, NC 27614 Phone: 919/449-0344 • FAX 919/449-0327 E-mail: twomorrow@aol.com

TWOMORROWS BOOKS by MICHAEL EURY

DICK GIORDANO: CHANGING COMICS, ONE DAY AT A TIME MICHAEL EURY’s biography of comics’ most prominent and affable personality! Covers his career as illustrator, inker, and editor, peppered with DICK’S PERSONAL REFLECTIONS on his career milestones! Lavishly illustrated with RARE AND NEVER SEEN comics, merchandising, and advertising art (includes a color section)! Also includes an extensive index of his published work, comments and tributes by NEAL ADAMS, DENNIS O’NEIL, TERRY AUSTIN, PAUL LEVITZ, MARV WOLFMAN, JULIUS SCHWARTZ, JIM APARO and others, plus a Foreword by NEAL ADAMS and Afterword by PAUL LEVITZ! (176-pg. Paperback with COLOR) $19.95 ISBN: 9781893905276 Diamond Order Code: STAR20439

JUSTICE LEAGUE COMPANION VOL. 1 A comprehensive examination of the Silver Age JLA written by MICHAEL EURY (co-author of THE SUPERHERO BOOK). It traces the JLA’s development, history, imitators, and early fandom through vintage and all-new interviews with the series’ creators, an issue-by-issue index of the JLA’s 1960-1972 adventures, classic and never-before-published artwork, and other fun and fascinating features. Contributors include DENNY O’NEIL, MURPHY ANDERSON, JOE GIELLA, MIKE FRIEDRICH, NEAL ADAMS, ALEX ROSS, CARMINE INFANTINO, NICK CARDY, and many, many others. Plus: An exclusive interview with STAN LEE, who answers the question, “Did the JLA really inspire the creation of Marvel’s Fantastic Four?” With an all-new cover by BRUCE TIMM!

THE KRYPTON COMPANION Unlocks the secrets of Superman’s Silver and Bronze Ages, when kryptonite came in multiple colors and super-pets scampered across the skies! Writer/editor MICHAEL EURY explores the legacy of classic editors MORT WEISINGER and JULIUS SCHWARTZ through all-new interviews with NEAL ADAMS, MURPHY ANDERSON, CARY BATES, RICH BUCKLER, NICK CARDY, JOSÉ LUIS GARCÍA-LÓPEZ, KEITH GIFFEN, ELLIOT S! MAGGIN, JIM MOONEY, DENNIS O’NEIL, BOB OKSNER, MARTIN PASKO, BOB ROZAKIS, JIM SHOOTER, LEN WEIN, MARV WOLFMAN, and other fan favorites! Plus: Super-artist CURT SWAN’s 1987 essay “Drawing Superman,” JERRY SIEGEL’s “lost” imaginary story “The Death of Clark Kent,” MARK WAID’s tribute to Superboy and the Legion of Super-Heroes, and rare and previously unpublished artwork by WAYNE BORING, ALAN DAVIS, ADAM HUGHES, PAUL SMITH, BRUCE TIMM, and other Super-stars. Bonus: A roundtable discussion with modern-day creators (including JOHN BYRNE, JEPH LOEB, and ALEX ROSS) examining Superman’s influential past! Plus an Introduction by Bizarro No. 1 (by SEINFELD writer DAVID MANDEL), and a cover by DAVE GIBBONS! (240-page trade paperback) $24.95 ISBN: 9781893905610 Diamond Order Code: MAY063443

(224-page trade paperback) $24.95 ISBN: 9781893905481 Diamond Order Code: MAY053052

GET YOUR FREE 2008 TWOMORROWS CATALOG! TwoMorrows Publishing. Celebrating The Art & History Of Comics. SAVE NOW ALL WHE % BOOKS, MAGS & OR N YOU DVDs ARE ONLDER 15% OFF INE! COVER PRICE

We'll gladly mail you a FREE 32-PAGE COPY of our new 2008 FULL-COLOR CATALOG, featuring all available back issues and books, plus sneak peeks at new and upcoming products from TwoMorrows Publishing! Or if you have high-speed internet access, you can download a FULLY INTERACTIVE version in PDF form, which lets you simply click on any item, and you'll automatically be taken to the appropriate page on our website to order it! Just go online to www.twomorrows.com and add it to your shopping cart, log in, and checkout, and your printed copy will be sent right away! Or look for the link on our home page to download the FREE 24MB INTERACTIVE PDF FILE of it!

EVERY DAY AT www.twomorrows.com!

PLUS: Exact WeightBased Shipping Rates Online! Two Ways To Order:

*15% Discount does not apply to Mail Orders, Subscriptions, Bundles, Limited Editions, Digital Editions, or items purchased at conventions. We reserve the right to cancel the sale at any time.

• Click on any item shown to order it ONLINE at www.twomorrows.com and you get 15% OFF* the cover prices listed here, plus exact weight-based postage (the more you order, the more you save on shipping— especially overseas customers)! OR: • Order by MAIL, PHONE, FAX, or E-MAIL at the full prices listed here, and add $2 per magazine or DVD/$4 per book in the US for Media Mail shipping. OUTSIDE THE US, PLEASE ORDER ONLINE TO CALCULATE YOUR EXACT POSTAGE COSTS!

2008 Interactive Catalog

To get periodic e-mail updates of what’s new from TwoMorrows Publishing, sign up for our mailing list! http://groups.yahoo.com/group/ twomorrows

CLICK ON ANY ITEM TO ORDER AT: www.twomorrows.com TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: twomorrow@aol.com TwoMorrows Publishing is a division of TwoMorrows, Inc.

SAVE

1 WHE5% N

ORD YOU ONL ER INE!

COMICS GONE APE!

NOW ALL BOOKS, MAGAZINES & DVDs ARE 15% OFF COVER PRICE EVERY DAY AT www.twomorrows.com!

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

THE RETRO COMICS EXPERIENCE!

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “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 ($55 First Class, $63 Canada, $91 1st Class Intl., $112 Priority Intl.).

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!

(100-page magazine) $5.95 Diamond Order Code: SEP032621

(100-page magazine) $5.95 Diamond Order Code: NOV032696

(100-page magazine) $5.95 Diamond Order Code: JAN042880

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!

(100-page magazine) $5.95 Diamond Order Code: MAR042973

(108-page magazine with COLOR) $5.95 Diamond Order Code: MAY043051

(100-page magazine) $5.95 Diamond Order Code: JUL043389

(100-page magazine) $5.95 Diamond Order Code: SEP043044

(100-page magazine) $5.95 Diamond Order Code: NOV043081

DIEGDITITIOANL ONLY!

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!

(100-page magazine) $5.95 Diamond Order Code: JAN053136

(100-page magazine) $5.95 Diamond Order Code: MAR053333

(108-page magazine) $5.95 Diamond Order Code: MAY053174

(100-page magazine) $5.95 Diamond Order Code: JUL053295

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

DIEGDITITIOANL BL AVAILA

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!

(100-page magazine) $6.95 Diamond Order Code: NOV053296

(100-page magazine) $6.95 Diamond Order Code: JAN063431

(100-page magazine) $6.95 Diamond Order Code: MAR063547

(108-page magazine with COLOR) $6.95 Diamond Order Code: MAY063499

(100-page magazine) $6.95 Diamond Order Code: JUL063569

DIEGDITITIOANL

BL AVAILA

BLE AVAILA

DIEGDITITIOANL BL AVAILA

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!

(100-page magazine) $6.95 Diamond Order Code: SEP063683

(104-page magazine) $6.95 Diamond Order Code: NOV063993

(100-page magazine) $6.95 Diamond Order Code: JAN073984

(100-page magazine) $6.95 Diamond Order Code: MAR073855

(108-page magazine) $6.95 Diamond Order Code: MAY073880

DIGDITITIOANL E BLE AVAILA

DIGITITIOANL ED BLE AVAILA

DIGDITITIOANL E BLE AVAILA

DIEGDITITIOANL BL AVAILA

BACK ISSUE #24

BACK ISSUE #25

BACK ISSUE #26

BACK ISSUE #27

BACK ISSUE #28

“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!

“Comic Book Royalty!” The ’70s/’80s careers of Aquaman and the Sub-Mariner explored, BARR and BOLLAND discuss CAMELOT 3000, comics pros tell “Why JACK KIRBY Was King,” “Dr. Doom: Monarch or Menace?” DON McGREGOR’s Black Panther; an exclusive ALAN WEISS art gallery; spotlights on ARION, LORD OF ATLANTIS; NIGHT FORCE; and more! New cover by NICK CARDY!

“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!

(100-page magazine) $6.95 Diamond Order Code: JUL073976

(100-page magazine) $6.95 Diamond Order Code: SEP074091

(100-page magazine) $6.95 Diamond Order Code: NOV073948

(100-page magazine) $6.95 Diamond Order Code: JAN084020

(100-page magazine) $6.95 Diamond Order Code: MAR084109

“HOW-TO” MAGAZINES Spinning off from the pages of BACK ISSUE! magazine comes ROUGH STUFF, celebrating the ART of creating comics! Edited by famed inker BOB McLEOD, each issue spotlights NEVER-BEFORE PUBLISHED penciled pages, preliminary sketches, detailed layouts, and even unused inked versions from artists throughout comics history. Included is commentary on the art, discussing what went right and wrong with it, and background information to put it all into historical perspective. Plus, before-and-after comparisons let you see firsthand how an image changes from initial concept to published version. So don’t miss this amazing magazine, featuring galleries of NEVER-BEFORE SEEN art, from some of your favorite series of all time, and the top pros in the industry!

DIEGDITITIOANL

DIEGDITITIOANL BL AVAILA

BL AVAILA

DIEGDITITIOANL BL AVAILA

ROUGH STUFF #1 Our debut issue features galleries of UNSEEN ART by a who’s who of Modern Masters including: ALAN DAVIS, GEORGE PÉREZ, BRUCE TIMM, KEVIN NOWLAN, JOSÉ LUIS GARCÍA-LÓPEZ, ARTHUR ADAMS, JOHN BYRNE, and WALTER SIMONSON, plus a KEVIN NOWLAN interview, art critiques, and a new BRUCE TIMM COVER!

BL AVAILA

ROUGH STUFF #2

ROUGH STUFF #3

ROUGH STUFF #4

The follow-up to our smash first issue features more galleries of UNSEEN ART by top industry professionals, including: BRIAN APTHORP, FRANK BRUNNER, PAUL GULACY, JERRY ORDWAY, ALEX TOTH, and MATT WAGNER, plus a PAUL GULACY interview, a look at art of the pros BEFORE they were pros, and a new GULACY “HEX” COVER!

Still more galleries of UNPUBLISHED ART by MIKE ALLRED, JOHN BUSCEMA, YANICK PAQUETTE, JOHN ROMITA JR., P. CRAIG RUSSELL, and LEE WEEKS, plus a JOHN ROMITA JR. interview, looks at the process of creating a cover (with BILL SIENKIEWICZ and JOHN ROMITA JR.), and a new ROMITA JR. COVER, plus a FREE DRAW #13 PREVIEW!

More NEVER-PUBLISHED galleries (with detailed artist commentaries) by MICHAEL KALUTA, ANDREW “Starman” ROBINSON, GENE COLAN, HOWARD CHAYKIN, and STEVE BISSETTE, plus interview and art by JOHN TOTLEBEN, a look at the Wonder Woman Day charity auction (with rare art), art critiques, before-&-after art comparisons, and a FREE WRITE NOW #15 PREVIEW!

(100-page magazine) $6.95 Diamond Order Code: AUG063714

(100-page magazine) $6.95 Diamond Order Code: NOV064024

(100-page magazine) $6.95 Diamond Order Code: FEB073911

(116-page magazine) $6.95 Diamond Order Code: APR063497

ROUGH STUFF #5

DIGITITIOANL

DIEGDITITIOANL

ROUGH STUFF #6

NEVER-BEFORE-PUBLISHED galleries (complete with extensive commentaries by the artists) by PAUL SMITH, GIL KANE, CULLY HAMNER, DALE KEOWN, and ASHLEY WOOD, plus a feature interview and art by STEVE RUDE, an examination of JOHN ALBANO and TONY DeZUNIGA’s work on Jonah Hex, new STEVE RUDE COVER, plus a FREE BACK ISSUE #23 PREVIEW!

Features a new interview and cover by BRIAN STELFREEZE, interview with BUTCH GUICE, extensive art galleries/commentary by IAN CHURCHILL, DAVE COCKRUM, and COLLEEN DORAN, MIKE GAGNON looks at independent comics, with art and comments by ANDREW BARR, BRANDON GRAHAM, and ASAF HANUKA! Includes a FREE ALTER EGO #73 PREVIEW!

(100-page magazine) $6.95 Diamond Order Code: MAY073902

(100-page magazine) $6.95 Diamond Order Code: AUG074137

ED BLE AVAILA

ROUGH STUFF #7

DIEGDITITIOANL E

BL AVAILA

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! (100-page magazine) $6.95 Diamond Order Code: NOV073966

DIEGDITITIOANL BL AVAILA

ROUGH STUFF #9

DIEGDITITIOANL BLE AVAILA

ROUGH STUFF #8 Features an in-depth interview and cover painting by the extraordinary MIKE MAYHEW, preliminary and unpublished art by ALEX HORLEY, TONY DeZUNIGA, NICK CARDY, and RAFAEL KAYANAN (including commentary by each artist), a look at the great Belgian comic book artists, a “Rough Critique” of MIKE MURDOCK’s work, and more! (100-page magazine) $6.95 Diamond Order Code: FEB084188

Editor and pro inker BOB McLEOD features four interviews this issue: ROB HAYNES (interviewed by fellow professional TIM TOWNSEND), JOE JUSKO, MEL RUBI, and SCOTT WILLIAMS, with a new painted cover by JUSKO, and an article by McLEOD examining "Inkers: Who needs ’em?" along with other features, including a Rough Critique of RUDY VASQUEZ! (100-page magazine) $6.95 Diamond Order Code: MAY084263

4-ISSUE SUBSCRIPTIONS: $26 US Postpaid by Media Mail ($36 First Class, $44 Canada, $60 Surface, $72 Airmail).

DIEGDITITIOANL BL AVAILA

TwoMorrows Publishing 2008 Catalog Update JUNE-DECEMBER 2008 • ORDER AT: www.twomorrows.com TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: twomorrow@aol.com

From KIMOTA: THE MIRACLEMAN COMPANION to G-FORCE: ANIMATED and TRUE BRIT, readers know GEORGE KHOURY is the author that delivers the most in-depth books on the comics and TV shows they love. Look what he’s up to now!

AGE OF TV HEROES

THE EXTRAORDINARY WORKS OF ALAN MOORE: Indispensable Edition

Examines the history of the live-action television adventures of everyone’s favorite comic book heroes! This handsome FULL-COLOR HARDCOVER features the in-depth stories of the actors and behind-the-scene players that made the classic super-hero television programs we all grew up with. From legendary shows like THE ADVENTURES OF SUPERMAN and BATMAN, to the modern era of THE TICK and SMALLVILLE, it’s colorfully presented in vivid detail, lavishly designed with a bevy of color photographs. Included are new and exclusive interviews and commentary from ADAM WEST (Batman), LYNDA CARTER (Wonder Woman), PATRICK WARBURTON (The Tick), NICHOLAS HAMMOND (Spider-Man), WILLIAM KATT (The Greatest American Hero), JACK LARSON (The Adventures of Superman), JOHN WESLEY SHIPP (The Flash), JACKSON BOSTWICK (Shazam!), and many more, including comments from REB BROWN, STEPHEN J. CANNELL, CHIP KIDD, STAN LEE, NOEL NEILL, JOHN ROMITA, ALEX ROSS, ILYA SALKIND, LOU SCHEIMER, LORENZO SEMPLE, LYLE WAGGONER, and other actors, producers, and crew. Re-experience the pop culture birth of the super-hero phenomenon, and relive the first time that these heroes came to life on TV! Written by G-FORCE: ANIMATED collaborators JASON HOFIUS and GEORGE KHOURY, with a new cover by superstar painter ALEX ROSS!

The definitive autobiographical book on ALAN MOORE finally returns to print in a NEW EXPANDED AND UPDATED VERSION! In it, Moore reflects on his life and work in an insightful and candid fashion through an extensive series of interviews about his entire legendary career, including new interviews covering his work since the original edition of this book was published in 2003. From SWAMP THING, V FOR VENDETTA, and WATCHMEN to the future of THE LEAGUE OF EXTRAORDINARY GENTLEMEN and beyond – all of his most important works and major themes are discussed. Within this tome, readers will find RARE STRIPS, SCRIPTS, ARTWORK, and PHOTOGRAPHS of the author, most never published elsewhere. Also, best-selling author NEIL GAIMAN headlines a series of tribute comic strips featuring many of Moore’s closest collaborators elaborating on their relationship with the great writer! Included as well is a COLOR SECTION, featuring the RARE MOORE STORY “The Riddle of the Recalcitrant Refuse” (newly remastered, and starring MR. MONSTER), plus his unseen work on JUDGE DREDD, and other tales by the creator of WATCHMEN (soon to be a blockbuster 2009 film). Edited by GEORGE KHOURY, with a cover by DAVE McKEAN!

(192-page FULL-COLOR HARDCOVER) $39.95 US • ISBN: 9781605490106 Diamond Order Code: JAN088703 • Ships November 2008

(240-page trade paperback) $29.95 US • ISBN: 9781605490090 Diamond Order Code: JAN088702 • Ships December 2008

NEW ITEMS: Vol. 19: MIKE PLOOG

MODERN MASTERS SERIES

(120-page trade paperback with COLOR) $14.95 US ISBN: 9781605490076 • Ships October 2008

Edited by ERIC NOLEN-WEATHINGTON, these trade paperbacks are devoted to the BEST OF TODAY’S COMICS ARTISTS! Each book contains RARE AND UNSEEN ARTWORK direct from the artist’s files, plus a COMPREHENSIVE INTERVIEW (including influences and their views on graphic storytelling), DELUXE SKETCHBOOK SECTIONS, and more!

Vol. 20: KYLE BAKER (120-page trade paperback with COLOR) $14.95 US ISBN: 9781605490083 • Ships December 2008

MORE MODERN MASTERS ARE COMING IN 2009, INCLUDING CHRIS SPROUSE!

t o

KIRBY FIVE-OH! LIMITED HARDCOVER EDITION! Limited to 500 copies, KIRBY FIVE-OH! LIMITED HARDCOVER EDITION covers the best of everything from Jack Kirby’s 50-year career in comics! The regular columnists from THE JACK KIRBY COLLECTOR magazine have formed a distinguished panel of experts to choose and examine: The BEST KIRBY STORY published each year from 19381987! The BEST COVERS from each decade! The 50 BEST EXAMPLES OF UNUSED KIRBY ART! His 50 BEST CHARACTER DESIGNS! And profiles of, and commentary by, 50 PEOPLE INFLUENCED BY KIRBY’S WORK! Plus there’s a 50-PAGE GALLERY of Kirby’s powerful RAW PENCIL ART, and a DELUXE COLOR SECTION of photos and finished art from throughout his entire half-century oeuvre, a previously unseen Kirby Superman cover inked by “DC: The New Frontier” artist DARWYN COOKE, and an introduction by MARK EVANIER! This LIMITED HARDCOVER EDITION includes a full-color wrapped hardcover, and an individually-numbered extra Kirby art plate not included in the softcover edition! It’s ONLY AVAILABLE FROM TWOMORROWS, and is not sold in stores! Edited by JOHN MORROW. (168-page Limited Edition Hardcover) $34.95 US • Now shipping! Only available from TwoMorrows!

DIEGDITITIOANL BL AVAILA

JACK KIRBY COLLECTOR #52

COLLECTED JACK KIRBY COLLECTOR VOLUME 7

Spotlights KIRBY OBSCURA, uncovering some of Jack’s most obscure work! Learn about such littleknown projects as an UNUSED THOR STORY, his BRUCE LEE comic, animation work, stage play, and see original unaltered versions of pages from KAMANDI, DEMON, DESTROYER DUCK, and more, including a feature examining the last page of his final issue of various series BEFORE EDITORIAL TAMPERING (with lots of surprises)! Color Kirby front cover inked by DON HECK, and back cover inked by PAUL SMITH!

Reprints JACK KIRBY COLLECTOR #27-30, with looks at Jack’s 1970s and ‘80s work, plus a two-part focus on how widespread Kirby’s influence is! Features rare interviews with KIRBY himself, plus Watchmen’s ALAN MOORE and DAVE GIBBONS, NEIL GAIMAN, Bone’s JEFF SMITH, MARK HAMILL, and others! See page after page of rare Kirby art, including a NEW SPECIAL SECTION with over 30 PIECES OF KIRBY ART NEVER BEFORE PUBLISHED, and more! (288-page trade paperback) $29.95 US ISBN: 9781605490120 Ships January 2009

(84-page tabloid magazine) $9.95 US Ships January 2009 BRICKJOURNAL magazine is the ultimate resource for LEGO enthusiasts of all ages. It spotlights all aspects of the LEGO Community, showcasing events, people, and models in every issue, with contributions and how-to articles by top builders worldwide, new product intros, and more. Edited by JOE MENO.

BRICKJOURNAL COMPENDIUM 3 VOLUME 3 compiles the digital-only issues #6-7 of the acclaimed online magazine for LEGO enthusiasts of all ages — for the first time in printed form! This FULLCOLOR book spotlights all aspects of the LEGO COMMUNITY through interviews with builders KNUD THOMSEN (builder of a LEGO city), ANTHONY SAVA (castle and dragon builder), JØRGEN VIG KNUDSTORP (CEO to the LEGO Group) and the duo ARVO (builders of many incredible models), plus features on LEGO FAN CONVENTIONS, such as BRICKFEST, LEGO WORLD (the Netherlands), and 1000STEINE-LAND (Germany), reviews and behind the scenes reports on two LEGO sets (the CAFE CORNER and HOBBY TRAIN), how to create custom minifigures, instructions and techniques, and more! Edited by JOE MENO. (224-page trade paperback) $34.95 US ISBN: 9781605490069 Ships January 2009

DIEGDITITIOANL BL AVAILA

BRICKJOURNAL #3

DIEGDITITIOANL BL AVAILA

BRICKJOURNAL #4

FULL-COLOR issue #3 has LEGO Event Reports from BRICKWORLD (Chicago), FIRST LEGO LEAGUE WORLD FESTIVAL (Atlanta) and PIECE OF PEACE (Japan), a spotlight on the creation of our amazing cover model built by BRYCE McGLONE, plus interviews with ARTHUR GUGICK and STEVEN CANVIN of LEGO MINDSTORMS, to see where LEGO ROBOTICS is going! There’s also STEP-BY-STEP BUILDING INSTRUCTIONS, TECHNIQUES, & more!

FULL-COLOR issue #4 features interviews with top LEGO BUILDERS including BREANN SLEDGE (BIONICLE BUILDER), Event Reports from LEGO gatherings such as BRICKFAIR (Washington, DC) and BRICKCON (Seattle, Washington), plus reports on new MINDSTORMS PROJECTS, STEP-BY-STEP BUILDING INSTRUCTIONS and TECHNIQUES for all skill levels, NEW SET REVIEWS, and editor JOE MENO shows how to build a robotic LEGO Wall-E!TM

(80-page magazine) $8.95 US (Digital Edition) $3.95 (or FREE to subscribers) Diamond Order Code: JUN084415

(80-page magazine) $8.95 US (Digital Edition) $3.95 (or FREE to subscribers)

DIEDGITIIOTANSL BL AVAILA

ALTER EGO focuses on Golden and Silver Age comics and creators with articles, interviews and unseen art, plus FCA (Fawcett Collectors of America), Mr. Monster & more. Edited by ROY THOMAS.

DRAW! is the professional “How-To” magazine on cartooning and animation, featuring in-depth interviews and step-by-step demonstrations from top comics professionals. Edited by MIKE MANLEY.

ALTER EGO #81

ALTER EGO #82

ALTER EGO #83

ALTER EGO #84

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

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

SWORD & SORCERY PART 2! Cover by ARTHUR SUYDAM, in-depth art-filled look at Marvel’s Conan the Barbarian, DC’s Fafhrd and the Gray Mouser, Dagar the Invincible, Ironjaw & Wulf, and Arak, Son of Thunder, plus the never-seen Valda the Iron Maiden by TODD McFARLANE! Plus JOE EDWARDS (Part 2), FCA, MR. MONSTER, and more!

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

(100-page magazine) $6.95 US Ships October 2008

(100-page magazine) $6.95 US Ships December 2008

(100-page magazine) $6.95 US Ships January 2009

(100-page magazine) $6.95 US Ships March 2009

ROUGH STUFF features never-seen pencil pages, sketches, layouts, roughs, and unused inked pages from throughout comics history, plus columns, critiques, and more! Edited by BOB MCLEOD.

WRITE NOW! features writing tips from pros on both sides of the desk, interviews, sample scripts, reviews, exclusive Nuts & Bolts tutorials, and more! Edited by DANNY FINGEROTH. THE RETRO COMICS EXPERIENCE!

BACK ISSUE celebrates comic books of the 1970s, 1980s, and today through a variety of recurring (and rotating) departments, plus rare and unpublished art. Edited by MICHAEL EURY.

DRAW! #17

ROUGH STUFF #10

ROUGH STUFF #11

WRITE NOW! #20

Go behind the pages of the hit series of graphic novels starring Scott Pilgrim with his creator and artist, BRYAN LEE O’MALLEY, to see how he creates the acclaimed series! Then, learn how B.P.R.D.’s GUY DAVIS works on the series, plus more Comic Art Bootcamp: Learning from The Great Cartoonists by BRET BLEVINS and MIKE MANLEY, reviews, and more!

Interview with RON GARNEY, with copious examples of sketchwork and comments. Also features on ANDY SMITH, MICHAEL JASON PAZ, and MATT HALEY, showing how their work evolves, excerpts from a new book on ALEX RAYMOND, secrets of teaching comic art by pro inker BOB McLEOD, new cover by GARNEY and McLEOD, newcomer critique, and more!

New cover by GREG HORN, plus interviews with HORN and TOM YEATES on how they produce their stellar work. Also features on GENE HA, JIMMY CHEUNG, and MIKE PERKINS, showing their sketchwork, and commentary, tips on collecting sketches and commissions from artists, a “Rough Critique” of a newcomer’s work, and more!

Focus on THE SPIRIT movie, showing how FRANK MILLER transformed WILL EISNER’s comics into the smash-hit film, with interviews with key players behind the making of the movie, a look at what made Eisner’s comics so special, and more. Plus: an interview with COLLEEN DORAN, writer ALEX GRECIAN on how to get a pitch green lighted, script and art examples, and more!

(80-page magazine with COLOR) $6.95 US • Ships Fall 2008

(100-page magazine) $6.95 US Ships October 2008

(100-page magazine) $6.95 US Ships January 2009

(80-page magazine) $6.95 US Ships Winter 2009

BACK ISSUE #29

BACK ISSUE #30

BACK ISSUE #31

BACK ISSUE #32

BACK ISSUE #33

“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!

“Saturday Morning Heroes!” Interviews with TV Captain Marvels JACKSON BOSTWICK and JOHN DAVEY, MAGGIN and SAVIUK’s lost Superman/”Captain Thunder” sequel, Space Ghost interviews with GARY OWENS and STEVE RUDE, MARV WOLFMAN guest editorial, Super Friends, unproduced fourth wave Super Powers action figures, Astro Boy, ADAM HUGHES tribute to DAVE STEVENS, and a new cover by ALEX ROSS!

“STEVE GERBER Salute!” In-depth look at his Howard the Duck, Man-Thing, Omega the Unknown, Defenders, Metal Men, Mister Miracle, Thundarr the Barbarian, and more! Plus: Creators pay tribute to Steve Gerber, featuring art by and commentary from BRUNNER, BUCKLER, COLAN, GOLDEN, STAN LEE, LEVITZ, MAYERIK, MOONEY, PLOOG, SIMONSON, and others. Cover painting by FRANK BRUNNER!

“Tech, Data, and Hardware!” The Official Handbook of the Marvel Universe, WEIN, WOLFMAN, and GREENBERGER on DC’s Who’s Who, SAVIUK, STATON, and VAN SCIVER on Drawing Green Lantern, ED HANNIGAN Art Gallery, history of Rom: Spaceknight, story of BILL MANTLO, Dial H for Hero, Richie Rich’s Inventions, and a Spider-Mobile schematic cover by ELIOT BROWN and DUSTY ABELL!

“Teen Heroes!” Teen Titans in the 1970s & 1980s, with CARDY, GARCÍA-LÓPEZ, PÉREZ, TUSKA, and WOLFMAN, BARON and GUICE on the Flash, interviews with TV Billy Batson MICHAEL GRAY and writer STEVE SKEATES, NICIEZA and BAGLEY’s New Warriors; Legion of Super-Heroes 1970s art gallery; James Bond, Jr.; and… the Archies! New Teen Titans cover by GEORGE PÉREZ and colored by GENE HA!

(100-page magazine) $6.95 US Ships July 2008

(100-page magazine) $6.95 US Ships September 2008

(100-page magazine) $6.95 US Ships November 2008

(100-page magazine) $6.95 US Ships January 2009

(100-page magazine) $6.95 US Ships March 2009

NEW STUFF FROM TWOMORROWS!

ALTER EGO #80

ROUGH STUFF #9

WRITE NOW! #18

DRAW! #16

BRICKJOURNAL #2

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!

Celebration of STAN LEE’s 85th birthday, including rare examples of comics, TV, and movie scripts from the Stan Lee Archives, tributes by JOHN ROMITA, SR., JOE QUESADA, ROY THOMAS, DENNIS O’NEIL, JIMMY PALMIOTTI, JIM SALICRUP, TODD McFARLANE, LOUISE SIMONSON, MARK EVANIER, and others, plus art by KIRBY, DITKO, ROMITA, and more!

Features an in-depth interview and coverage of the creative process of HOWARD CHAYKIN, plus behind the drawing board and animation desk with JAY STEPHENS, more COMIC ART BOOTCAMP, this time focusing on HOW TO USE REFERENCE, and WORKING FROM PHOTOS by BRET BLEVINS and MIKE MANLEY, plus reviews, resources and more!

The ultimate resource for LEGO enthusiasts of all ages spotlights blockbuster summer movies, LEGO style! Go behind the scenes for new sets for BATMAN and INDIANA JONES, and see new models, including an SR-71 SPYPLANE and a LEGO CITY, plus MINIFIGURE CUSTOMIZATIONS, BUILDING INSTRUCTIONS, tour the ONLINE LEGO FACTORY, and more! Edited by JOE MENO.

(100-page magazine) $6.95 Ships August 2008 Diamond Order Code: JUN084380

(100-page magazine) $6.95 Now Shipping Diamond Order Code: MAY084263

(80-page magazine) $6.95 Now Shipping Diamond Order Code: FEB084191

(80-page magazine with COLOR) $6.95 Ships July 2008 Diamond Order Code: MAY084262

(80-page FULL COLOR magazine) $8.95 Now Shipping Diamond Order Code: MAR084135

KIRBY FIVE-OH! LIMITED HARDCOVER

TITANS COMPANION VOLUME 2

FLASH COMPANION

NICK CARDY: BEHIND THE ART

LIMITED TO 500 COPIES! Hardcover version of the book that covers the best of everything from Jack Kirby’s 50-year career! Includes a wrapped hardcover, and Kirby art plate not in the softcover edition. Edited by JOHN MORROW.

This new volume picks up where Volume 1 left off, covering the return of the Teen Titans to the top of the sales charts! Featuring interviews with GEOFF JOHNS, MIKE McKONE, PETER DAVID, PHIL JIMENEZ, and others, plus an in-depth section on the top-rated Cartoon Network series! Also CHUCK DIXON, MARK WAID, KARL KESEL, and JOHN BYRNE on writing the current generation of Titans! More on the New Teen Titans with MARV WOLFMAN and GEORGE PÉREZ! NEAL ADAMS on redesigning Robin! Amazing and unpublished artwork by ADAMS, BYRNE, JIMENEZ, McKONE, PÉREZ and more, with an all-new cover by MIKE McKONE! Written by GLEN CADIGAN.

Details the histories of the four heroes who have been declared DC Comics' "Fastest Man Alive". With articles about SHELLY MAYER, GARDNER FOX, E.E. HIBBARD, JULIUS SCHWARTZ, ROBERT KANIGHER, JOHN BROOME, ROSS ANDRU, IRV NOVICK and all-new interviews with HARRY LAMPERT, CARMINE INFANTINO, CARY BATES, ALEX SAVIUK, MIKE W. BARR, MARV WOLFMAN, MIKE BARON, JACKSON GUICE, MARK WAID, and SCOTT KOLINS, it recounts the scarlet speedster's evolution from the Golden Age to the 21st century. Also featured are "lost covers," a ROGUES GALLERY detailing The Flash's most famous foes, a tribute to late artist MIKE WIERINGO by MARK WAID, a look at the speedster’s 1990s TV show, and "Flash facts" detailing pivotal moments in Flash history. Written by KEITH DALLAS, with a a cover by DON KRAMER.

NICK CARDY has been doing fantastic artwork for more than sixty years, from comics, to newspaper strips, to illustration. His work on DC Comics’ TEEN TITANS, and his amazing comics covers, are universally hailed as some of the best in the medium’s history, but his COMMERCIAL ILLUSTRATION work is just as highly regarded by those in the know. Now, this lavish FULL-COLOR HARDCOVER lets you see what goes on behind his amazing art! Nick has selected dozens of his favorite pieces from throughout his career and shows how they came to be in this remarkable art book. From the reams of preliminary work as well as Nick's detailed commentary, you will gain fascinating insight into how this great artist works, watching each step of the way as some of his most memorable images come to life! By ERIC NOLEN-WEATHINGTON and NICK CARDY.

(224-page trade paperback) $26.95 ISBN: 9781893905986 Now Shipping

(128-page FULL-COLOR HARDCOVER) $34.95 • Ships August 2008 ISBN: 9781893905993

(168-page tabloid-size hardcover) $34.95 • Now Shipping ONLY AVAILABLE FROM TWOMORROWS; NOT IN STORES!

KIRBY CHECKLIST: GOLD UPDATED EDITION of the most thorough listing of JACK KIRBY’s work ever published! (128-page trade paperback) $14.95 Now Shipping

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!

(224-page trade paperback) $26.95 ISBN: 97801893905870 Diamond Order Code: JAN083938 Now Shipping

SUBSCRIPTIONS:

Media Mail

MODERN MASTERS VOLUME 17: LEE WEEKS by Tom Field & Eric Nolen-Weathington (128-page trade paperback) $14.95 ISBN: 9781893905948

VOLUME 18: JOHN ROMITA JR. by George Khoury & Eric Nolen-Weathington (128-page trade paperback) $14.95 ISBN: 9781893905955 Each features an extensive, career-spanning interview lavishly illustrated with rare art from the artist’s files, plus huge sketchbook section, including unseen and unused art!

1st Class Canada 1st Class Priority US Intl. Intl.

JACK KIRBY COLLECTOR (4 issues)

$44

$64

$91

$152

BACK ISSUE! (6 issues)

$40

$55

$63

$91

$112

DRAW!, WRITE NOW!, ROUGH STUFF (4 issues)

$26

$36

$41

$60

$74

ALTER EGO (12 issues) Six-issue subs are half-price!

$78

$108

$123

$180

$222

BRICKJOURNAL (4 issues)

$32

$42

$47

$66

$80

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