Back Issue #5 by TwoMorrows Publishing

THE ULTIMATE COMICS EXPERIENCE!

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TwoMorrows.Celebrating The Art & History Of Comics. (& LEGO! ) TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com

All the world’s waiting for it!

The Ultimate Comics Experience!

Volume 1, Number 5 August 2004 Celebrating the Best Comics (and Comics Cinema) of the '70s, '80s, and Today! EDITOR Michael Eury

“COMICS in Hollywood” issue

EDITORIAL .............................................................................................................................................................................................2 The intertwined worlds of comic books and cinema MARVEL ON TV: Lou Ferrigno interview .................................................................................................................3 An all-new chat with television’s Incredible Hulk, and a special cartoon by John Lustig

PUBLISHER John Morrow DESIGNER Robert (Wonder Boy) Clark PROOFREADER Eric Nolen-Weathington SCANNING AND IMAGE MANIPULATION Rich Fowlks COVER ARTISTS Alex Ross Adam Hughes WONDER WOMAN CREATED BY William Moulton Marston SPECIAL THANKS Mike W. Barr Anina Bennett John Byrne Lynda Carter Dave Cockrum Ken Danker Thomas Derenick Donfeld Dick Durock Jim Emmons Jeannie Epper Lou Ferrigno Dick Giordano William Goldberg Mark Goldblatt Frank Gorshin Grand ComicBook Database Paul Guinan Linda Harrison Heritage Comics Walt Howarth Adam Hughes Internet Movie Database Klaus Janson Phil Jimenez Dan Johnson Ted Latner Cloris Leachman John Lustig

oOur

Rick Magyar Andy Mangels Charles McKimson Darrell McNeil Todd and Johna Miller Brian K. Morris Mike Nasser Jerry Ordway George Pérez Adam Philips Melissa Prophet John Romita, Sr. Alex Ross Stanley Ralph Ross Steve Rude Rose RummelEury Peter Sanderson Saundra Sharp Robert Shields Joel Thingvall Anne Timmons Alex Toth TV Tome Ricardo Villagran Lyle Waggoner B.J. Ward Jim Warden Mike Zeck

MARVEL ON TV continued: Marvel Super-Heroes, As Seen on CBS-TV ....................................7 Cast and episode lists for Marvel Comics’ live-action series and specials THE GREATEST STORIES NEVER TOLD: The Greatest Series Never Sold...............................11 Scooby-Doo Meets the Super-Heroes, Teen Titans, and other toons you didn’t see BACKSTAGE PASS: Lynda Carter: She’s Still a Wonder ...........................................................................17 An exclusive interview with television’s Wonder Woman, with photos and rare art galore BACKSTAGE PASS continued: Wonder Woman: TV Allies and Associates Dossier.....................................................................................37 Lyle Waggoner, Cloris Leachman, and others ruminate on the TV series and heroine COLOR ART GALLERY: Lynda Carter as Wonder Woman .....................................................................50 Costume designs by Donfeld, plus pinups by Giordano, Guinan, Hughes, Jimenez, Ross, and Timmons OFF MY CHEST: John Romita, Sr. .................................................................................................................................57 The legendary Marvel Comics artist discusses Spider-Man on screen in a guest editorial ROUGH STUFF: Jerry Ordway ..........................................................................................................................................61 Spotlighting the pencil artwork of one of comics’ most popular artists BEYOND CAPES: Mike W. Barr’s Star Trek Comic-Book Memories...........................................................................................71 The Enterprise’s foray into funnybooks, courtesy of a writer who’s boldly gone on the ride with them DVD BACK ISSUES, PART ONE........................................................................................................................................78 A checklist of comics to film to DVD CALLING THE SHOTS: An Interview with Punisher (1989) Director Mark Goldblatt .......................................................................................................................................................83 A behind-the-scenes look at the Marvel-inspired film BACK IN PRINT: The Doom Patrol Archives ...........................................................................................................89 Are these upscale reprints worth their price tags? NEW IN PRINT: The Doom Patrol by John Byrne ............................................................................................91 A chat with the writer/artist about his reworking of DC’s strangest heroes BACK TALK.........................................................................................................................................................................................93 Reader feedback on issue #3, with a wonderful Pérez pinup BACK ISSUE™ is published bimonthly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor. John Morrow, Publisher. BACK ISSUE Editorial Office: BACK ISSUE, c/o Michael Eury, Editor, 5060A Foothills Dr., Lake Oswego, OR 97034. Email: euryman@msn.com. Six-issue subscriptions: $30 Standard US, $48 First Class US, $60 Canada, $66 Surface International, $90 Airmail International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Wonder Woman, Batman, Robin, Teen Titans, Rima the Jungle Girl, Super Friends, Superman, Aquaman, Blackhawk, B’wana Beast, All-Star Squadron, Crisis on Infinite Earths, Power of Shazam!, the Joker, and the Doom Patrol TM & © 2004 DC Comics. The Incredible Hulk, Spider-Man, Mary Jane Watson, the Punisher, Captain America, Doctor Strange, Fantastic Four, the Avengers, and all other related characters TM & © 2004 Marvel Characters, Inc. Bobbie Joe and the Outlaw © 1976 American International Pictures. Hawkeye © 1994 Stephen J. Cannell Productions. Inc. Scooby-Doo TM & © 2004 Hanna-Barbera Productions, Inc. All American Girl and Spirit of ’76 TM & © 2004 Gold Medal Productions. Star Trek TM & © 2004 Paramount Pictures. Wildstar TM & © 2004 Al Gordon and Jerry Ordway. TV Guide® Magazine TM & © 2004 TV Guide Magazine Group, Inc. The Archies TM & © 2004 Archie Comics Group. All editorial matter © 2004 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. Printed in Canada. FIRST PRINTING.

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Remember the first time you became aware of a super-hero? dropping “dueling Lynda Carter Wonder Woman” flip covers by Alex Ross and Adam Hughes (and

That medium, for many, was television.

In all likelihood, you discovered superheroes in a medium other than comic books.

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yes, you are permitted to buy two copies of BACK

I was barely in grade school when Adam

ISSUE #5 if you can’t decide which cover to display

West camped up the Caped Crusader in 1966.

face up). Andy has worked very hard on this issue,

My parents had used comic books to encourage me

but given his passion for the subject matter, it’s

to read, but until ABC-TV’s Batman my comics

been a labor of love for him. Thanks, Andy!

perusals were limited to candy-coated fare like

Before we turn to our Hollywood coverage,

Milton the Monster. When Batman hit the tube,

allow me to share with you a recently received

however, I quickly learned of his four-color roots. I

note from comics scribe J.M. DeMatteis, one of

remember

the subjects of issue #3’s “Pro2Pro” interview:

coming

home

from

school

one

Wednesday in early 1966, breathless over that

I received my copies of BACK ISSUE #3 today

night’s upcoming Batman episode, and calling my

and enjoyed reading the JLA interview . . .

dad at work to ask him to bring me a Batman

except that, right off the bat, there’s a Major

comic book on his way home. That he did

Goof: My entire first response (staring with,

(Detective Comics #350, featuring a lame Bat-villain

‘Really? I know that I’d been after [editor]

called the Monarch of Menace, who probably

Andy Helfer . . .’ and ending with ‘It was

would’ve been played by Soupy Sales had he been

really that simple’) isn’t mine at all . . . it’s

on the TV show), and I was hooked—first on

Keith’s [Giffen]! I was never after Andy to

Batman and Robin, and later on virtually any

give me the Justice League assignment nor

super-hero I could discover.

did I ever ask him to fire Gerry Conway so I

Your story is most likely like mine, although it

could have the gig. As noted later in the

might’ve been George Reeves as Superman or

interview, I was pretty much dragged kick-

Spider-Man and His Amazing Friends that lured you

ing and screaming onto the book! I would

into comics reading. If it was Lynda Carter as

really appreciate it if this could be corrected

Wonder Woman or Lou Ferrigno as the Incredible

in a (near) future issue. All the best

Hulk, or even Dolph Lundgren as the Punisher,

—JMD.

then you’re gonna love this “Comics in Hollywood”

Thanks for clearing that up, Marc. Everyone

issue! And you diehard comic-book aficionados should

involved with your “Pro2Pro” interview apologizes

fear not: BACK ISSUE #5’s art-packed “Rough Stuff,”

for letting that slip past us. (Wasn’t “Major Goof”

“Beyond Capes,” and Wonder Woman gallery ensure

a villain in one of your Justice League issues?)

that we don’t stray too far from our illustrated roots.

And thanks to you for buying this issue. Your

Many, many brilliant artists and writers lent

comments are, as always, sincerely appreciated.

their considerable talents to this issue and receive

Write to euryman@msn.com or to the editorial

my heartfelt gratitude, but special thanks go out to

mailing address in the indicia on page 1. See you

Andy Mangels for proposing the Wonder Woman

in two months for our Halloween issue!

show

coverage—plus

the

accompanying

full-color Wonder Woman art gallery and our jaw-

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Michael Eury, editor

Dan Joh

nson

arvel’s Television Muscle: Lou Ferrigno interview

Talks The Incredible Hulk If you were a child in the late ’70s and the early ’80s, then you knew the place to be on Friday nights was parked in front of the television set tuned into CBS’ The Incredible Hulk. The show, a live-action adaptation of Marvel Comics’ popular comic-book character, featured Bill Bixby as Dr. David Banner. Just like his counterpart in the comics [Dr. Bruce Banner], whenever Banner grew mad or outraged, he would transform into the

Mean and Green

living personification of his

Lou Ferrigno as TV’s not-so-jolly green giant.

anger, the Incredible Hulk

Photo courtesy of Andy Mangels.

Alter Egos

(played by Lou Ferrigno). In

Bixby and Ferrigno

the hands of a less talented

personified the roles

producer, the idea for this series might have been strictly reserved for CBS’ Saturday-morning kid block.

of Dr. David Banner and

But thanks to the guidance of seasoned television producer Kenneth (V, Alien Nation) Johnson, The

his “angry” alter ego for

Incredible Hulk became one of the best dramatic/adventure series of its day.

five seasons and three

The character of David Banner was a role that was owned by the late Bill Bixby. He infused Banner with

reunion movies—with a

a likable “everyman” quality that made it easy for other characters to trust him, and in the end aid his flight

fourth outing planned!

from relentless reporter Jack McGee (played by Jack Colvin). Bixby’s performance as Banner was so real and

Photo courtesy of

honest, the idea of him becoming a giant, green creature was believable even to the most jaded television viewer.

Andy Mangels.

But I was a kid when the show was first on the air. While the stories that were spun around David Banner’s quest for a cure for the monster that dwelled within him appeal to me now as an adult, I, like most people

my age back in the day, tuned in to see Banner’s alter ego, the Hulk.

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attracted the attention of Hollywood in the documentary Pumping Iron. He was very young when he took on the part of the Hulk, in his mid-20s, but youthful accomplishments came easily for Ferrigno. He was only 19 when he entered his first bodybuilding competition. At 21, Ferrigno won the title of Mr. Universe, becoming the youngest man to claim that title. As for the role of the Hulk, it was a part that the Brooklyn native was eager to take on. “I grew up reading comic books, like Superman and The Incredible Hulk,” admits Ferrigno. “I knew about the Hulk and admired that character and his physique.” Although Ferrigno replaced Kiel as the Hulk early into the pilot film’s shooting, Ferrigno recalls that some of the Kiel footage was deemed salvageable, specifically “the scene with the little girl at the lake.” The makeup application that transformed Ferrigno

It’s Easy Being Green

into the Hulk was originally a grueling three-and-a-

Screen Swamp Thing Dick Durock as “The First,”

half hour ordeal, but was eventually cut down to

from an Incredible Hulk two-part episode. Photo courtesy

two-and-a-half hours with experience. The Hulk make-

of Dick Durock and Dan Johnson.

up didn’t afford Ferrigno much of a chance to interact

with the guest stars who appeared on the show. “I had to stay in this air-conditioned trailer they had for me

JAWING WITH TV’S HULK Recently it was my pleasure to sit down with Lou Ferrigno, the man who brought the Hulk to life. I was surprised to learn that he wasn’t the first choice for the part of the Hulk. “Originally the producers had hired Richard Kiel [the villain “Jaws” from the James Bond films] to be the Hulk,” Ferrigno tells BACK ISSUE. “They shot about two weeks’ worth of

between takes so the makeup wouldn’t run,” Ferrigno says. Despite his lack of interaction with the guest stars, Ferrigno did get to know and come to admire his two co-stars, Bill Bixby and Jack Colvin. “Bill was a great guy, and I learned a lot from him. I loved watching him on the set. Bill took me under his wing, and was a mentor for me. Jack Colvin was also great, too, a terrific actor.”

material, and the son of one of the directors came onto the set and told his father [after seeing Kiel],

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FAVORITE EPISODES

‘That’s not the Hulk, daddy. The Hulk has big, huge

“My favorite episode was ‘King of the Beach,’” Ferrigno

muscles [that wasn’t the case with Kiel].’ When you

is quick to add when reflecting upon the show. In that

think of the Hulk, you think of bulging muscles.”

episode, the actor did double duty. He not only played

Indeed, while Kiel’s stature was quite impressive, his

the Hulk, but he also stepped out of the green body

frame lacked the physical presence of the Hulk.

makeup to play a bodybuilder in this somewhat auto-

When the shadow of doubt about Kiel was cast by

biographical story. “I liked it because I really got to

that young Hulk fan, the producers of the show

act in that episode,” he smiles. Another favorite of

quickly realized that they would need someone who

Ferrigno’s is “The First,” a two-parter where David

could amply fill the “shoes” of the Hulk. That was

Banner encounters another Hulk-like creature that had

where Lou Ferrigno came in. Ferrigno had already

terrorized a community 20 years before. This original

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creature was played by veteran stuntman/actor Dick

Man. Sad to say, nothing ever came of that project.

Durock. “Dick Durock and I are great friends today,”

Ferrigno and Bixby did eventually return to their

Ferrigno tells BACK ISSUE. “Dick also played Swamp

characters several years later, this time on NBC. Three

Thing in the two movies and the television series.

Hulk films were made for the “Peacock Network,” the

Dick and I, as well as Ben Chapman (the original

first two co-starring other Marvel super-heroes who

Creature from the Black Lagoon), often do signing

might, if the ratings were good enough, be spun off

shows and conventions together. We bill ourselves

into their own television series. “I liked the television

as the Green Team.”

films we made,” Ferrigno contends. “Bill [Bixby] was

The Incredible Hulk had a successful run on CBS for

producing and directing these films, and we were

four seasons, as well as a “mini-” fifth season consisting

shooting in Vancouver [British Columbia]. The nice

of a handful of episodes that had been filmed before

thing was, we got to do the films the way we wanted

“If the phone rings at midnight, it must be Bill Bixby”. . .

the axe fell in 1982. The news of the show’s cancel-

to make them. There were no suits looking over our

. . . was the title of

lation came as a blow for Ferrigno, who had assumed

shoulders. We got to run things our way.”

the July 28, 1979 TV Guide article covering

that his series was in terrific shape for a full fifth season.

The first film was The Incredible Hulk Returns (1988),

“I was shocked when I heard it was cancelled,” Ferrigno

featuring Eric Allan Kramer as the Mighty Thor.

remarks. “One reason I can think of for the cancel-

In 1989, NBC rolled out The Trial of the Incredible

lation was the budget. Someone at CBS thought it

Hulk, with Rex Smith as Daredevil

was too expensive a series to continue. I think that

and John Rhys-Davies as the

was a decision that [the network] eventually regretted.”

Kingpin. The most memorable

The Incredible Hulk.

of these three films, though,

MARVEL TV TEAM-UP

was the final film, The Death

In 1984, there was talk of a television movie that

of the Incredible Hulk. In its

would have brought the Hulk back to CBS, and would

climax, the Hulk falls to

have teamed him up with another super-hero that had

his death and in the closing

also gotten his pink slip from the network—Spider-

scenes, David Banner finds peace at last. Surprisingly, this wasn’t meant to be the final Hulk film. “We were going to make another film, The Revenge of the Incredible Hulk,” Ferrigno reveals to BACK ISSUE. “Before we could start production though, Bill got sick and passed away.”

Three-and-a-Half Hours in the Chair! The transformation from actor to gamma-spawned hero was no easy task. Photo courtesy of Andy Mangels.

YOU CAN’T HIDE FROM THE HULK! The end of the television Hulk didn’t mark the end of Ferrigno’s involvement with the character. A few years after The Death of the Incredible Hulk aired, Ferrigno learned that a new Hulk cartoon series (1996

–1998) was being readied for UPN. “I actually con-

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tacted the producers of that

Life as the Hulk. “The book is self-published,” Ferrigno

show and asked about being

tells BACK ISSUE. “There are many behind-the-scene

involved,” he says, getting

photos from the Hulk series in this book that I think the

the green light to voice the

fans will enjoy seeing, many of them for the first time.

Hulk in the cartoon series.

Also, it is the only book out that is devoted entirely

“They were surprised and

to the Hulk television series.”

delighted that I wanted to

Besides his life as the Hulk, Ferrigno stays busy

come on board. That was

these days acting (he is a regular on CBS’ The King

another great show I was lucky

of Queens), working as a personal trainer, and also

to be involved with. We had

appearing as a motivational speaker at numerous

a great cast on that show, too.”

universities and schools for the hearing impaired.

Ferrigno’s life seems for-

Information about his personal training sessions

ever tied to the Hulk. He

and his motivational-speaking appearances (as well

was even asked to do a cameo

as information on obtaining copies of My Incredible

in Ang Lee’s live-action, 2003

Life as the Hulk and autographed photos) can be found

Hulk Angry!

Hulk feature film (a cameo

at Ferrigno’s personal website, www.louferrigno.com.

Show cancelled!

that brought the house down

BACK ISSUE would like to thank Mr. Ferrigno for

Photo courtesy of Andy Mangels.

when it was filmed). 2003

taking the time to sit down with us. We would also

also saw the publication of

like to thank Ben Chapman for helping make this

Ferrigno’s book about the

interview a reality, and we encourage our readers to

television series, My Incredible

visit his personal website at www.the-reelgillman.com.

Lou Ferrigno Strikes Back Last Kiss cartoonist offers this assessment of Ang Lee’s Hulk film. Art by Charles Nicholas and Sal Trapani, from First Kiss #13 (1960). Hulk and Bruce Banner © 2004 Marvel Characters, Inc.

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Michae

l Eury

arvel super-heroes, as seen on cbs-tv: Cast and episode lists The Incredible Hulk Executive Producer: Kenneth Johnson • Running Time: 60 minutes • Total Episodes: 83 (counting pilot) • Synopsis: Scientist David Banner’s experiment to mine adrenaline-based strength via gamma radiation goes horribly awry, mutating him, when angered (“Mr. McGee, don’t make me angry. You wouldn’t like me when I’m angry.”), into a green-skinned man-brute called the Hulk. Banner traverses the USA with a headline-hungry reporter hounding him. • Cast: Dr. David Banner - Bill Bixby; The Hulk - Lou Ferrigno; Jack McGee - Jack Colvin; Narrator (uncredited) - Ted Cassidy

Season 1:

1-8 (airdate: 5/12/78)

Pilot 1 (airdate: 11/4/77)

“Life and Death”

“The Incredible Hulk”

1-9 (airdate: 5/19/78)

Pilot 2 (airdate: 11/27/77) “Death in the Family” (aka “The Return of the Incredible Hulk”) 1-1 (airdate: 3/10/78) “The Final Round” 1-2 (airdate: 3/17/78) “The Beast Within” 1-3 (airdate: 3/24/78) “Of Guilt, Models, and Murder” 1-4 (airdate: 3/31/78) “Terror in Times Square” 1-5 (airdate: 4/7/78) “747” 1-6 (airdate: 4/21/78) “The Hulk Breaks Las Vegas” 1-7 (airdate: 4/28/78) “Never Give a Trucker an Even Break”

“Earthquakes Happen” 1-10 (airdate: 5/31/78) “The Waterfront Story”

Season 2: 2-1 (airdate: 9/22/78) “Married (Part 1)” (aka “Bride of the Incredible Hulk”) 2-2 (airdate: 9/22/78) “Married (Part 2)” (aka “Bride of the Incredible Hulk”) 2-3 (airdate: 9/29/78) “The Antowuk Horror” 2-4 (airdate: 10/6/78) “Ricky”

2-7 (airdate: 10/27/78)

2-22 (airdate: 5/11/79)

“Another Path”

“The Quiet Room”

2-8 (airdate: 11/3/78)

2-23 (airdate: 5/25/79)

“Alice in Disco Land”

“Vendetta Road”

2-9 (airdate: 11/10/78)

Season 3:

“Killer Instinct”

3-1 (airdate: 9/21/79)

2-10 (airdate: 11/24/78)

“Metamorphosis”

“Stop the Presses”

3-2 (airdate: 9/28/79)

2-11 (airdate: 12/1/78) “Escape from Los Santos”

“Blind Rage” 3-3 (airdate: 10/5/79)

2-12 (airdate: 1/17/79)

“Brain Child”

“Wildfire”

3-4 (airdate: 10/19/79)

2-13 (airdate: 1/24/79)

“The Slam”

“A Solitary Place”

3-5 (airdate: 10/26/79)

2-14 (airdate: 1/31/79)

“My Favorite Magician”

“Like a Brother”

3-6 (airdate: 11/2/79)

2-15 (airdate: 2/7/79)

“Jake”

“The Haunted”

3-7 (airdate: 11/9/79)

2-16 (airdate: 3/2/79)

“Behind the Wheel”

“Mystery Man (Part 1)”

3-8 (airdate: 11/30/79)

2-17 (airdate: 3/9/79)

“Homecoming”

“Mystery Man (Part 2)”

3-9 (airdate: 12/7/79)

2-18 (airdate: 3/16/79)

“The Snare”

“The Disciple”

3-10 (airdate: 12/14/79)

2-19 (airdate: 3/30/79)

“Babalao”

“No Escape”

2-5 (airdate: 10/13/78)

2-20 (airdate: 4/6/79)

3-11 (airdate: 12/21/79)

“Rainbow’s End”

“Kindered Spirits”

“Captive Night”

2-6 (airdate: 10/20/78)

2-21 (airdate: 5/4/79)

3-12 (airdate: 1/4/80)

“A Child in Need”

“The Confession”

“Broken Image”

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3-13 (airdate: 1/11/80)

4-10 (airdate: 2/13/81)

“Proof Positive”

“Wax Museum”

“Trial of the Incredible Hulk”

3-14 (airdate: 1/25/80)

4-11 (airdate: 2/20/81)

guest stars: Daredevil/Matt

“East Winds”

“Sideshow” 3-15 (airdate: 2/1/80)

4-12 (airdate: 3/6/81)

“Long Run Home”

“The First (Part 1)”

3-16 (airdate: 2/8/80)

4-13 (airdate: 3/13/81)

“Falling Angels”

“The First (Part 2)”

3-17 (airdate: 2/15/80)

4-14 (airdate: 3/27/81) “The Harder They Fall”

“The Lottery”

4-15 (airdate: 4/3/81)

3-18 (airdate: 2/22/80)

“Interview with the Hulk”

“The Psychic”

4-16 (airdate: 4/17/81)

3-19 (airdate: 2/29/80)

“Half Nelson”

“A Rock and a Hard Place”

4-17 (airdate: 5/15/81)

3-20 (airdate: 3/14/80)

“Danny”

“Deathmask”

“Patterns”

“Equinox” 3-22 (airdate: 4/4/80)

5-1 (airdate: 10/2/81)

3-23 (airdate: 4/11/80)

“The Phenom”

“On the Line”

5-2 (airdate: 10/9/81)

Season 4:

“Two Godmothers” 5-3 (airdate: 10/16/81)

4-1 (airdate: 11/7/80)

“Sanctuary”

“Prometheus (Part 2)”

5-5 (airdate: 11/13/81)

4-3 (airdate: 11/21/80)

“Triangle”

“Free Fall”

5-6 (airdate: 5/5/82)

4-4 (airdate: 12/5/80)

“Slaves”

“Dark Side”

5-7 (airdate: 5/12/82)

4-5 (airdate: 12/12/80)

“A Minor Problem”

“Deep Shock”

The Amazing Spider-Man Executive Producers: Charles W. Fries and Daniel R. Goodman • Running Time: 60 minutes • Total Episodes: 14 (counting pilot) • Synopsis: A grad student who moonlights as a newspaper photographer is bitten by a radioactive spider and gains amazing super-

Spider-Man - Nicholas Hammond; J. Jonah Jameson - David White (pilot), Robert F. Simon (series); Rita Conway - Chip Fields; Captain Barbera - Michael Pataki; Julie Masters - Ellen Bry (season 2)

Season 1: Pilot (airdate: 4/19/77) “Spider-Man” 1-1 (airdate: 4/5/78) “The Deadly Dust (Part 1)” 1-2 (airdate: 4/12/78) “The Deadly Dust (Part 2)” 1-3 (airdate: 4/19/78)

4-6 (airdate: 1/9/81) “Bring Me the Head

Reunion TV Movies

of the Hulk”

(2 hours each, aired on NBC-TV): M-1 (airdate: 5/22/88)

4-7 (airdate: 1/16/81)

“The Incredible Hulk Returns”

“Fast Lane”

guest stars: Thor (Eric Allan

4-8 (airdate: 1/23/81) “Goodbye Eddie Cain” 4-9 (airdate: 2/6/81)

“The Curse of Rava” 1-4 (airdate: 4/26/78) “Night of the Clones” 1-5 (airdate: 5/3/78) “Escort to Danger”

Kramer) and Donald Blake

Season 2:

(Steve Levitt)

2-1 (airdate: 9/5/78)

“King of the Beach”

I S S U E

“Death of the Incredible Hulk”

5-4 (airdate: 11/6/81)

4-2 (airdate: 11/14/80)

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M-3 (airdate: 2/18/90)

“Veteran”

“Prometheus (Part 1)”

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Kingpin (John Rhys-Davies)

powers. • Cast: Peter Parker/

Season 5:

“Nine Hours”

Murdock (Rex Smith) and the

4-18 (airdate: 5/22/81)

3-21 (airdate: 3/21/80)

M-2 (airdate: 5/7/89)

“The Captive Tower”

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2-2 (airdate: 9/12/78) “A Matter of State” 2-3 (airdate: 11/25/78) “The Con Caper” 2-4 (airdate: 12/30/78) “The Kirkwood Haunting” 2-5 (airdate: 2/7/79) “Photo Finish” 2-6 (airdate: 2/21/79) “Wolfpack” 2-7 (airdate: 7/6/79) “The Chinese Web (Part 1)” 2-8 (airdate: 7/6/79) “The Chinese Web (Part 2)”

Dr. Strange (TV Movie) Director: Philip DeGuere •

Captain America (TV Movie)

Airdate: 9/6/78 • Running Time: 110 minutes • Synopsis:

Director: Rod Holcomb • Airdate: 1/19/79

The emergence of a witch from an

Running Time: 120 minutes • Synopsis:

ancient civilization forces a con-

An experimental drug augments Steve Rogers

temporary psychiatrist to become

a would-be murder victim into a super-strong

the Sorcerer Supreme. • Cast:

patriot. • Cast: Steve Rogers/Captain

Dr. Stephen Strange - Peter

America - Reb Brown; Dr. Simon Mills - Len

Hooten; Wong - Clyde Kusatsu;

Birman; Dr. Wendy Day - Heather Menzies;

Clea Lake - Anne-Marie Martin; Morgan LeFay - Jessica Walter; The Nameless One - David Hooks

Lou Brackett - Steve Forrest

Reb Revs into Action TV movie is a departure

Captain America II: Death Too Soon (TV Movie)

from Cap’s traditional uni-

Director: Ivan Nagy • Airdate: 11/23/79

form. Photo courtesy of

Running Time: 83 minutes • Synopsis:

Andy Mangels.

The star-spangled super-hero tackles a criminal

The hero’s garb in the first

genius who can accelerate human aging. Cast: Steve Rogers/Captain America - Reb Brown; Dr. Wendy Day - Connie Sellecca; Dr. Simon Mills - Len Birman; Helen Moore - Katherine Justice; Miguel - Christopher Lee

Captain America Returns In the sequel, the hero’s uniform is closer to his comics

The CBS Eye of Agamotto Peter Hooten sports a Mike Brady-

duds. Photo courtesy of Andy Mangels.

esque perm as Dr. Strange. Photo courtesy of Andy Mangels.

FACTOID:

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See Dick. See Dick run (at super-speed?). Alex Toth’s classic Super Friends rendition, with Norman Maurer’s proposed additions of Dick and Jane, teenage shapeshifting aliens, and their pet, Mighty Monkey, who later became Zan, Jayna, and Gleek in the series. Wonder Twins powers, activate! © 1976 Hanna-Barbera Productions, Inc. Superman, Batman, Robin, Wonder Woman, and Aquaman © 2004 DC Comics.

“The “The

Greatest Series

Never Sold”

Darrell M

cNeil

When “Mad Mikey” ruminated with your not-so-humble correspondent re the possibility of doing for this fine publication a piece about past proposed animation series concepts, he came to the right dude. . . ’cuz I’ve had a little more than 30 years’ experience dealin’ with them shadowy li’l buggers. I started in the early ’70s, when I used to make my yearly trek to the local Hanna-Barbera (H-B) studio to “bug” then production design supervisor Bob Singer into hiring me to be a character designer there. (And no, I wasn’t going to let my being of high-school age stop me!) Anyway, one year (late ’72, I think), after his standard “You’re too young, come back when you graduate” speech, he decided to assuage me by showing me some large, colorful “presentation boards” showing scenes of various show ideas that H-B

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was pitching to the three networks (this was before the days of Fox, MTV, and the Cartoon Network, chilluns!) as potential series for the following season. The first one Singer showed me was of then (and, amazingly, now) studio stalwart Scooby-Doo with Batman and Robin, who had teamed up in two episodes of The New Scooby-Doo Movies. “Cool,” sez I. “Wrong,” sez he, as he pulled out another presentation board showing Scooby. . . this time with Superman! “Whuzzat?” axed I. That, he replied, was the new concept H-B was presenting to CBS after the Batman/Robin appearances were the two highest-

The Brave and the Broadcast

Velma, and Shaggy) [Scooby-Doo without Shaggy??! Blasphemy! – M.E.] with a

Aquaman/Blackhawk team-up is from

different quartet: Batman, Superman, and. . . you ready?. . . Spider-Man and the

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Super-Heroes, would’ve replaced Scooby’s usual companions (Fred, Daphne,

This presentation image for an an unrealized hour-long show

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rated guest stars the Scooby Movies had had. The concept, Scooby-Doo Meets the

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Fantastic Four! “But. . . but. . .,” I stammered, “aren’t they Marvel characters?” “Yes,” Singer replied. “In a show with DC characters?” “Yes,” Singer again

responded. Anticipating my next question, he then said, re the Marvel characters, “When was the last time you saw them on TV?” “Good point,” I answered. Now back then, I didn’t know that just because a show is proposed, it doesn’t mean that it was going to be sold. I also had no idea how many shows were created and pitched versus how many actually made it to the air. (For those with long memories, remember the lists of various unrealized comic-book movie/TV projects that flourished over the last 20 years?) Now, having spent some time, over my 28-year (and counting) toon career, being involved in the production of various presentations, proposals, and pilots (one of which was directly comicbook based, that being 1991’s Nexus), I’ve run into more than a few that you might not have heard of. Well, we’ll soon fix that. . . . Some of the more interesting concepts include:

THE 1968 DC FILMATION PILOTS Legends had it that, after the success CBS and National Periodical Publications (then the official name of DC Comics) experienced in 1967 with The Superman/ Aquaman Hour of Adventure (which featured rotating animated adventures starring the Flash, the Atom, Hawkman, Green Lantern, the Teen Titans, and the Justice League of America), Filmation produced a pilot episode of Metamorpho, plus had planned pilot episodes (which were announced in DC publications that year) of

Me, TV Star

Plastic Man and Wonder Woman for the following year. People swear that at least

Remember the animated appearances

one Metamorpho was done; I talked to Filmation toppers Norm Prescott and Lou

of DC’s Batman/Tarzan hybrid,

Scheimer about it when I was doing Super 7 there, and neither one remembered

B’wana Beast? Of course you don’t!

doing it. What I did see while there, however, were presentation drawings of

Aquaman interacting with not only Flash, Metamorpho, and Plastic Man, but the Doom Patrol, the Metal Men, the Blackhawks, and (I am not kidding) B’wana Beast! Apparently, a DC Comics cartoon hour was being developed for the ’68 season, but a “little” phenomenon known as [ABC-TV’s live-action] Batman was sweeping the nation at the time. When CBS learned that ABC hadn’t secured the animation rights to the Caped Crusader, CBS snatched ’em, dropped all the other super-hero plans, and converted The Superman/Aquaman Hour of Adventure into The Batman/ Superman Hour for the ’68 season. A slight digression here on the practice of cross-network poaching: Remember the Scooby-Doo Meets the Super-Heroes concept I mentioned earlier? Well, that was being done by H-B for the ’73 season, and presumably for CBS, who was broadcasting Scooby-Doo. Rival network ABC, however, was using their animated Brady [Bunch] Kids series to do episodes guest-starring the Lone Ranger, Superman, and Wonder Woman, which also served as backdoor pilots featuring said characters. These episodes (particularly the latter two) were the highest-rated ones of the Brady Kids show, which prompted ABC to team Superman and Wonder Woman with former CBS Saturday stars Aquaman and Batman to form TV’s Justice League, the Super Friends. This action not only but the kibosh on CBS’ Scooby/Super-Heroes

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plan, but even prevented them using Batman and Robin in an encore Scooby Movies appearance. CBS struck back the following season (’74) when they turned a proposed Jetsons revival into The Partridge Family, 2200 A.D., featuring the ABC sitcom stars that H-B had animated the previous season as guest stars in Goober and the Ghost Chasers. This game of “network super-hero ping pong” finally reached its crescendo when, during a two-year period (’74 to ’76) when ABC’s Super Friends was not in production, CBS ordered a new animated series (and the first new Saturdaymorning mid-season show) featuring their previous Saturday stars Batman and Robin. When that show, The New Adventures of Batman, premiered in early ’77, and ABC’s All-New Super Friends Hour, also with Batman and Robin, premiered the following fall, it marked the first time a pair of characters appeared on two separate series, on two different networks, animated by two different companies! But I digress (and how!). . . .

BATMAN IN SPACE Filmation, having previously given DC’s Captain Marvel the live-action treatment [Shazam!, 1974–1977], developed a treatment/script for a new live-action two-hour TV movie/pilot that, on reflection, was a story probably better off not being told. Why? Here’s why! The basic premise: Gotham City, 20 years in the future, when a new breed of villains have pretty much taken over the city and our heroes (including Commissioner Gordon and Barbara Gordon) and the main villains (Joker, Penguin, Riddler, Catwoman, etc.) are all 20 years older, decrepit and retired. A group of aliens (I am not making this up) see Batman and Robin as the champions Gotham City needs at this time and, through their futuristic technology, restore Batman and Robin, and their fellow heroes and adversaries, to their former youth and vitality. They also give Batman an orbiting HQ and a Bat-ship to travel through space as their protectors. (And people I know thought 1978’s Legends of the SuperHeroes was goofy.) This was planned (and fell through) around that same time.

THE DRACULA HOUR Another Filmation series proposal, playing off the top-rated Tarzan and the Super 7 (a 1978 mix of animated and live-action super-hero/sci-fi adventures), was an hour featuring super-heroic versions of various horror characters, among them “Dracula,” “Frankenstein,” “the Phantom Spaceman,” and the live-action serial “Dracula in Space.” What happened to this potential hit? Well. . . this concept was pitched to ABC for their ’79 schedule. . . four years after Filmation produced a comedic live/animated mix for the network, Uncle Croc’s Block. Croc became the

A Super-Hero with Bite

biggest bomb ABC had ever had up to that point, and the network chief at the time,

Dell’s version of Dracula never

Michael Eisner (hmm. . . anyone ever hear of him?), pretty much vowed that ABC

made it to Saturday-morning television,

would never buy a series from Filmation again. And once the Dracula proposal

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crossed his desk—well, you thought the star of that show was dead. . . ?

Long Before the Cartoon Network. . .

TEEN TITANS STRIKE OUT—TWICE

The Teen Titans group, circa 1983.

Between the trio of “Teen Titans” episodes featured in Superman/Aquaman and

This unproduced Hanna-Barbera

their current Pokemon-inspired (let’s be kind and call it that) version, two other

series would’ve featured the Protector

versions of the venerable teen team were considered for TV airing. One got so

in Robin’s slot, as Robin was still a

close, it was actually given a production number, that one being a series of seven

Super Friend back then. Cyborg came

episodes of the 1970s-era team (Speedy, Kid Flash, Wonder Girl, and Aqualad)

to animation (and a toy line) two years

planned as a rotating half-hour segment (with six half-hours of what I’ll describe

later as one of the Super Powers Team.

in the next story) of The Godzilla Power Hour for NBC back in ’78. H-B proposed that version then; in the early 1980s they proposed to ABC a series featuring the

Marv Wolfman/George Pérez version of the team, which had been featured in a series of drug-fighting comics and in a one-minute anti-drug TV commercial (which yours truly was an assistant animator on. . . and which you wouldn’t have known if I hadn’t said so, which is why I said so). Neither version made it to the air, but the last show I’m gonna mention is partly responsible for the current Titans being on the air!

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DC’s Girl Gone Wild DC Comics’ Rima the Jungle Girl, a Super Friends guest member, rendered by Alex Toth, helped in part from guest author Darrell McNeil, who was the only artist in the studio who knew what she looked like. © 1977 Hanna-Barbera Productions, Inc. Rima © 2004 DC Comics.

MISS AMERICA AND SHEENA First, though, I’m gonna address the other six half-hours H-B had planned for Godzilla. They wanted to put a female lead in that slot, so, since Wonder Woman was tied up with ABC’s Super Friends, the H-B brain trust created the patriotic “Miss America” for the slot. This got the production number the “Titans” originally had, but later, noting the success of rival CBS’ Tarzan, H-B optioned the classic comic-book heroine “Sheena, Queen of the Jungle” as a series and gave that the production number. Still later, though, “Sheena” was conceptualized into the H-B-owned Jana of the Jungle, and that became the sole occupant of the Power

How Kewl is This?

Hour second slot.

A collaboration between almost-Space Ghost/ Herculoids (see BACK ISSUE # 2 and 3) mates Darrell McNeil and Steve Rude, on McNeil’s All American Girl and Spirit of ’76, currently being developed for a 2005 release. Your trusty BI editor (and usual “Greatest Stories” scribe) has seen the first four minutes of Darrell’s other animated project, the in-production Rainbow Girl, and let me say, I’m impressed. Here’s wishing our guest writer all the best with his new projects! TM & © 2004 Gold Medal Productions.

LEGION OF SUPER-HEROES The 25-member futuristic DC Comics teen superteam was developed in 1987 by animation studio TMS as a guest series featuring eight of the team members (among them Chameleon Boy, Ultra Boy, and Lightning Lass) who, separated from the rest of the group and lost in the far end of the galaxy, strove to return home. Ironically, the last time the Legion was pitched to a network was just recently, to the Cartoon Network, whose response was, “Who’s they? Is Robin one of them?” Well. . . no, he’s a Teen Titan. So the premise was altered to that of Teen Titans, set in the future as freedom fighters. After further concept tweaking (putting them in their actual era). . . you know the rest. And those are just a few of the hundreds, nay, thousands of the “Greatest Series Never Sold.” Laters!

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a a d d n y n Ly L r r e t e t r ar Ca C Title credit photo from Wonder Woman. (far right) Courtesy

She’s Still a Wonder!

An Interview by Andy Mangels, conducted on April 18, 2004, and transcribed by Brian K. Morris.

interview

of Andy Mangels.

Although the character has been battling evil in her star-spangled outfit since 1941, the vast amount of the public pictures only one thing when you mention the name of Wonder Woman: statuesque beauty Lynda Carter, hands on hips, satin tights, shiny bracelets and tiara, and a gleam in her smile. Born Linda Jean Cordoba Carter in Phoenix, Arizona, on July 24, 1951, Lynda eventually changed the spelling of her name and embarked on the rocky road of entertainment. Performing as a singer with some touring bands, Carter had modest success, but she hit her stride by winning the Miss USA pageant in 1973. Hollywood beckoned soon thereafter, and Carter had a series of minor roles on television, and one feature film, Bobbie Jo and the Outlaw (1976).

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But it was her title role in the 1975 ABC pilot telefilm The New, Original Wonder Woman that rocketed Carter to superstar status almost overnight. In her star-spangled costume, Carter seemed born for the role of Wonder Woman. She played both Wonder Woman—and dowdier alter ego Diana Prince— with complete seriousness, even though the scripts were sometimes campy. ABC continued a series of high-rated Wonder Woman special presentations, then ordered a truncated first season. In 1977, ABC dropped the series, but CBS immediately picked it up, updating it to the modern “disco” era from its World War II roots. Ratings were strong, but silly stories, changing timeslots, and other factors eroded them. The show ended in the fall of 1979, having shot 60 episodes total. Carter rebounded quickly, landing five of her own variety specials (including one which won an Emmy Award), guest appearances on other series and telefilms, and a high-profile series of ads for Maybelline and other products. She also released her first album, Portrait, and headlined in Las Vegas, London, and other venues. In 1984, Carter married her second husband, Robert Altman, and moved to Washington, D.C. Over the next two decades, she would try her hand at series television twice more—Partners in Crime (1984) and Hawkeye (1994)—as well as numerous telefilms and a few features, but mostly, Carter stayed home to raise her two children, Jamie and Jessica. She has also worked with numerous charities, including her latest role as spokeswoman for I.B.S. Almost 30 years after its debut on television, Carter’s Wonder Woman is making its DVD debut in its first boxed set (newly on sale as you read this). Carter is still closely associated with the role, and at 50+, still looks amazing enough to appear on the TV Land Awards show in a low-cut gown, and convincingly whirl into Wonder Woman (though a younger double filled out the costume this time). As you’ll see in the following interview, Lynda isn’t afraid to tackle some of the controversies of her time in tights, but it is the strength and warmth she imbued in the character which are still evident in her own personality and discourse. Wonder Woman has always been my favorite super-heroine, and it’s fantastic that the woman who portrayed her is every bit the Amazon princess as Diana was. Hawkeye © 1994 Stephen J. Cannell Productions.

You’re a wonder, Lynda Carter! — Andy Mangels Special thanks to Christina at Melissa Prophet PR, to all the interviewees in the Dossier—especially Donfeld— to all the artists who contributed to this issue, to Kehvan Zydhek for photo scanning, to Jon Sauer, and to many unnamed others who have helped fuel my passion for Wonder Woman. See a portion of my Wonder Woman memorabilia collection at www.wonderwomanmuseum.com. .

ANDY MANGELS: The most obvious starting question

or girlfriends or mothers, but I wouldn’t even say

for most interviews talks about how you got the role, and

“supporting roles.” They were usually just window-

I know you went and auditioned. But in one of the articles

dressing types of roles. Particularly in television, there

I was reading, it said that you had actually auditioned

just wasn’t any material being written for women. So

for the first telefilm as well: the Cathy Lee Crosby one?

I was out there with the same group of women I always

LYNDA CARTER: That’s right. You have to put it into

see when I walked into the room [for the first Wonder

context of the time and, I suppose, our kind of basic

Woman], you know, sitting there, reading sides, and

generation of women; young women in Hollywood

that it was kind of a general casting call, and I went in

in the early to middle ’70s, that kind of went out

and I didn’t even get a callback. [Later,] ABC wanted to

on interviews for everything. There weren’t many jobs

try it again, or Warner Brothers pitched it again to ABC

available. Most of them were secretaries or prostitutes

with a different producer and something that was very

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true to the comic book itself, even in its time period.

Lucy . . . and then there was Laverne and Shirley.

Between that first [Wonder Woman] and the second one,

[chuckles] Doug Cramer and I just finished doing the

I had done a screen test for Larry Gordon, who’s a

audio supplement for the first year [of Wonder Woman]

producer.

on DVD, and we had a few laughs, going over some of

MANGELS: That was for The Fan?

the stuff. It was pretty funny.

CARTER: Right, and I did that [screen test]. Doug Cramer,

MANGELS: Do you remember anything about that

who was the new producer, saw that. I was never very

early test?

good at cold readings. They’re very hard to do.

CARTER: I know I tested as both. I tested as Diana

Certainly on the first cut, so much of it is subjective, and

Prince with Steve and then I tested as Wonder Woman,

if you look like the kind of a person that they want to

but what they wanted me to do as Wonder Woman was

cast—so I went in, all nervous as usual, and ready to

just athletic, more than anything, and what could I do

read, and they said, “Oh, you don’t have to read. We

athletically and how I looked in a thrown-together sort

just want to test you.” And I said, [excited] “Really? Well,

of costume. And then I waited and I waited. It felt like

Cathy Lee Crosby in the

why’s that? How’s that?” They told me that Doug and

it was a year that I waited. I called my poor agent

first Wonder Woman TV movie.

Alan Shayne, who was the casting guy [had seen the

twice a day, “Have you heard anything? Have you heard

screen test]. I was so excited and went on an immediate

anything?” [firm] “I haven’t heard anything. Stop

diet, [laughs] and picked up everything I could to read

calling. When I hear something, I’ll let you know.”

about Wonder Woman, and made choices about how I

He was really one of those old-fashioned, wizened guys.

wanted to approach the character, and how I wanted to

Then when he finally called me, he said, “Hello, Wonder

present myself in the test. It was all very exciting.

Woman.” And I screamed and called my mom and

I’m very athletic and had taken quite a bit of

my dad, and I just couldn’t believe it. The next day,

dance when I was growing up, and so that was also part

I went in to start fitting with Donfeld, who did the

of the screen test for Wonder Woman. I tested with Lyle

costumes . . . He was a character and he was great. I’ve

Waggoner, and I think that was their first choice for

enjoyed working with him.

Steve Trevor.

I went into fitting, and I took one of my girlfriends,

MANGELS: Right.

and I remember there were a couple of fitters there that

CARTER: So, that was good. I think that Doug Cramer

were just so nice to me. And [one of them] took me

sort of had it in his mind that that’s what I’d look like.

aside. She said, “You know, this is your time and it’s very

And then he had a hard time convincing the network to

exciting. Maybe you don’t want to bring your girlfriend

use me. The network balked at my inexperience. They wanted to cast someone who had a lot more experience. Added to that, they were a little dodgy about women in lead roles in television anyway, let alone a dual role. They just didn’t think we had a TVQ. [Editor’s note: TVQ is a television marketing measurement term.] They didn’t think viewers would tune in to see a woman on television. They would tune to see men, but not women. I don’t know © 2004 Warner Bros.

what their thinking was. MANGELS: [laughs] In retrospect, it was so old-fashioned. CARTER: And that’s not that long ago. It’s pretty scary, but they just didn’t think there was any money to be made with women in television unless you were a comedienne like Carol Burnett or Mary Tyler Moore or © 1975 Warner Bros. Television and ABC-TV.

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like that. CARTER: Correct. MANGELS: What did you find most interesting about the character? The first season of the show, at least, was extremely true to the comics. There was a lot less

the CONTEST

bondage [laughs], but it was very, very true to the

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comics. And what did you think? next time.” [laughs] I think she saw the forest for the trees, that this friend of mine was not really very happy for me. She was also an actress. She was in Three’s Company later on. Priscilla Barnes. MANGELS: Now, the oddest thing about actresses and the early days there is that I had read Angela Bowie’s autobiography—David Bowie’s wife—and she actually has photos of herself in a homemade Wonder Woman costume and claims that she went and screen tested for

CARTER: Well, what I did in my research was not so much read the storylines, [but] was to research the mythology behind her, and that was really where I got a lot of how I wanted to play her. Then the great myth of this Amazon race of women as well; a lot of that I didn’t like very much so I just pushed that aside. [laughs] Some of the stuff that was written about the supposed Amazonian race of women was pretty bloody and ruthless.

the role and that you had already had it locked up. But

What I got from it was that she, unlike other super-

she also talks about when she did The Tonight Show

heroes, attained her super-powers through hard work,

the day she went in for auditions, and I looked up the

through competition, it wasn’t just a magic one. She

date of that Tonight Show she was on and it was in

acquired these as an athlete among her own race. And

November 1973, and you didn’t do Wonder Woman

the gifts, more than super-powers that she had, were

until 1975. So I’m wondering whether she may have

out of this gene pool as well as—I don’t know where the

seen you in the auditions for the Cathy Lee Crosby film

other part of the genes came from [laughs]—as well as

[laughs] and just thought you had it, or what.

the camaraderie between the sisters on this island.

CARTER: Well, those kinds of things are interesting

She had to fool her mother to win this contest, and

because I often get phone calls, or letters, or people

it was a contest of will and skill, and all the rest of it. But

coming up to me, saying, “Oh, you and I have a friend in

more importantly than anything, there was an ideology

common, So-and-so,” who I’ve never heard of before, who

of wanting to give of herself and sacrifice, that she had

had built an entire fantasy about the fact that they went

to sort of deny—certainly later on in the script, any-

to college with me, I was their roommate, or this and that.

way—had to deny who she was in order to accomplish

I didn’t go to college. I was on the road as a singer from

that, had to make herself smaller. That’s a big sacrifice

the time I was 17 years old. And you know, they build

because there’s a certain loneliness in it, an unfulfillment

these fantasy lives of things that happened differently

by hiding that. And I think that’s one of the things that

than they did. [laughs] I’ve never heard of them. I try to

women, certainly—or women and men—gay men, cer-

be really nice about it and I say, “I think they’re pulling

tainly—identify with, and that is it’s that goddess within.

your leg,” or try to say something nice, you know?

MANGELS: Right.

MANGELS: [laughs] You said that you did do a lot

CARTER: It is that [feeling] that I really wanted; kindness

of research into the comics when you were getting ready

and goodness and hope and dreams and all the

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wonderful, human yearnings that we all have. To do the

revealing outfits either. People think of your outfit as

right thing and to have a happy life. She wanted every-

super-revealing, and yet it’s a one-piece bathing suit.

one to have that. And she was not very impressed with

CARTER: Exactly right. That’s what I said so often.

herself. It was everyone else around her that was

It was the American flag, cut into a bathing suit. You

impressed. So I decided, early on, not to play Wonder

know, it really didn’t show a lot at all . . . I felt very com-

Woman—never to really play her, just to play the

fortable in it. I never really focused on the male fantasy, the bondage thing. I suppose

never tried to do that “larger than life.”

that was the rope [laughs].

MANGELS: She did have her hands on her hips and

The other main thing I want-

chest thrust forward at times, but she was never, like,

ed to achieve—that I think I

saying, “Here I am. Look at me.”

did—is that I never wanted

CARTER: Right. She was proud, and defiant, and patriotic

any female at home to see

to her adopted country, right? But I can honestly tell

Wonder Woman as a threat,

you I honestly never thrust my chest out. I would stand

because I either wanted them

up straight. I’ve got great posture as a dancer, but I

to be her, or be her best friend.

never even thought of that. That never even entered my

She’d be the first one if

mind, of posturing. I just wanted to play her for real.

their guy had wandering eyes,

The costume takes care of itself and I think that’s what

or hands, or anything, to knock

one of the problems with super-hero [projects]. It’s a

him on his tail [chuckles] and

very difficult and dangerous territory to play a super-

that they would totally trust

hero because you can get into the trap of not letting the

Wonder Woman. Over the

costume and everything else work for you. But that’s

years, it was more women

already there. You don’t have to say it in a redundant

[saying], “Oh, I’ve got to get

way, and that’s what takes it out of reality and into unre-

your autograph for my hus-

ality is when someone does that. I think Angelina Jolie is

band.” In terms of Wonder

a wonderful actress. I just didn’t like her in that thing

Woman, I’ve never really had

she did.

a woman not identify, or

MANGELS: In Tomb Raider?

identify in a negative way. At

CARTER: Yeah, because I didn’t identify with her at all.

least they haven’t come up to

There was nothing. She never made it real.

me and said anything. That

MANGELS: I quite agree. I think that in the ’70s, that

was always a goal of mine,

yourself and Christopher Reeve were both actors who

was sort of that sisterhood

really attempted to embody the humanity within the

thing from Paradise Island.

super-hero, as opposed to in the ’90s where we had the

MANGELS: Response has

various Batmans and some TV shows, where they were

been very positive whenever

not necessarily embodying the human. They were being

I talk about your portrayal

the super-hero, rather than the human.

of the character with “non-

CARTER: Exactly right. So, that’s kind of what my thoughts

fans,” so I’m glad it’s that

were of the character. And then once you’ve done a sea-

way for you as well.

son, you’re so much a part of that character that you

CARTER: What I know is that

just try to find nuances that keep it fresh for you.

who she is, lives in us—the

MANGELS: Not only were women not on television a lot

goddess within. It’s a part of

in the ’70s, but at that time, they weren’t on television in

us because there’s always

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In her satin tights... Fighting for our rights...

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that archetype. That lives within us, what she is, so it’s

MANGELS: [laughs] Originally, for the spinning trans-

even more than best friend. It is us. You know, when you

formation that you did to turn into Wonder Woman,

were a little kid and you knew you were different, and

they had originally tried it out with a platform that you

you knew that there was something special about you

stood on?

and not everyone could see it, or you hid it. You know,

CARTER: They weren’t quite sure what they wanted to

it’s that part of it as well. There’s that goddess that lives

do and they hadn’t worked out exactly how they were

there.

going to have me change, because as I recalled in

MANGELS: Let’s talk about some of the people and the

Wonder Woman [comics], she just appeared as Wonder

details on the first season of the show.

Woman. There was no place that she did it. So they had

C A R T E R : A l l r i g h t , t h a t ’s r e a l l y w a l k i n g d o w n

to come up with some way to change her that was

Memory Lane.

something cool. And from that first episode, you can

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said, I had taken dancing so I said, “Why are we doing

the other thing was is that I thought that at that time, I

it [with a platform]? Why don’t I just spin instead?” And

had a really small waist and I just thought it looked too

they said, “Well, show it to us.” So then we tried it with

small so I had them loosen the belt an inch or two so

the costume in front of me, and then kind of losing

that it didn’t quite look so . . . what’s the word?

things, and then they ended up with the big splash with

Curvaceous, I guess.

the locked down camera. But I sort of invented the spin.

I wanted it to be a little sleeker. And plus, when you

MANGELS: Cool. In the earlier episodes, when you do

sit down, and everything, you don’t want it so tight.

the spin, you touch your tiara, you touch your belt, like

[The second version] was higher cut, which was more

you’re making sure they’re attached. [laughs] And then

comfortable and Donfeld did a great job on it.

you run off.

MANGELS: When you did the stunt work with the

CARTER: Oh, God. I didn’t even know that.

bracelets, I always noticed when you deflected bullets, it

MANGELS: [laughs] It’s in the first six or seven episodes.

looked like you were holding a plunger, or something, in

And then after that, you never do it again.

your hand to make the little explosions.

CARTER: Isn’t that funny? I never really caught on to

CARTER: I would put the stunt bracelets on and there

that. You know what? It probably would have been okay

were wires that came up the back of my wrists with

to have continued that, had I thought of it, but I never

three buttons that I held in the palm of my hand. And

thought of it. It was probably something I did instinc-

it’s just the way that my hand goes where it looks like

tively and then lost it, but it was purely by accident.

it’s crooked, but I couldn’t keep it straight. It would look

“Okay, is everything together?” But then I probably just

too dorky if I had my thumb straight, you know, stick-

got more comfortable being Wonder Woman, I guess.

ing up. It looked like I was hitchhiking, so that’s just the

No one pointed it out to me. It’s interesting, no one’s

way my thumbs laid. But it was really my fingers that

ever asked me that before. That’s unusual.

would do each one of the little charges that went off.

MANGELS: [laughs] Hey, I came up with a new

MANGELS: Wasn’t it a little scary?

question. Good!

CARTER: No. The special effects guys were great and

CARTER: Yeah.

they knew how to do it. I faced where the explosions

MANGELS: Was the costume difficult when you had to

went off. That’s why I didn’t do it to the side. I had to

deal with physical activity? It seems like it would be

do it that way because of the wires and stuff. Now they

either restrictive or too unrestrictive.

would just lay them in [digitally].

CARTER: I think that maybe because the bodies of the

MANGELS: I know you did a lot of your stunts through

stunt doubles were so different from mine that they may

the whole series, but early on, there were significantly

have had more problems than me. Jeannie Epper, I

more. There’s a shot in the pilot where I think you were

know, had the costume fit to her, but then we had other

even on a springboard and you were jumping off the top

stunt doubles to do high falls and other things that we

of the car, or something like that. Was that something

reversed and so they would come in—you know, each

that the longer the show went, the less they let you do?

stunt double would specialize in one thing or another

CARTER: No. Actually, the more I did. I wouldn’t do stunts

thing. I had my main one, Jeannie Epper, but I had a

if I had to be doing a change into Wonder Woman, and

number of other ones as well. I personally never had any

they would have a stunt double just for the amount of

problem. The only problem I had with the costume was

time it took to change from one character to another

in the beginning, the way that there are stays in the top

character.

part of it like a bustier. They came down a little bit too

MANGELS: How do you mean?

low and so they would start to bend, and so they just

CARTER: Well, I played Diana Prince as well, and it takes

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shifted them up eventually and that was all right. But

kind of see how it morphed into what it became. As I

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45 minutes and the crew doesn’t want

have much say in that. But I enjoyed working with him.

to sit around for 45 minutes, so they’ll

I thought he was a great guy.

shoot something else. If we were on a

MANGELS: Do you remember much about Beatrice

tight schedule, a stunt double would

Colen, who worked as Etta Candy in the World War II

do a fight. But generally speaking,

episodes, kind of the comedy sidekick?

they tried to organize it so that I could

CARTER: I had seen her on a lot of things. Later on in

do my own fights because they could

her career, it seemed that she was really doing well. You

get close. I worked with these guys a

know, I think in those early years, I was so busy, I didn’t

lot and learned a lot of stunt driving

have a lot of time to spend on a set. They tried to get

and various things. But for things

me out so that I had my turnaround hours to get sleep,

where I’m a little itty bitty person in

and that sort of thing. I didn’t have a lot of time to

long shots and stuff, they always used

spend off the set, hanging and talking with some of the

a stunt double for the running or for

people because I had to play two characters and it was

various things, but I think you can

just going from one to the other, from one to the other,

always tell.

and learning your lines. So I didn’t have a lot of chance

MANGELS: Yeah, there’s one of the

to get to know her very well, but she was great.

jumps that looks like it’s a guy in the

MANGELS: What about Richard Easton, who played

costume, or something.

General Blankenship?

CARTER: It could have been. They had a couple of

CARTER: I liked him. He was really nice. You know, in

those. Those are pretty funny. A hairy-chested guy—

the early part, I got to know them, but a lot of these

shave that boy, shave that back! [laughs] The stunts

people were just actors who knew what they were

were the most fun of all.

doing. Most of the time we’d spend would be in the

MANGELS: Let’s talk a bit about some of your

makeup room. But then they moved the makeup room

co-stars. Lyle Waggoner was obviously with you through

to my trailer for me, and that kind of cut that out and

all three seasons. Had you watched him on The Carol

I’m sorry about that. It would have been more fun to

Burnett Show?

interact a little.

CARTER: Sure, I had seen him and he was a very nice

MANGELS: What about some of your early guest stars,

guy. We seemed to lose a little bit of that thread of the

such as Cloris Leachman?

two of us together more and more as the seasons went

CARTER: Oh, I run into her all the time and she’s great.

on, and that must have been hard for him.

Doug Cramer’s got some great stories about Cloris.

MANGELS: Yeah. In TV Guide, he blamed some of that

She’s quite a character and really takes her work very

on you.

seriously. Even what comedy she’s doing, she’s very

CARTER: Oh, he did?

involved in it. She’s really something and I enjoyed

MANGELS: He said, “the spotlight could only shine on

working with her. I particularly liked Red Buttons, who

one person,” or something like that. It wasn’t like he was

was very nice to me on the set in the pilot episode. And

saying, “she pushed me out.” When I interviewed him,

Kenny Marsden. And Ed Begley, Jr. I run into these peo-

he was very nice about it, but it seemed like he was feel-

ple now and again and it’s great to see them. I’ve had a

ing like you were definitely, clearly the star of the show.

lot of fun with some of the co-stars. And Dack Rambo.

And it was called Wonder Woman, so I guess that’s fair.

MANGELS: [laughs] It sounded like either an action

CARTER: Well, I also think they had come up with more

hero or a porn star.

of a formula they wanted to follow and those decisions

CARTER: He was a very nice guy and I think he had a

weren’t made by me. Those decisions, how the scripts

twin brother, Dack did. But didn’t [Dack] die of AIDS?

turned out, or anything, was just not me. I didn’t really

MANGELS: Yes, he did. Here’s a tough question. There’s

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one guest star who I know there’s been some fightin’ Never-published photos

words—

of Richard Eastham as General Phil

CARTER: Debra Winger.

Blankenship (left) and Beatrice Colen

MANGELS: Yeah, that was—

as Private Etta Candy (below far left).

we got along great. As a matter of fact, we spent a lot of time talking; at the time she was going through some pretty big personal things and she’s crying her eyes out in my trailer. So when she came out with dagger words, it sort of surprised me. But then, I read some of the articles where she did the same thing to everybody else, so I wasn’t

Front cover to TV Guide #1244, January

anything special. [laughs] I think she was going through

29, 1977, with art by William Goldberg.

whatever she was going through when she did those

Courtesy of Andy Mangels.

interviews because later on, she came out as Wonder

Girl on [The Late Show with David] Letterman. So I think she kind of grew up a bit. But the truth is, we got along just fine. MANGELS: Do you recall anything about that they had talked about doing a spin-off show with her, and so forth? CARTER: Yeah, I do. I remember the wardrobe and hair [saying] “They’re going to do a thing and it’s going to take away from you.” And I said, “It wouldn’t take away. There’s one Wonder Woman, she does great.” But she wanted nothing to do with it. I don’t think she had any inclination whatsoever to continue. MANGELS: She was so young then, too. CARTER: Well, she wasn’t that much younger than me. MANGELS: I thought she was still a teenager at that point. CARTER: No, she was in her twenties. I recall she just played a lot younger. MANGELS: Oh. [Winger is four years younger than Lynda.] Now the other big guest star you had in the first season was [screen cowboy] Roy Rogers. CARTER: Oh, he was so great. We were all very jazzed that he did it. They wrote this episode, particularly, because it mirrored his own life with raising orphaned children of various nationalities, and such. I think he had a big group that he had adopted—or fostered, he and his wife—and it was a love of his. We sat around and talked and everyone, all the crew, was just hanging on

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every word. You know, he was such a legend. MANGELS: In another interview, Doug Cramer said that Rogers actually hit on you in a gentlemanly way. [laughs] CARTER: Well, I don’t remember that. Now isn’t that funny? It probably went right over my head. It obviously wasn’t too predatory. You know, that’s the kind of thing where you take it with such a grain of salt, all this PC stuff of sexual harassment and blah, blah, blah, blah, blah. If it’s real, it’s in the workplace and there’s something serious going on, or it is imagined by someone who doesn’t deal with it all the time. If you don’t deal with it all the time, just somebody hitting on you, or flirting with you, or whatever, just because it makes them feel good—you know, I think I’m kind of a flirt, myself. MANGELS: Well, I would imagine in Hollywood, you almost have to be. That’s part of what you’re doing in front of a camera. The first season had a lot of feminist messages. I mean there was constantly dialogue about the importance of women and how women could change things. CARTER: You know, I think that became a network thing. They’ve stopped doing a lot of it because they

Debra Winger is Drusilla, with Carolyn Jones as the Amazon Queen Mother in “The Feminum Mystique.”

thought it was—don’t forget the times. They were so afraid of losing their audiences by over-feminist things. It wasn’t like it is now, where it’s okay and women don’t

have to say it quite so loudly because it’s more part of the culture and with laws and things that we women have fought for, for years and years. But [the network] really didn’t like [the messages], and they didn’t think it was appropriate. It wasn’t Doug Cramer, and it certainly wasn’t me [that dropped the feminism]. It was the network that put the kibosh on it. MANGELS: As I watch the episodes now, some of my favorite moments are when you’re lecturing a female villainess that, “sisterhood is more important and more

Carter horses around on the set

powerful” and “how can you let men dominate you and

during the Roy Rogers episode.

choose your destiny?” and so forth.

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CARTER: Right.

MANGELS: And those

But when I would get a good review for something else,

were some of the most

it was nice for a moment, it was great for a moment, but

true to the comics, and

I didn’t take that quite as personally either. Now, my

they were important

skin is much thicker. [laughs] I try not to read them is

statements.

what I do. I take the good or the bad.

CARTER: They were

MANGELS: Speaking of bad reviews, this was one of

important statements,

those defining moments of childhood: My neighbor got

but you can’t fight

The National Enquirer. [chuckles] Do you remember

City Hall. I fought for

the headline I’m going to bring up?

it, and so did Doug, but we were overruled.

CARTER: Oh, “Wonder Bitch”!

MANGELS: Speaking of the networks, you mentioned

MANGELS: Yes

your TVQ rating, based on how much people like watching

CARTER: Oh, God.

you as an actress, or you as a character. Didn’t you rate

MANGELS: It was the first time I’d seen the word

through the roof on that?

“bitch” in print, ever.

CARTER: Yes, particularly when I went into doing

CARTER: Oh, that was horrible. That was the worst thing

advertisements for people. They always do all these

that ever happened to me. I was so humiliated. I think

millions of surveys, and mine goes through the roof

where it started was the makeup artist on the show that

with women, which surprised a lot of the ad execs

was doing me got fired. To be honest, he was a little

because they thought that women would be threatened

unsteady and it was taking a long time, and I was sort of

by me. But I said, “They are not. They just aren’t. They

getting blamed for it for taking too much time in the

never have been in my life, my real life.” I’m so for

makeup chair. It sort of started there and I don’t know

Wonder Woman

women and for supporting one another. But the TV

where [the Enquirer] came up with some of it, but later,

and Wonder Girl.

Quotient is viewers and ad dollars. That’s all changed, of

down the line, [the Wonder Woman crew] took out a full-

course, as well, but they just didn’t think that a woman

page ad in The Hollywood Reporter with the whole crew

could carry a show and that anyone would watch it. So the Quotient is watchability. How they did not think that women would be interested in watching other women in situations, you know. It’s pretty amazing, isn’t it? MANGELS: [chuckles] It is, and I’ve got copies of the TVQ sheets for the pilot. CARTER: [amazed] You do? Oh, my God. MANGELS: And it’s pretty surprising how they rate because they’re like, “How do you rate the Nazi character?”, “How do you rate the Amazon characters?” And you know, your ratings were exceedingly high. They clearly knew they had a winner at that point. CARTER: They do all these polls, and you take things so personally, particularly in the earlier years. If I didn’t get great reviews, or anything, oh, I took it so personally.

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CBS-TV signing it, that it was not the way the crew felt.

Hollywood problems with

MANGELS: That’s cool.

him over

CARTER: A full-page ad disavowing any participation in

Wagner stuff. Do you think

[the story], that it wasn’t true. They paid for it them-

his actions hurt or in any

selves and took up a collection, then wrote this letter

way caused the ABC/CBS

and signed it. That was very nice. MANGELS: That’s great. I know that at that time, you

some

Lindsay

switch, or in any way led to disfavor for the show?

started to get involved with and eventually married

CARTER: No, I don’t think

Ron Samuels.

so. I think that they consid-

CARTER: Right. MANGELS: And I know he was— CARTER: Controlling. MANGELS: Yeah. [laughs] I don’t know how comfortable you are talking about this— CARTER: Well, you know, it’s so ancient history and I wish him only good things. But I really ceased to really have a life. He seemed to isolate me, isolate me with the trappings of stardom: limos to the set and blah, blah, blah, blah, which I could have cared less about. Just get me there and if I didn’t have to drive at five o’clock in the morning. He was a self-promoter. I think that he caused a lot of—you know, I think for studios and networks, husbands can be nightmares. And you have to remember the kinds of hours that I’m working and I didn’t know about three-quarters of the stuff that he did.

ered him a pain in the ass. And as I say, I got kind of isolated.

And

CBS-TV ad for the Wonder Woman show.

was

demanding and that certainly didn’t sit well with people. But by the same token, I think that the show—kind of like Star Trek—its half-life was bigger than its real life. You know, it’s still in the minds and hearts of people in a wonderful way. And I don’t think that the network really got how powerful it was, which happens sometimes. And when they change your time slots and they do various things that are not good for the show… I think that was a lot of it because they had us on Friday nights, and they had us on another night, and so I think that probably more to do with it than anything. MANGELS: How did you feel about the switch from the World War II era to the disco era? CARTER: Oh, I was happy about that. The stories got

And you keep the peace and you kind of cringe

old after a while, and there wasn’t a lot of places to go

about things, but you think that someone that’s ten

with it. And Warner Brothers, I thought, was pretty skill-

years or 11 years older than you knows what they’re

ful in [recruiting another network]. I know that [Ron]

doing. You know, I was really young, and maybe not so

said he got CBS to pick it up, but that’s not true. I mean

young as naïve. I’d spent most of my life trying to do

he sort of self-promotes and takes credit for things that

what I do and get to where I wanted to go, and it was

didn’t really happen. I don’t mean that in a cruel way at

nice to have someone else take charge of that kind of

all, but he certainly didn’t have the power to do that. It

stuff for a change.

was Warner Brothers and William Morris. I thought it

MANGELS: Right.

was a pretty great move to do that, and it gave us three

CARTER: And it was just too confining and isolating.

years on CBS.

And my happiest time, really, was on the set, as

As I said, you work so many hours, you really don’t

opposed to at home. But, you know, he also did a lot of

have time to think of almost anything else when you do

great things. It wasn’t all . . . it just didn’t work. And I’ve

a one-hour series, when you’re the star and you’re

not had anyone running my life since.

doing a double role. That’s how most TV/movie stars

MANGELS: Well, I know, for instance, there were a lot of

lose all their money. They’re so busy doing their thing

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and they trust other people to do

MANGELS: —and replaced it with kind of “super spy.”

the other things. But if those peo-

CARTER: Well, I think that’s a little unfair. It lost its

ple are doing bad things in terms

comic-booky thing—the way that I took the seriousness

of their behavior, or anything else,

with which I played Wonder Woman, I played her with

behind their backs, then it’s the

a little self-deprecation. But I don’t think that all of that

star who gets the bad reputation.

new stuff was bad. I thought it was actually pretty pro-

I have spent the rest of my

gressive in terms of our little doggie robot and all kinds

career doing things the way that I

of cool things. And it is a fantasy. You know, if we had

thought they should be done in

had the ability to do special effects like we do now, it

terms of my own behavior, my

would be different. But those things were made up on

professionalism, and everything

the spot.

else, which is a lot more time than

MANGELS: Wonder Woman was one of the first shows

I spent with Ron. And I think he’s

that used computers in a major way.

happily married and doing what-

CARTER: But, you know, in terms of those great

ever he’s doing now. That was a

effects, it always comes down to dollars and cents, and

million years ago.

how much less can you make it for so that the studio

MANGELS: Well, certainly, there

makes more of a profit.

haven’t been any headlines of that sort in your career

MANGELS: Was it more expensive to have you

since. [laughs]

[appear] as Wonder Woman then, than to have you as

CARTER: Yeah, well, I guess that might say something.

Diana?

Ooh, that was awful. Oh, it was so humiliating. I felt like

CARTER: Well, yeah, because whenever I was Wonder

crawling under a rug and just disappearing.

Woman, you didn’t get very many pages done in a

MANGELS: Once the series switched to the disco era, do

day. Usually, it’s very involved as opposed to just dia-

you think that the show lost anything? They discarded

logue that you’re shooting on the set. You’re usually

your plane, they discarded the feminism angle, and

outside and there’s special effects. I don’t really know

things like that. Do you think that they—

that much about that part of it except that it was a

CARTER: They diluted it too much? I think if they had

learning curve . . . for the crew, for how to budget the

had a little more of the feminism in it, it would have

show so it was somewhat cost-effective. As I said, it all

improved the show. I thought the Invisible Plane was

comes down to dollars and cents to people.

stupid anyway. You know, it looked like a bus seat inside

I don’t think we lost our audience because we

of a plastic plane. And it was very expensive to do, so

didn’t stay true to the comic book. The comic book

they just lost it.

didn’t stay in the ’40s. Doug Cramer had done Batman

MANGELS: Was it a bubble you sat in?

and stuff, and I think he liked [the 1940s’ era] a lot

CARTER: No, they had to bolt this plastic, huge thing

more than he liked the new version, but for me, I liked

against a blue sky. And they just kept using the stock

the new version.

footage. Once they shot it, I think they used the stock in

MANGELS: Well, you certainly had a much bigger

three or four episodes and then they dropped it.

wardrobe. [laughs]

MANGELS: Right. They even dropped your mother and

CARTER: Yeah.

the Amazons—basically, everything that said “Wonder

MANGELS: When I talk to fans, I notice that the World

Woman, comics character”—

War II stuff is the clear favorite, five-to-one.

CARTER: Yeah, I think you’re right.

CARTER: Isn’t it interesting? Well, I think you’re right

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that part of that is that feminist thing and staying true to that part of her and not just the stunts. And I agree with that, but that was a battle that we were not going to win. If I had to do it all again, I would have fought harder. MANGELS: Talking about the stunts again, they definitely got more wild as the series progressed. CARTER: Oh, I know. Motorcycle Woman, Underwater Woman . . . I always thought it was fun. MANGELS: Had you had any sword training? In one episode, you’re fencing somebody. CARTER: A couple of days, a stunt guy would take me aside and do a little this or that, and we tried to figure out how we’re going to [do it]. You know, that was what the fun part was. I was doing the stunts and they’d come up with an episode where she’s going to be Aquawoman and, [laughs] “Oh, jeez. How are we going to do this one?” MANGELS: One of the stunts that I’ve heard you talk about was the helicopter stunt. And I guess there’s some confusion—how much of the stunt did you do versus how much did Beth Neufer do? CARTER: This is what happened. We’re in a canyon and we’re leaving that location, we’re not coming back to it, we’re losing the light. The camera

Front cover of Mediascene #23, January-February

icopter goes up,

1977, with a combination of photo and art by an

Beth has her little

unknown artist (probably Steranko). Courtesy

strap and director

of Andy Mangels.

says, “Cut. We can

see that it’s not

Lynda. We can see her face.” And I’m standing there and the light is just going down the canyon. You know, it’s going

was set up, the hel-

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Swimsuit!

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to be another two minutes and no more sun. So I just ran under the helicopter and said, “Just take it up, just take it up.” And they said, “Okay, go, go, go.” And I just grabbed hold of the thingie—I didn’t have the strap, I didn’t even think about that, and they took it up, and they got the shot, the close-up of me. It went up, I don’t know, 30 or 40 feet, and came back down. They had already done the faraway shot with Beth. So it’s me you see. When you see my face, it’s my face. When you don’t see my face, it’s her. MANGELS: You went up about 30 feet? Yikes. CARTER: Yeah, I think 30 or 40 feet. I mean the heli© 1977 Warner Bros. Television and CBS-TV.

copter went up and it went down. I got into so much trouble. They loved it, they loved the dailies, but the network had a heart attack: “Our insurance, they’re going to cancel it!” They don’t let us do that stuff. I got a real dressing down the next day, but we got the shot. MANGELS: And they ended up using it in the credits and everything else. It was very big. CARTER: Yeah. What other profession can you be in where you get to hang from helicopters, and flip the football players over, and be in fights where people go flying? As just a regular actress, you don’t get to do those things. MANGELS: You got to flip pro-football player-turnedactor Bubba Smith, right? CARTER: We were trying to do the scene. They’d done, once again, the wider shot, and this and that. And [they said], “Okay, so this is where Wonder Woman flips you over.” And he’s, “Ain’t no way no white woman gonna flip me over.” [laughs] And we said, “Well, there’s a pad right here.” “She’s not gonna flip me over.” And these other football players are all laughing at him and he’s just really strutting around, saying, “Ain’t no way no

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“Well, it’s really not about strength. It’s just leverage here and there.” And so unbeknownst to Bubba, the stunt coordinator and myself [decided], “Okay, we’re going to tell him it’s a rehearsal, but we’re really going to be shooting it, okay?” So we all said okay. And so I said, “Okay, this is just going to be a rehearsal, just to show you, and then you can decide whether or not you want to do it.” So we’re

rolling the thing and sure enough—I don’t know if I can

MANGELS: George Reeves is an actor who felt like

remember how to do it now—I took him and spun

Superman was a burden to him. To an extent, Adam

around and flipped him onto my back and he flipped

West and Burt Ward do as well. Christopher Reeve seems

over. And his eyes went, “WAAAAHH!” He was a tackle

to have kind of embraced the fact that people found him

or something, whatever those guys are called, and I

to be Superman. And most of the actors since then, the

don’t think anyone except another 250-pound guy

various Batman and X-Men actors, haven’t been so

running full steam ahead [had ever knocked him over].

closely identified with a character. But you say “Wonder

So that was pretty funny.

Woman” and if people don’t think of the comic charac-

MANGELS: The talk of a Wonder Woman movie keeps

ter, they think of Lynda Carter.

going on and on and on. And there was a television

CARTER: Mm-mm.

series they were going to do with the Lois & Clark writer,

MANGELS: Do you think that’s helped your career or

and so forth. Have they ever talked to you about appear-

hurt your career? What’s the effect that Wonder

ing in some form? Most everyone thinks at this point like

Woman’s had on your life?

you might play the mother.

CARTER: I figured early on that I had two choices.

CARTER: Well, early on, they wanted to do a reunion.

Given all the history of other people that have played

Doug would call me every couple of years. “You want

[super-heroes], I was warned, “Oh, you don’t want to

to?” I said, “No, I don’t.” And it’s not because I didn’t

take the part. You’ll always be identified with it. It’ll ruin

want to do Wonder Woman. It was because I thought

your career, blah, blah, blah, blah.”

that usually these reunion shows stink. You know,

I decided that I can either make myself miserable or

they’re kind of pathetic. And I just thought that [the

I can embrace it. Is that all I am? No. Is that all I’ve ever

original] was a jewel and we must leave it where it is.

done? No. Will it always be the one thing that people

And when the time comes, someone will take over

identify me as? Yeah, and so what? It’s not a bad thing.

the role and do the role, at which time, I can play a

I have had a delicious career, I have done so many

different character or something like that.

things that I dreamed of doing, I’m not dead yet, and

I’ve talked to Warner Brothers; if they ever get a

Wonder Woman’s very cool. And every famous actor has

script that they like and if they get a director that they

one role that people still talk about. Dustin Hoffman,

[like]—if everything gels, then it’s a matter of casting it

The Graduate. You know, how many things has he done?

to find someone to play the role. I would be very open

We all have that and it’s okay, you know? It is what it is, and my wishing it weren’t is not going to change

Personally, I think it’s kind of a mistake, a mistake not

it, so why make myself miserable? I

to be telling the story of what happened to her in-

might as well have some joy in it, you

between, from the end of 1979 to now. What was she

know? It’s just a choice. I want to live

doing? What was going on? You know, just sort of tell,

my life.

in some form or another, what happened. Why is there

MANGELS: Do your kids think the

this big hiatus? Or to be able to tell some really charm-

same? Or are they like, “Oh, God,

ing story about [her] falling in love and giving it up, and

Mom.” [laughs]

now her daughter has grown and just something really

CARTER: No, they think it’s kind of

lovely like that. I think it would be great. But we’ll see

cool. They’re the stars of the family.

what they do.

That’s the way it should be and I try

MANGELS: Did they ever ask you to do like cartoon voic-

not to upstage them. And we talk

es, or anything, for the Wonder Woman cartoons?

about it. “This is other people. It’s not

CARTER: No. They may have, they may have a long

us. We know who we are. And that’s

time ago.

just something on the outside and it’s

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no different than you thinking ‘Orlando Bloom is cool,

the premiere on our neighbor’s television that we bor-

oh.’ But it’s not his life, it’s not who he is.” And it’s the

rowed and I had to do like double chores for a week to

same thing.

get to watch it. [laughs]

It just gives people a kick, when they come up to

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CARTER: Oh, wow. [chuckles] That is so sweet.

you or ask you for an autograph. It has some curb

MANGELS: Speaking of fans, do you have a fan mail

appeal because they go home and they talk about it

address, or a place that people can write you, or request

with their friends. “What was she like?” You know, it’s a

autographs, or whatever from?

little conversation piece thing, you know what I’m say-

CARTER: Not really. I seem to get it at my house, which

ing? It takes so much more effort to be nasty than it

I’m not going to give out. I used to have a Post Office

does to be nice. These people have not come up to you

box. I don’t think I still do. I try to answer as much as I

to bother you or anything. They have their stories, and

can, but it’s very time consuming. And you know, I

I’m always interested in their experiences because it’s

know I should put together a website, but I just have

just another way of connecting with people.

not ever gotten around to it.

MANGELS: Here’s my story, really quickly. We had a

MANGELS: There are hundreds of autographed pictures

black-and-white TV and we borrowed a color TV to

on eBay from you and I have to wonder how many of

watch the premiere of Wonder Woman. It was the only

them are fakes.

color episode I saw until three years later. We watched

CARTER: Ooh, there really are? I try not to sign without

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putting someone’s name on it because if I’m giving

Woman. And the fact that I played her is really

them away, then I don’t want other people to be charg-

more to my benefit. I think that she created a

ing for them. However, I did sign some stuff for my

social change at her inception. During those

niece—a poster and some other stuff. She’s a single

war years and at the time when those comic

mother and we said, “Okay. Hey, other people do, why

books were coming out, there were a plethora

shouldn’t you do it?” And we took some pictures along

of wannabe Supermans. There wasn’t one single

with it. If it doesn’t have a picture along with it, then it’s

female until Wonder Woman. . . I think one of my favorite letters was from a

MANGELS: A friend of mine asked, “When you’re alone

young woman who grew up, I think, on the

in an elevator, do you sometimes get the urge to spin

south side of Chicago in the projects, and she

around? I do.” [laughs]

said she was just about to get her double-doc-

CARTER: Well, that’s a new one on me. Particularly in

torate, or something. And she said, “I just had

the early days, the funniest thing was, it wasn’t the kids

to write you to tell you that I thought of you

that made the biggest fools of themselves, it was the

during those dark days. And I thought of you

adults. You know, you’d see them out of the corner of

and you helped to inspire me to rise above and

your eye and there’d be some guy, redneck with a beer

to go on with my own dreams.” [gasps] Oh! I’ll

belly, spinning around in the corner, going “Woooooo!”

never forget that letter. I think I still have it.

[laughs] I mean, there’s a picture for you!

probably not authentic.

You know that if you can affect one per-

MANGELS: You’ve never done that in private? [laughs]

son’s life in your entire lifetime in a positive

CARTER: No, no, no, no, no, no, no. And the only time

way that your life is worth living?

I’ve ever taken the costume out is for “show and tell” for

MANGELS: And that’s a sentiment worthy of

my children in their first grade or kindergarten classes.

Wonder Woman! Thank you for your time, Lynda.

I got the whole period.

CARTER: You’re welcome, Andy.

MANGELS: Probably none of them had even seen the show, so they weren’t even aware who Wonder Woman was? CARTER: Somehow [they do], I don’t know how it is. Maybe it’s Justice League or something. They all seem to know it. It always amazes me. MANGELS: What do you think your legacy of playing Wonder Woman is? CARTER: I’d like to think that Wonder © 1977 Warner Bros. Television and CBS-TV.

Woman had something to do with part of the change in terms of affecting a generation of young people and how they viewed women, and how women viewed themselves. You know, I certainly hear it often enough. And I must tell you that I don’t attribute it to Lynda Carter. I attribute it to Wonder

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TIMELINE in the Media by Andy Mangels December 1941–January 1942

1977–1979

1996–2004

Early 1950s

1977–1978

December 1997

1967

1978–1979

Wonder Woman debuts in All-Star Comics #8.

January 1942

Sensation Comics #1 debuts, starring Wonder Woman.

Summer 1942

Wonder Woman #1 is published.

May 1944–December 1945

Wonder Woman newspaper strip appears.

Hollywood studios interested in a Wonder Woman serial, but abandon the idea.

Wonder Woman live-action television pilot filmed, starring Ellie Wood Walker (Diana Prince/Wonder Woman), Linda Harrison (“mirror” Wonder Woman), and Maudie Prickett (Mother). Executive produced by William Dozier; written by Stan Hart, Larry Siegel, and Stanley Ralph Ross; directed by Les Martinson. It is never aired.

The All-New Super Friends Hour (ABC) features Wonder Woman.

The Challenge of the Super Friends (ABC) features Wonder Woman, including one episode with her origin, and the appearance of villainesses Cheetah and Giganta.

1979–1980

The World’s Greatest Super Friends (ABC) features Wonder Woman.

1967–1968

1980–1981

1972

1981–1984

Animated Wonder Woman series considered by Filmation, but never produced.

Diana Prince/Wonder Woman appears as a guest on one episode of Filmation’s The Brady Kids (ABC).

1973–1977

Wonder Woman is a founding member of Hanna-Barbera’s Super Friends (ABC). Comics legend Alex Toth designed her simplified costume; her voice was by Shannon Farnon.

March 1974

The first Wonder Woman live-action telefilm airs on ABC, but is unfaithful to the comic book. Cathy Lee Crosby played the title role, with Kaz Garas as Steve Trevor, Anita Ford as a rogue Amazon, and Ricardo Montalban as villainous Abner Smith. John D.F. Black was producer/screenwriter, while Vincent McEveety directed.

November 1975

The New, Original Wonder Woman telefilm debuts on ABC, with a story taken directly from the Golden Age comic books. Starring Lynda Carter (Diana Prince/Wonder Woman), with Lyle Waggoner (Steve Trevor). Other comics characters: Amazon Queen Mother (Cloris Leachman and Carolyn Jones), Etta Candy (Beatrice Colen), and Wonder Girl (Debra Winger); Wonder Woman’s Invisible Plane is also appropriated from the comics. Stanley Ralph Ross wrote the pilot. A semiregular series followed which included several specials and a truncated first season, ending in 1977.

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The New Adventures of Wonder Woman switches networks to CBS and updates adventures to the 1970s. Carter remained the same character (albeit with a skimpier costume), but Lyle Waggoner now played Steve Trevor Jr. of the Inter-Agency Defense Command (IADC). Beatrice Straight played the modern Queen Mother of Paradise Island. The invisible Plane was summarily dumped, but Wonder Woman developed specialized outfits for diving, motorcycling, and even skateboarding!

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The Super Friends Hour (ABC) features Wonder Woman. The Super Friends (ABC) features Wonder Woman.

1984–1985

Super Friends—The Legendary Super Powers Show (ABC) features Wonder Woman, now voiced by B.J. Ward, and featuring the new “double-W” design of the comic-book bodice.

1985–1986

The Super Powers Team: Galactic Guardians (ABC) features Wonder Woman, and one episode with Steve Trevor.

1988

Wonder Woman guest-stars on the animated Superman (CBS) series, in an episode about Themyscira (the renamed Paradise Island). B.J. Ward again provides the voice.

1993

Producer-director Boyd Kirkland works on a Wonder Woman and the Star Riders pilot, promoting a planned Mattel toy line. Only a minute of test animation was produced before the project was cancelled.*

Warner Bros. plans to shoot a big-budget Wonder Woman feature film. Ivan Reitman was set to direct in 1996, but eventually Silver Pictures and producers Jon Peters and Leonard Goldberg took over. Sandra Bullock was going to take the role, but backed out. Multiple scripts or treatments have been written by: Kimberlee Reed; James R. Harnock and Eve Marie Kazaros (1999); Jon Cohen (1999); Todd Alcott (2001); Becky Johnston (2002); Philip Levens (2003); and Laeta Kalogridis (2003). Warner starts a nationwide casting call for an actress to play Wonder Woman for a new television series for NBC. Deborah Joy Levine (Lois & Clark: The New Adventures of Superman) developed the series and wrote the pilot script. Her version found Diana Prince as a UCLA professor of Greek history. The pilot never filmed.

November 2001

The Cartoon Network debuts a new animated Justice League weekly series, from Warner Bros. animation. Wonder Woman (voiced by Susan Eisenberg) is a no-nonsense warrior who has been exiled from her home on Themyscira. Some episodes have shown Queen Hippolyta, World War II hero Steve Trevor, and villainess Cheetah.

April 2004

Lynda Carter awarded “Most Superest Super-Hero” at the TV Land Awards, and she “spins” into Wonder Woman (played by another actress) and exits the ceremony to take care of a double-parked Invisible Plane.

June 2004

Wonder Woman: The Complete First Season is released as a Warner DVD boxed set. Lynda Carter and producer Doug Cramer do a commentary track for the pilot telefilm.

Fall 2004

Cartoon Network’s series is renamed Justice League Unlimited, and villains Circe and Ares appear.

*Look for a future “Greatest Stories Never Told” BACK ISSUE article detailing plans for these shows.

1994–1995

Kirkland develops a more serious Wonder Woman cartoon, but Warner Bros. passes on ordering a series.*

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LINDA HARRISON • Original TV Wonder Woman

Wonder Woman pilot “Who’s Afraid of Diana Prince?” (1967) Interview by Andy Mangels, transcribed by Brian K. Morris When the live-action Batman television series became a smash success in 1966, executive producer William Dozier commissioned a script for a live-action Wonder Woman pilot for Greenway Productions and Twentieth Century-Fox Television. The script for the episode—“Who’s Afraid of Diana Prince?”—was penned by Stan Hart and Larry Siegel, with later work by Stanley Ralph Ross. Director Les Martinson shot almost five minutes of pilot footage, using three actresses: comedienne Ellie Wood Walker played Diana, Maudie Prickett was her whiny suburban mother, and Linda Harrison was the busty Wonder Woman whom Diana saw when she looked in the mirror. The “joke” was that plain-looking Diana—even in her Wonder Woman costume—only thought she had the beauty of Aphrodite; she was actually the only one who saw the Linda Harrison version! The pilot got little interest at the networks, and today remains a regularly seen commodity on the video-trading market. Linda Harrison was a beauty queen who came to Hollywood and got her first acting job on Batman. She quickly became a contract player at Fox (and was dating its president, Richard Zanuck)

when she filmed Planet of the Apes and the Wonder Woman pilot. Here, she recalls a few facts about the job: On being a contract player: “I think, after I did Planet of the Apes, I had a certain stature as an actress. They just said, ‘Go over and do this pilot.’ [Fox] utilized their contractees. It’s automatic. If it went to series, then they’d still pay me the same salary. There’s not really too much that you have to contract for because you’re already under contract. The fact that I went over and did it, there was a possibility I could have done that role if it was picked up.” On her memories of the pilot: I just remember it was kind of fun to do because [I was] in that very sexy costume, and [I was] playing a very sexy role. I don’t remember a whole lot of things, but I did remember that it was a real compliment to be asked to play Wonder Woman. I mean, there were quite a few other contract people, and they wanted me.” On her “alter ego” Ellie Wood Walker: “I never met her. What they did is they just shot me in a way that I would appear, like, in the mirror. There was no other actress. I was the one that she, when she looked at the mirror, she saw me.” Shortly after filming the Wonder Woman pilot, Linda Harrison would become famous as Nova in the Planet of the Apes films. She’s appeared in a number of other film and television roles since that time, and often guests at nostalgia conventions. Visit her at www.lindaharrison.com.

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DONFELFD • Costume Designer

The New, Original Wonder Woman pilot and series (1975–1977) The New Adventures of Wonder Woman series (1977–1979) Interview by Andy Mangels, transcribed by Brian K. Morris

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what it was going to look like, and I knew what I wanted it to look like. They pieced it together, and the first one tling. We could do anything we wanted for the second

most memorable elements of the Wonder Woman series

one.”

was the heroine’s costumes, which managed to fully evoke the comic books while being original to television

On the tiara: “The Wonder Woman tiara was made of

as well. The designs were the work of Donfeld (Donald

a wonderful first-quality leather. It was like a gold—like a

Lee Feld), a world-famous costume designer who began

bouillon leather. It came from a wonderful store that we

working for Fox and Warner studios in the 1960s, with his

dealt with that did all the beading for [Marlene] Dietrich.

first credit on Sanctuary in 1961. Donfeld got to work

I went to a lot of trouble to get the right stuff. And the

with Elvis Presley, plus many of Hollywood’s golden age

hair stylist was spraying the tiara, unbeknownst to me.

of diva stars, from Judy Garland and Bette Davis to

When she would spray Lynda, she would spray the tiara,

Ann-Margret, Debbie Reynolds, Natalie Wood, Jane Fonda,

so they kept sending the tiaras back. I said, ‘You know,

Jacqueline Bissett, and many more. He was nominated

we don’t have a lot of this leather.’ Ladies shoes are

for four academy awards, most recently for Prizzi’s Honor.

made of it. It was very hard to come by and we were hav-

In 1979, Donfeld was nominated for the “Outstanding

ing a hard time eking the tiaras out. We had a lot of

Achievement in Costume Design for a Drama or

them. We did the photo doubles out of something else

Comedy Series” Emmy Award for the Wonder Woman

but that leather. The maintenance on the show was just

episode “Anschluss ’77.” Today, Donfeld is mostly retired

a nightmare.”

from costuming, and is working on an autobiography

On the cape: “I wanted accessories. I was just getting

about his decades in Hollywood. He took quite a bit

tired. I said, ‘You know, I would love to start doing some

of time out for an interview, but many of his irascible

cover-ups. If there’s a chance that she’s going to turn or

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twirl. . .’ And they said okay, so we had to decide a budget in such a way. When you have 26 shows to do, you

On the Crosby costume: “They’d already done it once

can take money from show 12, but when you get to

with Cathy Lee Crosby and they’d had a designer, a

show 11, you can’t spend money on show 12 because

sweet man named Bill Thomas. Cathy Lee was, like, in a

you know you already did that show, right? So you can

jumpsuit. I think that was done to accommodate the

take the money out of the front. It’s called ‘amortization.’

actor’s ego, which generally means it wasn’t the same

We do a lot of it. I could go and get an overage, or I’d

interpretation. Then I met with Stanley Ralph Ross, who

just write it up as an overage if there was something I

wrote [the new Wonder Woman]. I don’t think we had

couldn’t live without. I wanted something that would be

an actor for it at that point. I said, ‘Well, let me try to put

dramatic and something that would be just a cover-up,

together some ideas.’ And at first, they were going to go

for the look. So I came up with the cape, then we made

strictly Forties, kind of keeping it in the comic-book

it work. I wanted texture on the screen, and we weren’t

genre.”

getting any texture, and I didn’t want it to look like a tel-

On reaction to his designs for the Lynda Carter ver-

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[laughs] I had a wonderful crew around me, and I knew

was startling enough, but the second one was really star-

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to wear the costume.’ I said, ‘Well, we’ll see about this.’

Other than the actors and the theme song, one of the

and hilarious tales can’t be printed. Here are a few stories

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‘There’s no way on God’s Earth that this girl was going

evision show.”

sion: “When we started the show, I took the sketches up

On the motorcycle suit: “It was spandex all over. It

to [producer] Doug Cramer’s house, and they just went

was almost like a Navy SEAL’s outfit, [and] she’d take the

crazy, but they weren’t sure the production could afford

helmet off and run. The motorcycle thing I adored, and it

it. I said, ‘You’ve already done it once and it didn’t work.

was a custom-made helmet that the stuntman tried to

Why would we do it if we can’t do it right?’ So we kind of

run off with it. We wouldn’t let him do it. He decided that

started building [the costume], and I think they finally set

he was going to own that helmet. Well, he’d have to step

her, and then we started testing then for it. They said,

over my body to get it.”

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Esparza. Photo by Tony n and CBS-TV. r Bros Televisio rne Wa 77 19 ©

On Debra Winger: “They wanted a new talent test, and I met her, and I really loved her. We really got on beautifully, and talked, and talked. She was a little more athletic than the way I’d seen it, but the casting man was Alan Shayne, and [he] believed in her, and always tried to find something for her at Warner. She came in and we just had the best time.” On Debra Winger’s endowments: “I think that’s the magic of—we live in the movies, don’t forget. That is, when you put what we call a ‘half merry widow’ on somebody, and you cinch it very tight. If we put what we call ‘half grapefruits’ in the bra, and then you just pull in on the back of it, it’s like when you pull on tight Levis. If you hold them really tight in the

On why the “Wonder Wetsuit” diving outfit was

back, everything’s going to bulge. I don’t remember giv-

just the motorcycle outfit with different accessories:

ing her any falsies, or anything. We may have padded

“I did a bikini that [Lynda] could not wear. I did the most

the front of the costume, alter the proportion of her body,

wonderful red, white, and blue bikini. It was so beautiful,

but I never had to give her—she doesn’t have big

and it would not stay on her body. I mean there’s certain

breasts. She’s very athletic, very tomboyish, but I remem-

people that have to do a one-piece bathing suit, which

ber she was more square than I was used to. She’s not a

[looks] great. I should have done a one-piece. And the

showgirl, like Lynda was—a beauty queen, I mean. I was

workroom was mortified because we’d made bikinis for

sad when [Debra] left the show because we always had

everybody, but this would not stay on her body. It just

so much fun in the fittings, and she was a tomboy, and

rolled off like quicksilver, right? I know we were in the

she was just lots of fun.”

water with the wetsuit, down in San Pedro Harbor.”

On quitting the series in season three: “Towards the

On Cloris Leachman and the Amazons: “Clorrie and

end, when I quit the show finally, I just couldn’t do it any

I have been friends a long time before we did that show.

more. It had suddenly turned into a light-hearted, ever-

There was much of her on the cutting room floor

so-gay comedy, about as funny as a baby’s grave.

because, naturally, you get somebody that’s funnier and

[laughs] It really was no fun to make them and I never

brings something to the party, and then you have some-

watched them.”

body else that isn’t funny and doesn’t bring very much to the party, you’re going to have problems in the flow of it. We also had [comedienne] Fannie Flagg. I think when you’re taking somebody off into fantasy like that, you should have fun with it. I wanted her to look part-Judith Anderson and part-I don’t remember what. We always used to laugh about it. I said, ‘It’s like this weird kind of, like, Frederick’s sales girls that went berserk.’ [laughs] Frederick’s of Hollywood counter clerks that went nuts on this island.”

On costume pieces showing up for auction: “On the Artists’ Rights Foundation, I’m the originator of that costume and Wonder Woman is a trademark of DC Comics. I could sell sketches of Wonder Woman ’til I drop, but I’m not allowed to credit anything to DC Comics. I’m the originator of the costume. This has come up regularly with porno films. They were trying to smuggle a costume, and [Warner] had everything under lock and key. Everything, the boots, the photo double boots, all the tiaras, all the fabric, everything was under lock and key

On the opening credits: “We’re in the test room one

at one particular point. When they moved the depart-

day, and we looked at the first test. We were doing the

ment, it was just like a free-for-all. Things went in the

opening credits and I said, ‘You know, on The Great Race,

air—we had a whole Bette Davis collection that just went

I asked for, and we got, animation. When [Lynda and

in the dumpster. And suddenly, it was just out there in the

Lyle] turn, could something sparkle, like her bracelets and,

universe. They’ve sold a few of them at auctions and

like, Lyle’s eyes or his teeth?’ They just loved that idea.”

traded some of them.”

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STANLEY RALPH ROSS • Writer/Developer

Co-writer, Wonder Woman pilot “Who’s Afraid of Diana Prince?” (1967) Writer and Developer, The New, Original Wonder Woman pilot and series (11-7-1975)

they did get some sort of rating. They attributed the rating to the title, so they came back to me and said, ‘All

Stanley Ralph Ross had probably the deepest voice

right, how would you handle it?’ I had made two or three

you’ve ever heard, and you’ve heard him a lot. In cartoons,

pages of random notes as to how I would handle it, and

he was the voice of Gorilla Grodd (Challenge of the Super

I walked in with my notes to Doug Cramer, the very man

Friends), Brainiac (Super Friends: The Legendary Super

who had turned it down before. He was now assigned to

Powers Show and The Super Powers Team: Galactic

this, and he took my notes and said he’d let me know.

Guardians), Quasimodo (1982’s The Incredible Hulk),

Evidently, though I’m not sure of this, I think he Xeroxed

Perry White (1988’s Superman), Joey Nails (1994’s

my notes and sent them over to the late Steve Gentry,

Spider-Man), and miscellaneous characters on Plastic

(1966–68) shows, more than any other writer. He rewrote

go write a story. So I wrote a story over the weekend which became the pilot for the new Wonder Woman series.”

the unaired 1967 Wonder Woman TV pilot, turned down

On writing the part of Steve Trevor for Lyle Waggoner: “I had run into Lyle in the parking lot of CBS.

then hammered the story home as one of the truest

He had just left The Carol Burnett Show, and he was

adaptations of a comic-book origin ever for the 1975

telling me that he didn’t have any work. It was like the

New, Original Wonder Woman telefilm, starring Lynda

next day that I got the Wonder Woman assignment, and

Carter. I first talked with Ross in 1988 for Amazing

I wrote into the script, ‘Colonel Trevor, a Lyle Waggoner-

Heroes, then again in late 1999, a few months before

type.’ Then I wrote in, ‘better yet, get Lyle Waggoner.’

his death in March 2000. The stories and quotes below

I couldn’t be more specific than that.”

Wonder Woman projects:

On the tone of the series and clashes with Executive Producer Doug Cramer: “We just had totally different

On rewriting the 1967 pilot: “It was a half-hour com-

ideas. I wanted the Nazis to be the villains, and I wanted

edy. It was just sort of a bizarre comedy. Not nearly as

it to be funny and not take itself seriously. Doug Cramer,

campy as Batman. I thought [Stan Hart and Larry Siegel]

who I’d crossed horns with on the first one, he wanted it

were pretty good writers. They were MAD magazine writ-

more serious and I just was of a mind to do other things.

ers, both of them. When I was asked to rewrite it, I won-

And I could have stayed with the show as Story Editor, or

dered why because I didn’t think it needed much of a

what have you, but I just didn’t feel like it. I said, ‘You

rewrite, but they wanted certain changes, so I made

send me a royalty,’ and I went off and wrote other shows.

them. But I thought it was pretty good for openers. I just

I did like it funnier. They wanted it more serious.”

made it funnier, that’s all.”

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who was running ABC at the time. Steve must have liked the notes because within a couple of hours I got a call to

the job of writing the 1974 Wonder Woman pilot,

relate his thoughts about his involvement with all three

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modern-day thing with Ricardo Montalban as the villain.

Brian K. Morris and Andy Mangels

in the business. He wrote 27 out of 120 of the Batman

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how. So they made another Wonder Woman film that John D.F. Black wrote and produced that was a

Interview by Andy Mangels, transcribed by

being one of the most celebrated TV super-hero writers

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interested. I was busy with other stuff at the time, any-

It was really universally damned by the critics, although

Man. But he’s even more famous in comics circles for

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already signed Cathy Lee Crosby, so I told them I wasn’t

On a funnier version of the pilot script: “I had to

On his lack of involvement with the 1974 telefilm:

punch the script down. After I’d finished the first draft,

“Warner Brothers called me up and said, ‘We have an

then it was the first draft that attracted Leonard Horn to

idea for this Wonder Woman thing which we want to do

direct it, and attracted Cloris Leachman and everyone

with Cathy Lee Crosby.’ I said, ‘Well, Cathy Lee Crosby is a

else. They came to me, they said, ‘It’s too funny, you have

very nice lady, but she’s blond and Wonder Woman has

to punch it down.’ I said, ‘Everybody else punches the

dark hair.’ Now these guys had no idea what I was talking

script up.’ ‘You have to punch it down, Stanley because if

about. They said, ‘What’s the difference? ,’ and I said, ‘It’s

you don’t, we’ll get somebody else to do it. You’ll lose

like making Superman a redhead!’ They told me they’d

royalty, if it becomes necessary.’ So I punched it down. I took

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script, and he went to the cast, and he gave them a copy of the first script. He said, ‘This is the script we want to do,’ and he gave them the second one. ‘This is the script we have to do. Try and put the fun of the first one in the second one.’ And the whole cast read both scripts.”

CLORIS LEACHMAN • “Queen Mother”

a lot of the humor out of it. And then, when they got the script, Leonard Horn was livid over the second

The New, Original Wonder Woman pilot

Although she’s known best to the general public as Phyllis on The Mary Tyler Moore Show and Phyllis series—or as either Nurse Diesel in High Anxiety or Frau Bluecher in Young Frankenstein— Cloris Leachman is best known to comic-book fans as the “Queen Mother” of the Wonder Woman pilot. Although the role was later played

Carolyn

Jones

and

Beatrice Straight, it was Leachman’s vaguely caustic Queen that set the tone for her successors. Leachman is

On the Paradise Island scenes: “I went out to some

no less biting in her interview

of the sets, and I was at the shooting of the Amazon

answers as she took a trip back to Paradise Island with

Olympics segment. We shot that out at the Arboretum

BACK ISSUE:

at Santa Anita, which is a place where they’ve got a lot of foliage and no overhead wires. So it doubled as Paradise Island. I wasn’t involved in the filming of it a lot. I gave them my suggestions, but as a writer, once you turn in a script, you usually can’t get anyone on the

On her memory of the episode: “I just remember I got an awful lot of money for one afternoon’s work. [laughs] I think they gave me $25,000, just for one afternoon. I was very impressed with that.”

phone, until such time as you finish the script, they’ll do

On working with Lynda Carter: “She was a terrific,

anything for you, but once that’s over, they’re not inter-

wonderful, perfect Wonder Woman. It could have been

ested in you.”

ridiculous, but she brought such a beauty and believabil-

On why he didn’t stay on Wonder Woman after

ity and grace to it, intelligence. I admired her very much.”

the pilot: “They were frightened of me. I’m fairly pow-

On her costume: “I would say my main experience and

erful, and I have my own thoughts, and they would just

memory of the entire thing was Donfeld designing and

as soon send me my royalty check and say goodbye.

making a beaded headdress, for me. [I remember]

Cramer especially was frightened of me. They kept me

Donfeld sewing like a possessed person, trying to finish

away from even making a cameo appearance, even

this elaborate beaded headdress for me, which I thought

though I’m an actor, because they knew I had an influ-

was the most wonderful in the world. I mean, eat your

ence on Lynda, and they didn’t want me around.” On Lynda Carter: “The first time I saw her was on screen and I liked her. The first time I met her in the flesh

heart out, Bob Mackie, or eat your heart out, Cher, you know? I was so in love with myself, [laughs] with my beaded headdress.”

was more interesting. I went over to her apartment to

Leachman still brings smiles regularly in films and tele-

talk to her about the role. Lynda looks quite different

vision series, and recently appeared on the 2004 TV

without the makeup on. So this girl comes to the door, a

Land Awards (where Lynda Carter was a presenter). As

sort of plain-looking girl with big, thick glasses on. I said,

the winner of seven Emmy Awards, Leachman holds the

‘Lynda?’ She said, ‘Stanley, I don’t look like this at all,’

record for most Emmys won for roles in different proj-

and she showed me an 8" x 10" glossy of herself. She

ects. Her latest comic-related project was voicing Helga

was easy to work with then, and she seems sweet now.”

in the never-released Gen13 animated feature film.

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LYLE WAGGONER • “Col. Steve Trevor”

(1975–1977) “IADC agent Steve Trevor” The New Adventures of Wonder Woman series (1977–1979) Interview and transcription by Andy Mangels Although his largest television role before Wonder Woman was when Lyle Waggoner worked as a hunky ham on The Carol Burnett Show, he had previously narrowly missed landing the part of Batman on the 1966 camp show that crazed the nation. Thanks to his own talents and to writer Stanley Ralph Ross (who envisioned Waggoner in the Steve Trevor role), Lyle was

and she was lean. They asked my opinion, and I told them Lynda was my choice because she looks like Wonder

Woman pilot (and the later series). There, he had not

Woman. Lynda was kind of athletic, she was a dancer,

only to play a straight man to an Amazon super-hero-

but she had no experience at all. I guess you really didn’t

ine, but he had to do so while looking heroic himself.

need experience playing Wonder Woman. We had good

In 1976, Waggoner was elected mayor of Encino,

directors, and she was a very willing student.”

Woman. By the third season of the series, Waggoner was being edged out, and in the show’s final episode, he was gone completely as the deck was cleared for a potential fourth season. Waggoner didn’t want to talk about Wonder Woman recently, but in an older interview, he shared some good-natured memories:

of its charm and humor. I really didn’t care for that transition. As you know, I played my own father, which I thought was a little weird. If the audience would buy that, they’ll buy anything. I could identify the period shows, [Wonder Woman] was a gorgeous model. She

I have a character and I’m thinking of you as I’m writing

wasn’t Diana Prince; her only disguise was a pair of

it.’ He told me it was Wonder Woman and the part was

glasses.”

easily enough.’ I thought it was terrific. I had just gotten off The Carol Burnett Show and was excited about the prospect of doing another series. They accepted me as Steve Trevor, and then they had to look for a Wonder Woman. They asked me to audition some of the actresses they were considering in their final auditions. I thought that would be thrilling. So I auditioned five girls, one of which was Lynda Carter. They were all different looking girls. It was amazing, the girls that they had considered. I can’t remember her name now, but it finally came down to Lynda and another girl. I thought Lynda looked like Wonder Woman. She has the same hair and skin coloring

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shows. When they went to the ’70s, I thought it lost all

Ross called me and said, ‘Hey, I’m writing a pilot for you.

was blond. He said, ‘No problem. We can change that

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Wonder Woman when they had it in the 40’s, the period

shows with the comic book more because, in the modern

was a kid and I didn’t look anything like Steve Trevor. He

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On playing Steve Trevor in the ’40s and ’70s: “I liked

On getting the role of Steve Trevor: "Stanley Ralph

Steve Trevor. Well, I had read Wonder Woman when I

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Woman. She had red hair, she wasn’t terribly attractive,

later cast as Trevor in The New, Original Wonder

California, a post he held while still acting on Wonder

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The New, Original Wonder Woman pilot and series

On not recognizing Diana Prince was Wonder Woman: “I was supposed to be surprised and not recognize her when she put on her glasses. It was ridiculous. When she was Diana Prince in the ’40s, she had a dowdy naval uniform on, her hair was in a bun, and she had these awful horn glasses on. You might possibly believe that I wouldn’t recognize her. In the ’70s she had her hair fabulously done, designer clothes, and designer glasses, and when she turned into Wonder Woman she still had her hair fabulously done, and her wonderful Wonder Woman costume. She’d just take off her glasses and I’d have to say ‘Who are you?’ That was hard to deal with, but they were still sending me checks, so I said ‘Fine, I don’t recognize you.’”

and body and everything. The other girl was a far more

On his favorite part of the show: “I can’t remember

experienced actress but didn’t look anything like Wonder

any of the specific shows, but I was a great fan of the

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special effects: the explosions and falls and stunts and

a charge hidden

tanks. I get a big kick out of watching the reruns. Those

in the strap. I had

are fun. I always kind of hung around to watch the

no idea how loud

special effects and stunts. The stunt people are amazing.

those things were.

They’re crazy. You couldn’t pay me enough to do what

I’d never had a

they do. I watched a lot of those stuntgirls get badly hurt

charge planted on

doing the jumps and falls. There’s a lot of stories about

me in all my

the stuntwomen on Wonder Woman.” On one of those stuntwoman stories: “To have Wonder Woman jump in the air, they used a teeterboard, which is a board like a seesaw. One person jumps on one side of the board and fires the other person up in the air. One day, they spent hours with this teeterboard, lining up the landing pad to get it exactly right so that the stuntwoman would land safely on the pad. Finally, when it came time to shoot it, they had it all lined up; the dis-

career. From that time on, I was ready for the power of special across the front of a store and the front two windows blew out. It was done with compressed air. That was shocking, too. I had no idea the power of those compressed air tanks.”

tance was correct, the weight of the jumper was correct

On Steve’s penchant for heroics: “I never considered

for the weight needed to hurl the stuntwoman. So, they

myself helpless. I was always the hero. I was the one who

said ‘Roll ’em! Action!’ The guy jumps on the teeterboard

attacked all these gangsters and criminals and every-

and fires this stuntgirl right up into a tree branch. They

thing and then just got the heck beat out of me. I figured

hadn’t even considered it. They’d figured out the distance

that I was really macho and I could handle these guys. I

and everything, but they didn’t figure out how high she

wasn’t helpless, I was just kind of stupid.”

was going to go. So they fired her up right into this limb and, of course, that stopped her dead. She fell straight down onto the grass. She didn’t get hurt, but she almost knocked herself out!” On a stunt-double’s costume problems: “Lynda

effects. There was another scene where I was walking

On Rover, the robotic mascot at IADC: “That’s about all I got to work with at the end of the series. But that little-bitty thing on wheels who’d scoot across the floor . . . they had him on a string, a little piece of filament, and they’d pull the string and he’d go shooting across the

never fell out of her costume, but one gal did. Jeannie

floor. One time they pulled the string and he ran across

Epper did all the Wonder Woman fights and stunts. She

the floor, but the door wasn’t set up right. He was sup-

was quite a gal, and very well endowed—she’s been

posed to get out in a hurry. He went flying across, and hit

blessed by the chest fairy! They had to roll down a hill

the edge of the door, and just destroyed himself. We had

one time, as she was fighting a villainess. They had her

to shut down for an hour or two so they could make

roll, and roll, and roll. Boy, her whole top kept coming

another one. But he just went right to the edge of the

down to her waist!”

door, and knocked himself to pieces. It was hysterical!”

On doing some of his own stunts: “Fight scenes and

On Lynda Carter: “It was fun to watch her in costume.

stuff like that, they always had stunt people do that. We

She looked more like Wonder Woman than any other

would throw the first punch and step out, and then the

human I’ve ever seen. She still looks terrific.”

stunt people would come in and fight like crazy. We’d get hit or throw the last punch. Usually I got hit and would fall down and hit my head on a rubber rock and go unconscious. I was really good at being unconscious. I think that was half my job.”

Although Waggoner makes infrequent television appearances (including an e p i s o d e o f T h e N a k e d Tr u t h w h i c h revolved around him selling one of the

On stunts of his that went wrong: “In the pilot, I was

Wonder Woman costumes), he stays busy

a pilot. I remember my plane had gotten shot down, and

these days as the head of Star Waggons,

I was descending in a parachute. The villain had shot me,

the largest Hollywood providers of on-set and

and he was coming down, too. Eric Braeden shot me with

location rental trailers for movie and TV

a .45, and it hit my parachute strap. They had to fire off

stars. Visit his site at www.starwaggons.com.

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JEANNIE EPPER • Wonder Woman’S Lead Stunt Double

The New, Original Wonder Woman pilot and series (1975–1977) The New Adventures of Wonder Woman series (1977–1979) Interview and transcription by Andy Mangels

area, but she was correct in what she was saying about her character. To me, she was the only really live person that could have ever portrayed Wonder Woman and pulled it off the way she did.” On losing her top against Fausta, the Nazi Wonder Woman: “This was in the early stages of the costume.

Coming from a family of famous stunt people, Jeannie

Later we decided to put little bits of elastic which ran

Epper is one of the most respected Hollywood stunt-

from the tip of the breasts on top to the back of the cos-

women, having worked in the profession for almost

tume. We put body makeup on so that it matched our

40 years. You’ve seen her in numerous movies and TV

skin. That was all after this particular incident happened.

shows, and probably never knew it was her. With roles

I had to come running out of the house, and the villain is

in comic-book projects such as Mystery Men, Blade,

leaving. I had to hit the mini-tramp, go up over a hedge,

Tales from the Crypt, and Steel, plus genre outings

tackle her, and we fight and roll all the way to the bot-

like Minority Report, Armageddon, Close Encounters,

tom of the hill. When I hit Fausta as I was coming

Bionic Woman, and Blade Runner, Epper is most famous

through the air off the mini-tramp, those nice little stays

as the stunt-double for Lynda Carter on three seasons

decided to flip down, which left me bare-chested. Here I

of Wonder Woman, doing flips, 30-foot jumps,

am in mid-air, and I know my breasts are being exposed,

running along rooftops, and crashing through glass. I

but I’m totally stretched out to do this stunt. I had to

interviewed her for Amazing Heroes magazine in the

make a decision. Do I reach down and pull up my cos-

past, and here are some highlights from this warm and

tume and kill myself, or continue on with the stunt? It

friendly lady:

was a split[-second] decision not to kill myself. [laughs]

On being mistaken for Wonder Woman: “We worked at the airport a couple of times and people were filing off airplanes. They’d see this person in a Wonder Woman costume, and the children would come up and want to touch my bracelets. Little girls would get so excited. I allowed them to believe it. In the beginning, I had a battle with it because I don’t like to put myself out in the

My vanity wanted me to reach down. So I tackled the stuntgirl, Donna Garrett, with my top down. She’s hysterically laughing and trying to help me put it up, and we’re rolling down the hill together. We get to the bottom, and they said “Cut.” I got up and said “You’d better not print that!” [laughs] I’m sure that they did and looked at it in dailies. You know how boys will be boys.”

limelight. I’ve learned through the years that it’s okay to be who I am. I was probably too humble to deal with that but I started to realize that being that way, I was taking away from the kids. All they really cared about was seeing Wonder Woman, whether it be Jeannie Epper or Lynda Carter. They wanted to see the person in the costume. The face wasn’t important to them. A lot of times they would see me do the stunts, and that was who they really wanted to see. The person who jumped off the building was who they really wanted to see. When I did autographs, I would write ‘Wonder Woman.’ That just they met Wonder Woman.” On Lynda Carter: “She was extremely bright. There were times when she was right about certain scenes when a director wanted to do something that she felt wasn’t characteristic of her part as Wonder Woman. She would stand up for herself, and she was right. Then they would call her a bitch, and maybe she was a bitch in that

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Photo courtesy of Jennie Epper.

thrilled them to death. As far as they were concerned,

SAUNDRA SHARP • “Eve”

The New Adventures of Wonder Woman (1978) Interview by Andy Mangels, transcribed by Brian K. Morris Since Diana Prince was a secret agent for the IADC during the second season of Wonder Woman, someone else had to portray Steve Trevor’s secretary. Enter Saundra Sharp (now Courtesy of S. Pearl Sharp.

known as S. Pearl Sharp), an actress

with only a few television credits to that date. Sharp played Eve, Steve’s assistant. Although she never got captured, tied up, or even close to discovering Diana’s secret identity, Eve does have some fond memories of her time on Wonder Woman. On problems with the sets: “In one episode, and this was not intentional, they dropped the [sliding] door on my head. I don’t know whether I waited too long or the guy started too early, but when I came to, I was in Lyle On her memories of the show: “I had mixed feelings.

Waggoner’s arms and they’re just standing around. It

I was terribly sad the show was over because I loved

just totally knocked me out. [laughs] They were probably

being Wonder Woman. It was fun, I earned scads of

afraid I was going to sue them, or something. So they

money, it was unique, I got a lot of publicity. It was excel-

were determined that I was going to have a concussion,

lent for my career. But how many more years could my

or whatever, and I had to go lie down. When I came back

ankles take that? It was sad to be done, though. One of

on the set, I could not walk through the door. [laughs] So

my fantasies as a little girl was to be Wonder Woman,

finally, after about six or seven attempts, the director

and now I had the costume on and I was Wonder

said, ‘Okay, just come on this side of the door. We’ll lower

Woman. How fun. We took those last pictures with Lynda

it, like halfway and we’ll just pick up the scene as it is.’”

and myself in costume, right outside Stage 12, where we always shot. It was a sad feeling. That was the last time I ever had the costume on again.”

On working with Lyle: “He’s a very, very special person, very gentle. Not at all what you might expect from someone who’s had as many credits as he did, and as big as

These days, Epper is still a working stuntwoman, as

he is. He’s a very quiet, very sweet man. A grand gentle-

well as appearing recently in Kill Bill Vol. 2 as the

man. I enjoyed working with him.”

mother at the wedding chapel. She’s also one of two subjects of the documentary, Double Dare, directed by Amanda Micheli for Runaway Films. Double Dare tells the story of Epper and her protégé, Zoe Bell (the Xena stuntwoman), focusing not only on their careers as super-heroines (with lots of cool behind-the-scenes footage and an interview with Lynda Carter), but also

On working with Lynda: “I got a lot more work days than were originally intended because whatever was going on in her life at that time, she had a habit of not showing up to work. [laughs] It was about business once she got there. We did what we had to do.” After her work on Wonder Woman, Sharp went on

on the struggles they face in Hollywood. Although it

to guest-starring credits on television series such as

has screened at a number of film festivals, Double Dare

Charlie’s Angels, Knots Landing, The Incredible

will be receiving its international premiere early in

Hulk, and a recurring role on St. Elsewhere. Today,

2005, and will be seen nationally shortly thereafter. See

she busies herself writing books and short stories,

more about Double Dare at www.runawayfilms.com

working on her own documentary, and working in

and more about Jeannie at www.stuntwomen.com.

commercials.

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Interview by Andy Mangels, transcribed by Brian K. Morris Believe it or not, there was a brief period of time in the 1970s when mimes were respected. After hundreds of appearances on The Tonight Show, The Mac Davis Show, and The Sonny & Cher Show, TV mimes/dancers/ comedians Shields & Yarnell (that would be Robert Shields and Lorene Yarnell) were even given their own variety show. Later, in a bit of stunt-casting, they also appeared together on a Wonder Woman episode which featured an actual costumed superpowered villainess (a rarity for the series). Shields worked alongside Yarnell, who played a brilliant scientist who used a formula to give herself the proportionate strength of an ant and the ability to command an insect army. Years later,

The New Adventures of Wonder Woman “The Deadly Toys” (#26 / 12-30-1977) Interview by Andy Mangels, transcribed by Brian K. Morris Holy crossovers! One Wonder Woman episode not only featured the old comic-book standby of an evil robot twin, but it also featured a past Batman TV show villain in a role barely disguised from that of a Superman comic-book villain! In “The Deadly Toys,” Frank Gorshin (aka the Riddler) guest-starred as an evil toymaker (Dr. Orlich Hoffman) who plans to use his robotic duplicates to steal government weapons plans! Gorshin doesn’t remember much about his appearance, but did share a brief memory with BACK ISSUE:

Shields recalls a few details for BACK ISSUE: On the super-villainess role for Yarnell: “She was a villain and I was a scientist. She was in charge of the ants. She was the Ant Queen and she put a spell on ants. That’s why the outfit they picked for her, a black string [costume] would be so perfect because it was really sexy and beautiful. She looked like an ant, but she looked like a really adorable ant.”

FRANK GORSHIN • “The Toymaker”

ROBERT SHIELDS • “Doug”

The New Adventures of Wonder Woman “Formicidia” (#42 / 11-3-1978)

On knowing a young Lynda Carter: “I met Lynda years before she did Wonder Woman, in Chicago. I forget the name of the club. At that time, she was working as a singer. She was a good-looking lady and sang well. And I never saw her after that until I did that Wonder Woman episode. She remembered me. I played the Toymaker, but I can’t remember anything else of any significance that happened during the shooting.”

On costume changes: “Bob Mackie’s assis-

Other than comic fans Bill Mumy, Miguel Ferrer, and

tant put something together for Lorene, and

Mark Hamill, probably no working actor has appeared

Lorene’s a dancer, [with] a beautiful body . . .

in as many super-hero shows as has Gorshin. He first

and Miss Carter got pissed when she walked

played Riddler in 1966’s Batman show and feature

on the set, looking better than her. So she

film, then reprised the role in the two-part 1979

demanded that she take off that costume.

Legends of the Super-Heroes, and 2003’s telefilm

And then she made her makeup people and

Return to the Batcave. He was also on Lois & Clark

hair people dress her down, to make her look like a dog . . .

as a shifty lawyer, and played the villainous Clockwise

they made her put on this wig that was just horrendous.”

in the syndicated Black Scorpion series, and will

On doing the show: “We were actually embarrassed to do

record a voice on Fox’s new animated The Batman as Dr. Hugo Strange in

the show. You know, it was not anything we were proud of, to

2 0 0 4 . To d a y, h e

be perfectly honest with you. At the time, it was just something

continues to work in

that we got roped into doing. They paid us a bunch of money

films and television,

and they wanted us on there really bad. In fact, they were

and appears at nos-

contacting us for a year and a half.”

talgia conventions.

Today, Shields and Yarnell occasionally reunite to perform

Visit him at www.

with symphonies, and Shields has worked as a consultant for

frankgorshin.com.

Ringling Brothers, as a restaurateur, and has designed his

own

art

collectible

line.

Visit

him

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B.J. WARD • Voice of Wonder Woman

Super Friends: The Legendary Super Powers Show (1984–1985) The Super Powers Team: Galactic Guardians (1985–1986) Superman “Superman and Wonder Woman vs. the Sorceress of Time” (#8 / 1988) Interview by Andy Mangels, transcribed by Brian K. Morris Great Hera! Wonder Woman has been a staple of the cartoon world since the early 1970s, where her female powers were showcased every Saturday on the various Super Friends incarnations. And while Shannon

An Alex TothOn her first role as a heroine with Hanna-Barbera:

Farnon played Wonder Woman during most of the sea-

“I auditioned for a cartoon show called Jana of the

sons, B.J. Ward (aka Betty Jean Ward, an opera singer

Jungle and I got the part. It was basically just my own

and ex-Playboy Bunny) took over the voice work in

young voice at the time, which was sort of like [does

1984. Today, Susan Eisenberg portrays the Amazon

Jana] ‘Hey, we’ve got to find a way out of here and fast!’

princess on Justice League, and Ward passed on some

[normal] That kind of voice. And when I got to the

Cartoon Network promotional bits to her predecessor,

session, I found Jana was supposed to be able to speak

but she still had some thoughts to share about her

with every animal in their own tongue. I was sitting next

wondrous past:

to Michael Bell, who was just a great voiceover person

On the Cartoon Network promos: “They called me to do some promos for the Cartoon Network. It occurred to me that the woman who did it before me was still living. I said, ‘Why don’t you check her out because I think she’s still alive and she’d probably like to do these.’ And then I

would help me out. And the editor would say, ‘Okay, now Jana has to speak to the narwhale.’ I’d turn to Michael and go, ‘What the hell is a narwhale?’ It was sort of like on-the-job training.”

saw her in audition later and she said, ‘Oh, yeah. I did

On super-heroines: “The thing I did like about Wonder Woman is, I liked the costume. She was always this very

was still alive.’ I don’t know why they called me. You

tall, well-built, macho kind of gal, and there weren’t a lot

know, because any of us could say, (mimics Wonder

of those kind of female roles. I did one called Nova on this

Woman’s voice) ‘Great Hera, Superman!’ You know,

show called Space Stars that looked like Wonder Woman.

that’s all we had to do, really. [as Wonder Woman]

And then I did Scarlet on G.I. Joe, who was sort of like

‘Merciful Minerva! I’m more of a man than you’ll ever

Wonder Woman. But [others are] either the ditzy friend

be.’” [laughs]

or the girlfriend, sort of non-threatening. I liked that

as well as fans can: “I’ve done so many of them over so many years at Hanna-Barbera. I never see them and once we leave the studio, we have no recall over what the story was. We usually just show up at the session, the script is

sheet.

who’s always played my boyfriend on all the series. He

them, and thanks. I didn’t know why they didn’t think I

On why voice actors can’t remember the episodes

drawn model

Wonder Woman had a really nice outfit. [laughs] You know, we’d all be sitting there in our sweatsuits, and our jeans, and funny T-shirts, and be playing these big superheroes. It’s really a fun lifestyle. You don’t have to dress up or wear makeup.”

there, and we have one rehearsal and do it. And then it’s

Ward has also voiced Scooby-Doo’s Velma Dinkley for

animated later, of course. I’ve done Betty Rubble [on The

years, as well as Winnie Woodpecker. She also appeared in

Flintstones spin-offs] for years and Velma on Scooby-

episodes of Batman Beyond, Batman, Superman, Spider-

Doo. And I’ve had people say, ‘Remember that episode

Man, and Incredible Hulk. Those wanting to hear Ward’s

where Betty comes in and Dino the Dinosaur’—And I go,

voice more often than in reruns can order her opera CDs,

‘You know, I have no idea. We really don’t have recall.’”

or visit her website at www.standupopera.com.

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ANINA BENNETT • Wonder Woman collector

As I write this, I’m wearing a pop-art Wonder Woman T-shirt and sitting in a home office overflowing with Wonder Woman figurines and imagery. Compulsive consumerism aside, why do I have all this stuff? Why do I love the Amazing Amazon so much that I’ve erected a veritable altar to her? As usual, it goes back to my childhood. In today’s context, with women kicking bad-guy butt on video and movie screens all over the world, it’s easy to forget how rare such characters were before the 1970s, my formative decade. As a kid, I was an avid reader with a hearty appetite, devouring science fiction, mysteries, ancient mythology from around the globe, and comic books. I was raised by an unapologetically feminist mom, and I loved watching old movies on TV, usually screwball comedies or gangster flicks featuring smart, brassy dames. Toss the build-up to the U.S. bicentennial cele-

Anina Bennett with her Wonder Woman shrine. Photo by Andy Mangels. willing to give up a life of privilege and carefree sisterhood

bration into the mix, and it’s no wonder that in 1975

to fight evil in man’s world. All that, plus a magic lasso

I was primed and ready to be dazzled by the Wonder

that can compel anyone to tell the truth—now there’s an

Woman TV show.

accessory most of us would’ve given just about anything

In retrospect, I can see that much of the fiction I read and watched in my youth was a form of the “universal”

for! Ye gods, how could anyone in my shoes not have been captivated by her?

heroic/personal journey, the search for self-definition and

True, the TV Wonder Woman is relatively heavy on

purpose in a complex, threatening world. But I wasn’t

the glitz and light on classic mythology, but she fought

consciously thinking any of that when Lynda Carter first

for truth and justice, and she came along right when I/we

flashed onto the small screen in all her star-spangled

needed her most—just like a true hero.

glory. I was thinking: Wow! There’s nothing cooler than a super-strong, statuesque Amazon besting baddies!

*Many years later, I would discover earlier TV fare such

(And magically changing her outfit just by spinning

as Honey West (a 1960s’ show starring Anne Francis as

around! How many kids imitated that move while

a private eye) and The Avengers, but during the ’70s

envisioning their own super-heroic metamorphoses?

they temporarily faded into obscurity. We didn’t have

C’mon, everybody, raise your hands.)

VCRs, cable TV, or the Internet way back then.

Before Wonder Woman hit the airwaves, the strongest

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woman I’d ever seen on TV (not counting the aforemen-

Anina Bennett is a comics writer and editor who’s done

tioned vintage movies) was Bewitched’s Samantha,* who

more than 15 years of hard time in publishing, at First

was doomed to a lifetime of domestic strife because her

Comics, Dark Horse Comics, and the transnational

breadwinner hubby didn’t think she should “cheat” by

Egmont Publishing. She’s best known as the writer/co-

using her magical powers—a none-too-subtle dynamic

creator of the sci-fi comic Heartbreakers, the longtime

reflecting the rapidly shifting gender relations of that era.

editor of Nexus, and one of the few editors to have

So there I was, a ten-year-old lass who knew

worked with Harlan Ellison and lived to tell the tale.

Bewitched wasn’t the whole picture but didn’t know

Anina is scripting a new Heartbreakers graphic novel

what was missing . . . until Wonder Woman came along,

for publication later this year, illustrated by her hus-

and then Charlie’s Angels, Bionic Woman, and Princess

band, Paul Guinan (yes, the guy who did the fabulous

Leia. The Angels were a bit too glam—and too beholden

Wonder Woman vs. Nazis illo in this issue). The first

to an invisible male benefactor/boss—to fully capture my

Wonder Woman “stuff” she remembers acquiring was

heart, and so Wonder Woman, Leia, and Jaime Somers

a vintage metal trash can and a cheap vinyl doll in the

became my personal heroic trio.

1980s. Her fondest wish as a collector is for some gen-

But Wonder Woman will always hold the top spot.

erous soul to give her the Ideal Super Queens Wonder

She’s got it all: She’s smart, tough yet kind-hearted,

Woman figure. Visit Anina and Paul’s virtual selves at

noble, beautiful, royal yet down-to-earth, mythic, and

www.BigRedHair.com.

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Artist Tom Derenick (Smallville, Catwoman movie adaptation) captures Lynda Carter’s wonder smile. Art courtesy of Tom Derenick at www.pmkane.com/tomderenick/.

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LY N DA CA R T E R a s

Art Gallery Te x t b y

Andy Mangels

Donfeld (Donald Lee Feld) was the costume designer for the Wonder Woman television series (for more information about this colorful costumer, see the Donfeld dossier accompanying the Lynda Carter interview in this issue). Pictured are some of his designs for the costume worn by Lynda Carter. The smallest of the above designs was auctioned in spring 2004 on eBay for $4000.

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DONFELD

Dick Giordano was born and raised in New York, and began inking comics at the Iger Studios in late 1951. Over the following decades, he would pencil, ink, and edit comics for Charlton, DC, Marvel, and Atlas, a n d d r e w advertising art for Continuity Studios. In 1968, he began inking Wonder Woman (with issue #178), eventually taking over the art chores full-time for several of the “nonpowered” Wonder Woman issues. Giordano would return to ink Wonder Woman on-and-off throughout the years, as well as producing much of the licensing art for the character (including most 1970s’ Wonder Woman licensing). Today, he’s hard at work drawing and writing a 128-page book for North Light Books: the working title is Drawing Comics Step by Step with Dick Giordano. He’ll also be working on a miniseries for Marvel, has just finished the pencils on a graphic novella for Metron Press, and will produce some Phantom stories for Swedish publisher Egmont. Visit his website at www.dickgiordano.com and read the TwoMorrows book, Dick Giordano: Changing Comics, One Day at a Time.

When Mego released a line of outfits for the 12-inch Wonder Woman doll in Canada, they used Giordano collage art on the back of the packaging. After producing the new “Wonder Biker art” for BACK ISSUE, Giordano said, “Lynda Carter was Wonder Woman! Her regal beauty and stature convinced me that here, at last, was the real Wonder Woman. I only wish that show could have been produced today. It would have been even more of a standout with Lynda’s presence enhanced by the production values possible today, particularly in the area of special effects. Nevertheless, I never felt cheated watching this tall, beautiful woman doing her stuff every week! She was a Wonder Woman!” Mego art courtesy of Jim Emmons.

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Paul Guinan is a multimedia artist with a particular interest in comic-book storytelling. He co-created Chronos for DC Comics and co-created Heartbreakers with his wife, Anina Bennett. Heartbreakers was the first science-fiction comic to feature female action heroes as lead characters. Paul’s innovations continue with the Heartbreakers’ latest outing, a graphic novel rendered in a unique combin a t i o n o f p h o t o g r a p h y, painting, and drawing. Examples of this revolutionary technique can be seen on Paul and Anina’s website, www.BigRedHair.com (and while you’re there, take a look at Boilerplate). A history buff since childhood, Paul was disappointed when the Wonder Woman TV series moved from the 1940s to a contemporary setting. Wonder Woman nevertheless continued to be a source of inspiration for him, and the strength of character she possesses Heartbreakers work.

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found its way into Paul’s

LY N DA CA R T E R a s

Art Gallery Phil Jimenez was born and raised in southern California and moved to New York City at 19 to pursue his education at the School of Visual Arts. The Eisner-nominated artist began working for DC Comics two years later, eventually penciling four pages of Wonder Woman’s 50th Anniversary extravaganza, War of the Gods. A d e c a d e l a t e r, J i m e n e z achieved his lifelong dream of writing and drawing the Wonder Woman comic book, chronicling the Amazon’s adventures for over two years. He’s currently working on Otherworld, a creatorowned property for DC/Vertigo comics, but would love to return to Paradise Island someday, now that men can walk on its beaches, and play once again with Princess Diana and her friends.

Jimenez says, “Lynda Carter was and remains the living embodiment of Wonder Woman. It’s cliché to say at this point, but it’s true. But [by] inhabiting this character and bringing her to life in such an honorable way, Lynda helped chart the course of my life. I wanted to be a human being who lived up to the ideals Lynda preached through the Wonder Woman character, and I wanted to draw the adventures of someone as wise and beautiful as Lynda herself. Lynda’s influence on my life cannot be underestimated; indeed, my brief meeting with her that left me stuttering and literally brought me

PHIL JIMENEZ C o m i c s

to tears. Thank you, Lynda, for everything!”

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Alex Ross is undeniably the most popular painter that the comic-book world has ever

Justice League. Ross has also painted covers for TV Guide, the poster for the

seen. Working in a photorealistic style with Gouache paints, Ross first appeared on the

2002 Academy Awards, and lots of WB Store licensing items. Visit his website

comics scene with The Terminator: The Burning Earth and other efforts from inde-

at www.alexrossart.com.

pendent publishers, but it was his work on 1994’s Marvels that shot him to fame. His

Ross says, “Lynda Carter’s Wonder Woman is a flawless approximation of an ide-

next major project was 1996’s Kingdom Come for DC, and he has bounced back and

alized comic character made real, breathing life perfectly into an artist’s vision. Lynda’s

forth between these two main comics companies for the last decade, producing Earth

portrayal is an amazing contribution to the legend of the world’s foremost and first

X, Uncle Sam, and five tabloid-sized books for DC featuring their preeminent super-

super-heroine, leaving a legacy that is hard to follow.” Above are some of Alex’s sketch-

heroes, Superman, Batman, Wonder Woman, Captain Marvel (Shazam!), and the

es for the cover of this issue, as well as the complete cover art.

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Art Gallery

Two-time Harvey Awardwinner Adam Hughes began his professional comics career on the independent series Eagle and Death Hawk, then on Comico’s The Maze Agency. His career has since included Justice League, Star Trek, Indiana Jones, Legionnaires, X-Men, Tomb Raider, Ghost, and many other series. His covers often feature “good girl” art combined with a sly sense of humor. Adam began illustrating Wonder Woman covers with v.2 #139, and considers #170 (WW meets Lois Lane) as his favorite. Author Andy Mangels considers #184’s Golden Age pastiche one of the best covers in comics history. Visit Adam’s website at www. comicbookpros.com/adam hughes.

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LY N DA CA R T E R A S WO N D E R WO M A N A r t G a l l e ry

Living in Washington state, Anne Timmons is currently drawing a new issue of the Lulu Award-winning GoGirl! comic, due this fall. She has also drawn for the Eisnernominated Dignifying Science, and for Star Trek: Deep Space Nine, Graphic Classics (Jack London and Robert Louis Stevenson), and local and national magazines such as the anthology 9-11 Artists Respond is now in the Library of Congress. She loves Wonder Woman and has drawn her in Super Friends style for the 2001 Comic-Con International souvenir book, and in Golden Age style for the cover of Comic Book Artist #10. The CBA cover and other samples of her work can be seen on her website, http://homepage. mac.com/tafrin/. Timmons says, “I loved the Wonder Woman TV show, especially the Golden Age season. I have always been fascinated by fashion, and Lynda looked spectacular in that costume. She inspired me and lots of other women to have confidence in ourselves and our own abilities.”

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Wired. Some of her art for

Lights . . . Camera . . . Web-Slinging Action!

Spider-Man’s Climb Up the Hollywood Ladder Editor’s note: When it comes to comic-book super-heroes making a big splash on the TV and silver screens, one of the greatest success stories is your friendly neighborhood SpiderMan. But the web-slinger’s stardom didn’t come overnight. Legendary Amazing Spider-Man artist John Romita, Sr.

Up in Arms

I remember very well when Marvel was first discussing

cover to Amazing

the Spider-Man and Fantastic Four cartoons in early 1967. There was

Spider-Man #88

discussion of Hanna-Barbera doing one of the shows and Grantray-Lawrence

(September 1970)

Animation doing the other one. I remember hoping that it would be Hanna-

doesn’t grab ya, we

Barbera that got to do Spider-Man. They had a good track record of doing

don’t know what

animation. Also, my kids grew up with Hanna-Barbera, and I was also a fan of

will! Courtesy of

Tom and Jerry from their old MGM days [Bill Hanna and Joe Barbera were MGM

Heritage Comics.

animators before opening their own animation studio]. But I had never heard

of the other company [partners Grant Simmons, Ray Patterson, and Robert

guest editorial by john romita, sr.

If John Romita, Sr.’s

shares some behindthe-scenes

anecdotes

about Spidey’s history in Hollywood.

Special

thanks to Dan Johnson for contacting

Mr.

Romita and for his invaluable assistance in making this “Off My Chest” a reality.

Lawrence executive-produced season one of Spider-Man]. So I was a little disappointed when Hanna-Barbera took on the Fantastic Four and Spider-Man went to Grantray-Lawrence. I was asked to do some very simple adaptations of the Spider-Man characters—like Peter Parker and Spider-Man—that the animators could follow. Whenever we discussed how the show was going to look, I was always disappointed. The animators were trying to do it on a commercial basis where they would do it not cheaply, but as economically as possible. It must have been a hell of a chore to put all those webs on Spider-Man, thus they left them off his arms and chest. When Hanna-Barbera did the Thing in Fantastic Four, they ran into a similar problem with his orange, rocky skin. The animators just looked for shortcuts and left blank areas. I had a discussion with Stan Lee [about these shortcuts], because he used to ask my opinion a lot of the time. In regard to the first Spider-Man animated series, I used to tell Stan that I would rather this not get to the screen than be done badly. Stan absolutely pooh-poohed that suggestion every time.

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positive). Looking back now, I know what a great move

Look Out! Here Comes the Spider-Man!

this cartoon series was. Down through the years,

A frequently used stock web-slinging shot (left)

every time I’ve gone to conventions, I have spoken

from the 1967–1970 Spider-Man TV cartoon.

to hundreds of people who have told me they had

never heard of Spider-Man before the cartoon show. They would tell me how much they loved it and they

Spider-Man Theme Song Lyrics

would sing the theme for me. I never learned the He would say, “John, believe me, getting this on

words myself, but my kids knew them [see sidebar]. I

Spider-Man, Spider-Man,

television is the first mountain to climb. Even if it’s

realized that these people became familiar with the

Does whatever a spider can.

not as good as you would like it to be, it’s going

character and had never seen the comic-book version

Spins a web, any size.

to be great.” I doubted it very much. I had great

before. I now realize it was one of the best deals we

Catches thieves, just like flies.

misgivings about it. It wasn’t like I created Spider-

ever made.

Look out! Here comes

Man—that was Steve Ditko and Stan Lee. But I was

Fast forward now about ten years: Spider-Man

the Spider-Man!

very much involved with the character. Everything

makes the leap to live-action television (thanks

being done then with Spider-Man, from designs

to executive producers Sandy Fries and Daniel R.

for toys to advertising drawings, I was in charge of

Goodman). I remember the producers of that series

those. I was always very protective of Spider-Man.

wanted to change Spider-Man’s costume and not

Is he strong? Listen, bud! He’s got radioactive blood. Can he swing from a thread?

When I saw one of the finished Spider-Man cartoons,

Take a look overhead.

make it blue and red. Stan called me up from

I was very disappointed. I felt they were too crude and

California when they were shooting the first two-

too hastily done. Of course, that was unreasonable

hour film and he said, “Johnny, they’re going to

of me considering the television technique at the

make Spider-Man’s costume black and red.” Actually,

In the chill

time, where they had to grind them out for a week-

it was supposed to be black and red. In comics we

of night,

ly show. Looking back now, in hindsight, makes me

used blue for highlights. Unfortunately, down through

At the scene

understand what a chore that must have been. But

the years, Ditko and I had used less and less black

of the crime.

at the time I was very demanding, and I was of a mind

to save time, and it became the blue-and-red costume.

Like a streak of light,

where I said, “I hate this; I wish to heck we had

I told Stan, “He’s become associated with the blue-

He arrives just in time.

never started it.” But Stan would always tell me to

and-red costume. The black-and-red will be a little

be positive (I was always negative and Stan was always

bit different.” It didn’t really bother me all that much,

Hey there, there goes the Spider-Man!

Spider-Man, Spider-Man,

but I asked Stan why they couldn’t make him blue

Friendly neighborhood

and red. Stan said, “Whenever they are doing the

Spider-Man.

matte shots, the blue in Spider-Man’s costume would

Wealth and fame,

become invisible because they were using a back-

he’s ignored.

ground matte that was blue.” I asked Stan, “Why

Action is his reward.

don’t they paint [the background matte] green?” Spider-Man at the time was also on the Children’s

To him, life is a

Television Workshop’s The Electric Company in little

great big bang-up,

daily appearances. I told Stan that Electric Company

Wherever there’s

didn’t have a big budget, and all they did [to get

a hang-up, You’ll find

Marvel Confab

the Spider-Man!

Stan “the Man” Lee (left) and “Jazzy” John Lyrics by Paul Francis Webster

Romita in a mid-1970s photo.

Music by Bob Harris, Stu Phillips, and D. Kapross

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around this problem] was to have a green matte. Stan asked, “What are you talking about? They just paint the matte green and anything blue comes out and you don’t have to worry about it?” Stan didn’t know what their reasoning was. [The television people] just always used this one line on him: “You know comic books, and we know television.” So Stan always deferred to their experience. In that one case, he was ripping mad when he heard that. For a hundred bucks they could have painted the matte a different color and given us the blues in Spider-Man’s costume. That’s the kind of stuff television people were doing to us in those days. [Fortunately, a green matte was used and Spider-Man arrived on CBS sporting his familiar blue-and-red duds when the pilot film aired in 1977.] When it came to the live-action Spider-Man shows on CBS, I was disappointed in those, too. If you remember those shows, it was always broad daylight. They were always well lit at all times. I could never

the release of the first Spider-Man film in 2002. There

understand why they were not ingenious enough to

was more than just a small lull before this film

make the action in the shadows and in the dark. It’s great when things are half in shadow. You can imagine all sorts of terrific things that you don’t have to see. Spider-Man really works best at night. That was the only rap about those shows, the fact that they were too well lit. They were so illuminated, you could see all the flaws like the buckle on Spider-Man’s costume. Of course, I was like an inspector finding flaws in this product. I’m a little bit too critical. When it came to Spider-Man, they couldn’t make it good enough for me. I kept telling Stan that I wouldn’t accept [the

finally arrived in theaters. There were contract disputes six or seven years earlier that kept SpiderMan from getting to the screen. Originally, James Cameron was going to direct the film. We at Marvel had wonderful dreams of what Cameron was going to do with Spider-Man, but because the film was held back, it cost us Cameron on the film. We

Live-Action Spidey

thought that was terrible. We thought Spider-Man was never going to be right after that, that it wasn’t

Among TV Spider-Man

going to be this beautiful thing we imagined.

Nicholas Hammond’s

Cameron had all the enthusiasm that Sam Raimi

(inset) super-heroic

[director of 2002’s Spider-Man and 2004’s Spider-Man 2]

attributes was the

has for the character. When the contracts couldn’t be

ability to scale fences.

was the same as the animated show. To show you how

settled, Cameron went on to make Titanic and I thought

Photos courtesy of

bad a businessman I am, those television films and

we were never going to see a Spider-Man movie.

Andy Mangels.

Amazing Spider-Man TV shows] and to turn them down. Stan would say, “We can’t turn them down, because the front office wants to have these things made.” It

the short-lived series that followed probably got us

When Raimi’s film finally came out, all of my

more readers down over the next 20 years than

doubts and misgivings were washed away. I enjoyed

anything. It really got Marvel and Spider-Man out

the whole thing. Tobey Maguire was sensational as

into the outside world.

the kid who was a little bit different from everyone

Now let’s talk about Spider-Man today, after he

else, and Kirsten Dunst as Mary Jane was perfect for

has gone from small screen to the big screen with

the part. The only rap I had about that movie was the

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Spider-Man 2

Green Goblin costume. It looked so much like an

Because of

(far right)

outer-space alien, it just threw me. Outside of that, I

this work on

Now playing at

thought it was just a beautiful movie. It was so much

Spider-Man 2, I

a theater near you.

fun [in the theater], and people all around me were

got to talk with

enjoying it and I enjoyed it because of that too.

Sam Raimi for a

“Face it, tiger—you just hit the jackpot!” The man who designed Mary Jane Watson (as

A plus to the holdups in getting Spider-Man to the

few minutes, and

big screen was that he was held back until the tech-

he was very nice.

nical abilities and special effects were ready for him.

Raimi has a great

Even if Cameron had continued with the project [as

knack for taking

originally projected], he

this kind of stuff

may not have had every-

and making it

thing he needed to put

genuine. He takes

the film together the way

the qualities he needs, but does not dilute the product.

Raimi did. If you want

Raimi enhances it. I told him I was very grateful for

to think of the power of

the care he took with the Spider-Man characters.

positive thinking, that’s

Thank God we got a director who was able to translate

a good way to look at it.

them to the screen. I was at the Columbia location

I think it worked out for

for about two or three hours, and it was wonderful

the best, but I’ll always

to watch [Raimi and his crew] work and see how they

be curious what

set up a scene. They were so full of care and attention

Cameron could have

to detail. There was no slipshod stuff. It was all very

done with the Spider-

well thought out and very well organized. It was a

Man film.

pleasure to be there with that group of filmmakers.

Spider-Man speaks

Spider-Man is a very unlikely hero. All the time

for itself, and I think

we were doing his adventures, Stan and I knew

the second film [not-

Spider-Man was a character whose comic books sold

yet-released at this

very well. We never thought he could transcend so

writing] is going to be

well into a [highly visible] character like Superman.

even better. Recently I went to Columbia [Pictures]

The fact that he did is still a mystery to me, and I

while Sam Raimi was filming Spider-Man 2, and I sat

think it is even to Stan. Stan did have a bit more of

in for Peter Parker. In one scene, Peter is in a classroom

an angle on it, though, because from the beginning

at Columbia and he is doodling in a notebook and

he felt Spider-Man was a good character. Stan was

he’s drawing Spider-Man. There is a lecture going

right on from the beginning.

on, and his mind is wandering and he’s worried

seen in this 1966 sketch)

about something (I’m not quite sure if it is Doctor

approves of the casting

Octopus or not). Look closely and you’ll see my

of Kirsten Dunst in the

hand doodling in the notebook. I did the scene

role. Courtesy of

with Peter Parker’s sweater on and the make-up

John Romita, Sr.

people did up my hand so it wouldn’t look like the ancient mariner. If it doesn’t get cut, and you get to

see that doodle scene, it’ll be me drawing. Hopefully my gut will not show in the shot.

These absolutely wonderful books celebrating the art of Mr. Romita are must-haves for BACK ISSUE readers: John Romita Sketch Book (Vanguard Productions, 2001) and Spider-Man Visionaries: John Romita, Sr. (Marvel Books, 2001). —Michael

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tions by Art and Cap

WAY JERRY ORD

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1983

A good example of lighting and staging, I think. The real

The Infinity, Inc. #2 page (inset, from 1984) was

challenge to a group book like All-Star Squadron was in

drawn larger, about 12" x 18", for DC’s deluxe line, and

giving each character a decent bit to do, so they could

it gave me the opportunity to really get some “acting”

shine individually. There’s a fair bit of choreography

into these heads. That’s one of my favorite things: to

involved, but working from a plot is easier in many ways

have the character “act”—arch an eyebrow, or gesture

than from a full script, where you also have to judge the

with a hand. I’ve always worked hard to let the drawings

space needed for the word balloons.

tell the story without the balloons.

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I drew this one page (page 14) in Crisis because George Pérez wanted to ink me. He did scribbly rough layouts as well. It was purely a fan moment for anyone who identified me as penciler. George was great to work with.

C R I S I S O N I N F I N I T E E A R T H S #1 2

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F A N T A S T I C F O U R #2 9 4

1986

This was a favorite of mine, meant to show the Fantastic Four in a world where they were idolized. I enjoyed drawing the first bunch of pages of this issue, but office politics at the time kind of drained the fun out of the experience. I always wished to get another shot at drawing these heroes, without the negative atmosphere.

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1987 like a title card for a movie. As for the cover (from Adventures of Superman #447, 1988), Dave Gibbons and I enjoyed each other’s work, and he agreed to pencil one for me to ink, and vice versa. Unfortunately, I drew Superman saluting from the wrong side, so the finished cover had to be reversed, or “flopped,” which kind of ruined the composition for me.

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I love drawing faces, and this splash just stood out for me. I rarely got to do this type of shot—

A D V E N T U R E S O F S U P E R M A N #4 3 3

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S U P E R M A N #4 4

1990 What a fun page to draw, my follow-up to drawing Batman in the adaptation of the first movie (director Tim Burton’s Batman, 1989). Drawing shadowy stuff is much harder for me, but it’s gotta be like that for an effective Batman!

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1992 from Graphitti Designs. I did my best to channel Jack Kirby, as I wanted the character to literally jump off the page.

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WILDSTAR PROMO

This image for Image Comics’ Wildstar: Sky Zero was used as a poster and also a nifty T-shirt

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T H E P O W E R O F S H A Z A M ! #4 5

1988

From my run on Shazam, it’s fun to go “on location,” this time to Egypt with Black Adam. The inset (#7, 1995, the printed version in the border) is kind of interesting, because while I was doing painted covers for the book, at the time, the solicitation catalogs rarely used color. This pencil version was photocopied by me to darken it, then doctored with markers to appear “inked” for the Previews catalog. The original pencils were then painted over with watercolors. I used this system for the first eight covers, I think, and then the catalogs went full color.

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2000 3 #

A V E N G E R S : D O M I N A T I O N F A C T O R #3

I really liked drawing Odin, and, of course, both Thor and Loki. Domination Factor was a two-team, linked miniseries that Dan Jurgens and I came up with, with Dan handling Fantastic Four, and me handling the Avengers, my childhood dream realized. The inset (Avengers #18, 1999) is from my three-issue fill-in on Avengers. It was terrific fun to draw the Wrecking Crew as well.

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THE JOKER’S JUKEBOX

2003

This was drawn for DC Comics’ Licensing department, to be used as blown-up displays while waiting in line for the new Joker’s Jukebox ride at Six Flags (New Orleans). I have done a few things for Six Flags through DC, courtesy of Hank Kanalz, who used to be involved with Theme Park Licensing.

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2003 This was the first shot of Wonder Woman in Walt Simonson’s story, halfway into the issue. I tried to make it memorable, and still read as Diana, despite the lack of her normal costume. Whether I succeeded, I don’t know. I liked drawing her in the white 1960s-inspired outfit, though. Editor’s note: Thanks to Jer for taking the time to scan this art and write the captions for this issue. Ordway fans (and who isn’t?), for more of Jerry’s fabulous artwork, visit his site at www.jerryordway.com. —M.E.

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W O N D E R W O M A N # 18 9

MIKE W. BARR’S

Star Tr ek k o - BIEoo Co miEc M MO R S

b y Mike

W. Barr

Icons of two of America’s favorite decades, the 1950s and the 1960s, each passed away at about the same time. On March 28, 1969, President Dwight D. Eisenhower died, initiating a long series of commemorations of the life of this president, war hero, and cold warrior. News of Eisenhower’s death and retrospectives of his life preempted scheduled network programming, including the last episode of Star Trek, “Turnabout Intruder.” First generation Trek fans like myself had to wait until June 3, 1969, when the third season was rerun, to see the final television voyage of the Starship Enterprise. After that, it was thought that Trek would go gentle into that good night of cancellation, as had hundreds of television shows before it, remembered only as a source of trivia for future generations. But Star Trek, like the crew of the U.S.S. Enterprise, has a way of going up against formidable foes and emerging triumphant. The show, never a ratings hit on network TV, immediately went into syndication where it proved enormously popular, not only maintaining its established fan base, but gaining new devotees. It wasn’t long before there was a cartoon show—the only animated show in history that is better watched with eyes closed—immediate talk of a movie that would not come to fruition for ten long years, and, of course, the comic book. GOLD KEY’S STAR TREK

Yes, the Star Trek comic book, published by Gold Key, durable producer of TV and movie tie-in comics for decades. The first issue appeared nine months after the show itself premiered, and lasted until long after the show was cancelled. Though the comic is not necessarily remembered fondly by Trekkies (or Trekkers, or Trekkists, or whatever the hell they call themselves nowadays), it was nonetheless the only source of new Trek available for a long time. “Not remembered fondly?” you ask? Have you ever seen the Gold Key Trek comics? In early issues, at least, the Enterprise was drawn with fumes trailing from its nacelles, as if they were rocket engines. Though the overall art wasn’t bad, the likenesses were apt to be more miss than hit, and some scripts betrayed no understanding of the Trek universe. In one issue, the Asian Lt. Sulu was even drawn as a black man! These oversights can be attributed to the fact that the Gold Key comic was pretty much generated overseas, at least as far as the art was concerned. Most of the artists who drew the comic had never seen the show, and were working from photo reference supplied by Gold Key, who in turn had pried whatever they could out of Paramount Pictures, the owner of Star Trek. Nowadays the Star Trek office has a full-time licensing department to approve the mountain of novels and merchandising produced, but such was not the case in the late 1960s, especially after the show was cancelled.

The first two issues of the Gold Key series were drawn by Italian artist Nevio Zeccarra (or Zeccara). Interviewed in Comic Book Artist v.1 #22, Zeccarra recalled: “. . . Gold Key sent me photos of the principal actors . . . the starships, etc., but I made up all other aspects of the stories from my imagination.”

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MARVEL’S STAR TREK

That wish came true in late 1979. For years, Trekkies (or whatever) had devoured every tidbit of rumor, innuendo, and fact to come out of Hollywood concerning new filmed Trek. And there was a lot to devour; Paramount announced a new Trek TV series in the middle 1970s, then went back and forth several times on whether to make the project a TV series or a big-screen film. Then a little film called Star Wars opened in May of 1977, “proving” to know-nothing execs that an audience—and, more importantly from Tinseltown’s point of view, a box office—existed for that crazy Buck Rogers stuff. (Even Buck, the premiere s-f hero, was dusted off for a lackluster TV series in the late ’70s. And don’t get me started on Battlestar Galactica. Those efforts proved you could spend millions of dollars, employ hundreds of people, fill a screen with spaceships, cute robots and special effects, and still miss what made Star Wars a hit— integrity.)

After Zeccarra, Alberto Giolitti, long-time artist on the durable Turok, Son of Stone, took over with the third issue, and worked on the book for over ten years, drawing scripts by Gerry Boudreau, Arnold Drake, Allan Moniz, Len Wein (who would later write the series at DC), and Dick Wood, along others. Alden McWilliams also served a hitch as artist. Some of the Gold Key Trek comics would be collected as The Enterprise Logs, and Checker Comics has announced plans to reprint the Gold Key title in trade-paperback format. Despite its problems, props must be given to the Gold Key Star Trek comic as the only source of visual Trek available consistently for the ten years between the cancellation of the TV show and the debut of Star Trek: The Motion Picture. The Gold Key Trek comic lasted almost 12 years, from #1, dated July 1967, to #61, March 1979. (The first four issues were very irregularly produced, their publication dates being 7/67, 6/68, 12/68, and 6/69. [Everyone who thinks it’s funny to razz me over the schedule of Camelot 3000, remember the above!]) And issue #49, “A Warp In Space!” written by former DC editor and writer George Kashdan, was lauded by Robert T. Jeschonek as one of the “Ten Best” Star Trek comic-book stories in an article for Amazing Heroes #181 (July 1990). Still, it must be conceded that the Gold Key series wasn’t as. . . (pause for Shatner-like phrasing). . . exciting as it could have been. If only, we Trekkies sighed, DC or Marvel could get their hands on Trek. That would be something to conjure with.

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Fortunately, Star Trek has plenty of integrity of its own. Whereas every science-fiction big-screen project initiated since Star Wars has been full of cute robots and cuter aliens, it’s hard to cite a science-fiction film since 1977 that was less influenced by Star Wars than Star Trek: The Motion Picture. Whether you loved it, loathed it, or beamed in somewhere in between, the movie did big boffo box office and proved Trek was back in an equally big way. A comic-book adaptation followed, by Marvin Wolfman, Dave Cockrum, and Klaus Janson, then an ongoing series, the first three issues of which reprinted the adaptation before embarking on new voyages. I, as a nascent comics scripter, readily informed Marvel my services were available, only to be told that the team who handled the adaptation would do the monthly title. At the time, Marvin Wolfman seemed an odd choice to helm the book. Not only had he never expressed any particularly strong feelings to me about Trek one way or another, he also referred to Trek novelists (in those days, the market for Star Trek novels was just taking off) as “housewives,” claiming that the only people who could be found to write them were otherwise unemployable domestics, even though several scripters of the original show and established s-f writers supplied several of the books. And how is it that writing a Trek novel is somehow soulless hackwork, but writing a Trek comic book is sublimely creative? At any rate, Marvin’s tenure on the title didn’t last long. After scripting and editing issue four, the first new issue of the series, he went to DC after either quitting or being fired from Marvel (depending on whom you ask), in the middle of a continued story. New editor Denny O’Neil asked me to write

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the next issue in something of a hurry. I readily agreed, but the task proved trickier than I had thought. No written plot for #4 could be found; we had only Dave Cockrum’s pencils and liner notes, the latter of which were of little help. (One of the alien characters introduced in #4 was named “Raytag.” Dave’s liner notes consisted mainly of jokes about how Raytag was angry because his name was so similar to that of a brand of washing machine. This was as funny the nineteenth time as it was the first.) Fortunately, dialogued pages soon arrived from the letterer, which made the process of trying to figure out the story a lot easier. But there was still the lawsuit.

NO MUDD-SLINGING ALLOWED

Though I was never privy to the details, there had apparently been some sort of legal action— between Marvel and Paramount Pictures, was all I was told—that forbade Marvel from using any aspect of Star Trek that had not appeared in the movie. (For example, the movie made no reference to the character of Harry Mudd from the TV series, so that character could not be used, nor referred to.) This became a factor in crafting #5 when my plot called for Spock to use a Vulcan mind-meld. O’Neil wasn’t sure if we could use this facet of Spock’s character until he was told that Spock did perform a mind-meld in the movie. Another crisis averted, whew. (This all occurred in late 1979, before the film debuted or the novel or comic adaptations had shipped. My request to read the movie’s script was denied, making such snippets of info all the more tantalizing. After Marvel’s Trek title was cancelled, Marvel editor-in-chief Jim Shooter told me Paramount had finally given their okay to use the entire universe of Trek, but this came too late to save the title.) I was able to fashion a story based for #5 by changing only one word in #4. (Marv later told me my story was considerably different than his would have been, but that he understood the circumstances under which it had been produced.) It was cool to be writing the characters I’d loved for thirteen years, and working with Dave Cockrum, whose art I’d admired on [Superboy and the] Legion of Super Heroes, was a thrill. Though I realized Marvel had a new regular team lined up for the book, I told everyone involved I’d love to do it again, if the chance ever arose. . . . . . Which it did, far more quickly than I’d have thought. Some days after finishing #5, I was in editor Denny O’Neil’s office at Marvel, just shooting the breeze, not even looking for a gig. The imposing presence of Jim Shooter entered, telling Denny that Marvel had just signed a deal to reprint their run of Trek comics in mass-market paperback format. Jim

hoped. O’Neil was taken off the Trek book somewhere while this issue was in the plotting stage; I recall a session with penciler Dave Cockrum and new editor Louise Jones, and a lot of rewrites of both plot and dialogue. But in those days, I wasn’t very good. After my duties in #6 were done, I still kept my toe in the waters by writing most of the letter columns (25 bucks is 25 bucks) and by serving in a highly unofficial capacity as Trek consultant. For example, issue #7, which I suspect was a fill-in to buy time for the new team to organize itself, was originally titled “Tomorrow Is Yesterday,” everyone involved being unaware that that had been the title of a Trek episode. A simple production correction changed the title to “Tomorrow or Yesterday.” All life’s problems should be so simple. Not only did it behoove me to keep in contact with the Trek office (which mainly meant Weezie Jones, always a pleasant task), it was also in my interest as a reader to make sure Marvel’s Trek comic was as good as it could be. Trek readers want their stories to be reasonably consistent with the established Trek universe, something some publishers have given as a short a shrift as possible. More than one editor has said to me, in essence, “Star Trek comics don’t have to be good, they just have to have to say Star Trek on the cover.” I wondered if the new team would realize the importance of heeding Trek’s vast backstory without being held hostage by it. I needn’t have been concerned. The new regular writer was long-time DC scripter Martin Pasko, making his debut as a Marvel series writer. I knew Pasko to be a long-time Trek devotee, and, with Dave Cockrum remaining as the penciler, felt the best was yet to come.

Movie Adaptation Marvel launched the Enterprise by adapting Star Trek: The Motion Picture. Script by Marv Wolfman, art by Dave Cockrum and Klaus Janson. Courtesy of Ted Latner (www.comicsfun.com). © 1980 Paramount Pictures.

knew, of course, that I had written #5 under unusual circumstances, so, as he told Denny “You’d better buy more Trek material,” he unsubtly kicked my chair. Denny, not needing a starship to fall on him, nodded and said, “So let’s write another issue of Trek.” Yeah, twist my arm. (There are as many good stories about Shooter as there are bad, you just hear more of the latter.) Some of Marvel’s Trek series was later reprinted in paperback format,

but none of my stories. Well, be thankful for what you’ve got. . .

MYSTERY IN SPACE

That issue turned out to be #6, “The Enterprise Murder Case,” in which I was able to combine my love of Trek with my love of the formal detective story, albeit with less pleasing results than I had

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And it was, if only by default. Beginning with #8’s “The Expansionist Syndrome,” through #16’s humorous “There’s No Space Like Gnomes” (with one issue off), Pasko seemed to be having fun, and though the characters sounded like themselves, the universe was consistent and the technology was as consistent as it ever is in Trek (it was Marv who I first heard use the term “Treknobabble,” referring to the series’ pseudo-science), the stories had a tendency to be too complicated, forgetting the first dictum of writing, “show, don’t tell.” Too much tell, not enough show. Unfortunately, Dave Cockrum, who drew the best-looking Trek to date, left after #9’s “Experiment in Vengeance!” leaving the art chores to whoever seemed to be around that month. Fill-in artists over the course of the series included Joe Brozowski, Gene Day, Leo Duranona, Klaus Janson, Luke McDonnell (for three issues, though not in a row), Mike Nasser, Tom Palmer, Ricardo Villamonte, and, naturally, that staple of 1980s’ Marvel artists, “D[iverse]. Hands.” The most interesting of these

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jobs—not necessarily the best, but the most interesting—was #15, “The Quality of Mercy,” drawn by Gil Kane. His version of the Enterprise looked like a flying chafing dish, but his unique style, always a little cold and impersonal, lent a touch of authenticity to the Trek comic.

“The Enterprise Murder Case”

Of particular interest to Trekkies was #13’s “All the Infinite Ways,” in which Dr. McCoy’s longlost daughter, Joanna (speculated by fans to exist but never actually seen in any canonical Trek), showed up, engaged to a Vulcan. This issue was also cited in the aforementioned Amazing Heroes article.

A page from Barr’s sci-fi detective story

But few things will dampen reader interest in a comic book more than a series of rotating artists, and this took its effect on Star Trek. After #16, Pasko departed and the series chugged on for two more issues, both fill-ins. Art on #17 was by Ed Hannigan, Palmer, and Dave Simons, and was scripted by me, while #18, cover-blurbed a “Special Last Issue Collectors’ Item!” was a typically metaphysical script by J.M. DeMatteis with art by Joe Brozowski and Sal Trapani. Fill-in writers also included Tom DeFalco and Michael Fleisher, with TV and sometime comic scripter Alan Brennert plotting #12. Most covers were unsigned; artists included Cockrum, Nasser, Joe Brozowski, Larry Hama, Ed Hannigan, Klaus Janson, Frank Miller, James Sherman, and Walt Simonson.

of Mike W. Barr. Cover inset.

After Pasko’s departure, I was tapped for another fill-in, then assigned the job as regular writer. I quickly got a plot approved and for 24 hours I was on top of the world. . . . . . Then I got a call from Weezie that the book was cancelled. Ouch. I put the approved plot back in the drawer, hoping I could use it someday.

DC’S STAR TREK

“Someday” came, for readers, two years to the month after the end of Marvel’s Star Trek. That last issue was dated February 1982; DC’s first Star Trek comic was dated February 1984. The intervening two years had done much to change the status of Star Trek as a revived franchise. Though ST: TMP had made a lot of money, many at Paramount still recalled the numerous production woes the project had endured. (Many of these woes were of Paramount’s own making, but you try talking sense to business executives.) Many people have called ST: TMP “boring” and worse, but some of those were writers whose treatments for the movie had been rejected, and as for the fans and critics—let’s just say that though they weren’t actually wrong in many of their criticisms, the universal standard by which boredom in Star Trek is gauged would not be established until the debuts of Star Treks: Voyager and Enterprise. Star Trek II: The Wrath of Khan—nicknamed by a colleague of mine “Star Trek’s last chance”—debuted in 1982. Due to uncertainty about how the film would fare, comparatively little merchandising, by ST: TMP’s standards, was scheduled, and there was no comic-book adaptation of the Trek film that would lend itself better to a visual adaptation than any other, nor was there any comic-book series to follow. In late 1983, Marv Wolfman approached the brass at DC, now his major client, about publishing a Trek comic. With Trek II an established hit that left audiences breathing heavily over the fate of a supposedly dead Spock and anxiously anticipating the sequel, this was deemed a more commercial idea than it would have been a couple of years earlier, and DC bit. It was decided Marv would edit the title—though he reserved the adaptations of future films for himself—and Martin Pasko and I would script it, in six-month shifts. (Who would write the first issue was unresolved.) This was okay with me, and it was some weeks before I was informed that I was now the sole writer for the comic. Years later, Martin Pasko would ask me what happened, and my reply to that question now would be the same as it was then: I don’t know. I did no campaigning or politicking for the title, and after being assured that Pasko would be assigned other work to make up for the loss of Trek, I accepted. And how. But the success of Trek II had not gone unnoticed in other four-color quarters. At a party in late 1983 or so, I was chatting with Denny O’Neil, who told me that Marvel had secured the comic rights

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from Star Trek #6 (Inset). Art by Dave Cockrum and Klaus Janson. Courtesy

to Trek and would be writing not only an ongoing title, but an adaptation of Star Trek III: The Search for Spock, as well. Awkward. I had been told that DC had already secured those rights and decided to make no mention of it, not wanting to be the bearer of bad news. (But the first thing I did, next Monday morning, was to call DC and make sure the contract had been signed.) The editorial relationship I had with Marv on DC’s Star Trek remains the best relationship I’ve ever had with a discrete editor on a work-for-hire project. Unlike most editors, who give you no direction then blame you for not giving them what they want, Marv had strong ideas about where Marvel had gone wrong that we should avoid. He thought the problem with Marvel’s title was that they confined themselves to one-issue stories and tried to follow the structure of the TV show, the four-act play. (It may have been that the Marvel staff was aware of these limitations and tried to change them, but the fact remains that they didn’t.) He urged me to paint on a larger canvas, to make the stories as big as possible and, above all, to write it like a comic book, not like a TV show. Fine with me. The first thing I did was to dust off the plot that had been approved—for 24 hours—two years earlier for Marvel. After all this time I felt it held up. But rather than make it a one-part story, I took Marv’s instructions to heart, knocking the end out of it and making it the first chapter of a four-part story involving Klingons, galactic war, and two of the all-powerful races the Enterprise was so prone to encounter, but had not been seen since the TV show. (We had permission to use any aspect of the Trek universe we wanted.) Yeah, that’d work.

STAR TREK DC: THE SEARCH FOR AN ARTIST

But who to get for the art? My first choice was an artist I’d worked with years earlier, Tom Sutton. On the first issue of a DC science-fiction anthology title, Time Warp, probably DC’s first new book after the infamous DC Implosion, Tom and I did a story called “The Survivors.” Later, we teamed on a story called “Insurrection,” which was written for Time Warp, but had been published in #112 of the revived Mystery in Space. “Insurrection” was deliberately planned to be a Trek pastiche, but confining itself to the editorial mandate seen in Time Warp’s subtitle: “Doomsday Tales and Other Things.” Though I personally liked stories with an upbeat ending, I also knew how to play to a room, so depressing they were. Tom’s art on the latter story showed he was the perfect artist for Trek, but there was one problem: he wasn’t available. Tom was the regular artist on a series in DC’s House of Mystery, “I. . . Vampire,” and editor Karen Berger wasn’t about to let him go for an ongoing monthly. Well, Karen has good taste. So Marv and I searched for other artists, scouring DC’s list of talent, but found no one who was better than Tom. Then the logjam broke. I was informed one day that Tom was available for Star Trek, an assignment he readily accepted. I don’t know what happened, and I didn’t care. Ricardo Villagran was tapped for the inks, and George Pérez drew the first three covers until Sutton himself took over the assignment, with a few other artists also contributing. Things went along swimmingly. DC produced a poster for the series, based on the first splash page, though they omitted any mention of the creative team. Hey, thanks, guys. I took a set of copies of the first issue to a convention in New Orleans, Vul-Con, where I shared the spotlight with Marvel editor Archie Goodwin. This was especially pleasing as I thought—and think—Archie’s run on Marvel’s Star Wars comic was the best comic based on a licensed property that’s ever been done, and I told him so. The first issue was published to good reviews and even better sales; it looked like we had a hit on our hands. My relationship with penciler Tom Sutton was a good one, but we didn’t speak often and weren’t particularly close. Tom would occasionally call me, usually in the evening, usually to simply chat. He had no special ideas for Trek stories and liked the plots he had been getting, he just wanted to talk. He liked the writing of William Kotzwinkle, and was delighted that I knew who he was, though I had read none of his work. (I know a little bit about everything.) My favorite Trekrelated story about Tom concerns our adaptation of Trek III. For reasons not disclosed to us mere mortals, actress Kirstie Alley would not reprise her role as Lt. Saavik; her ears would instead be filled by Robin Curtis, a thankless job, but one which Curtis gave her best efforts. But Tom had grown used to drawing Alley’s face and, though he used Curtis’ face for the adaptation, reverted to Alley’s face the instant he returned to the monthly book. (This paralleled the story of Ken Bald,

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long the artist of the Dr. Kildare comic strip. Bald had for years drawn the face of TV Kildare Richard Chamberlain in the strip, which had long outlived the TV show. But when a daytime Kildare soap opera debuted in the middle ’70s, Bald was compelled to use the new actor’s face—until the soap was summarily cancelled, at which point Bald defaulted to the Chamberlain version, which he undoubtedly knew better after all those years.) Of course we weren’t allowed to make any permanent changes in any of the original Enterprise cast, so I introduced several new characters we could play around with. This was done with the blessings of Paramount, so I was as confused as anyone when, years later, I was told that writers had been ordered by Paramount to ditch the new guys in favor of the traditional crew. The most distinctive of these new guys was a Klingon, introduced in the first story arc, who seemed to be without his people’s natural aggressiveness and who later joined Kirk’s crew. Called “Konom,” he seemed a popular character; I have often wondered if he was the inspiration for the more pacific Klingon, Maltz, from Trek III, or Worf from Star Trek: the Next Generation.

Sutton Does Shatner From a 1984 DC Comics-produced Star Trek promotional poster; the Kirk headshot was drawn by Tom Sutton and Ricardo Villagran, with sci-fi’s favorite starship by Sutton and Rick Magyar. Courtesy of Mike W. Barr. © 1984 Paramount Pictures.

HARDCOVER/SOFTCOVER STAR TREK ?

How big a hit was our version of Star Trek? Big enough that DC considered making the book one of its “hardcover/softcover” titles, a plan which for one year entailed printing two versions of the book, one for newsstand distribution, the other for distribution only to the burgeoning (in those days) directsales market. Then the direct-only version would be reprinted for the newsstand one year later. (This was finally done with three DC titles, Legion of Super-Heroes, New Teen Titans, and Outsiders.) But this plan was ultimately abandoned, I don’t know why. One project that did appear was a hardcover Trek graphic novel, that, though generated by the success of the comic book, used the talents of neither Tom nor myself. Hey, thanks, guys! With issue #12, I became co-editor of the book, with Marv. I no longer recall the reasons for this change, only that it happened. Marv and I continued to confer closely over the plots; Marv enjoyed tossing me plotting challenges, and I enjoyed the mental gymnastics involved in cracking them. This often involved delving deep into Trek trivia, which in those days was a lot more difficult than it is today. About the only reference guide extant then was the out-ofprint Star Trek Concordance by famous Trek fan Bjo Trimble, and a complete set of Trek episodes I had taped from local TV, in the days before the TV series was commercially released. The mass of Trek reference available today has made that task easier, but somehow less fun. Since Marv and I were both freelancers, DC appointed staffer Bob Greenberger as our associate editor. This led to a special perk when, one Friday evening, Bob’s phone in the DC offices rang. Bob had left for the weekend, so I took the call, which was from Harve Bennett, the producer and sometimes scripter of Treks II–VI This led to a brief but delightful chat, during which Bennett complimented our work, referring to himself in the third person: “The Admiral sends his regards.” The only thing better was a pat on the back from Gene Roddenberry himself, which came when I briefly met Roddenberry after a talk he gave at a local college, during which I gave him some copies of our books and he autographed my copy of his novelization of ST: TMP. Also fun was reading the scripts for Treks III and IV, and trudging uptown to Paramount’s New York offices to pull photo swipe for our adaptations. (Marv had earlier expressed an interest in writing the adaptations of Treks III and IV , but found himself

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too busy to do so, so I jumped in, writing the only full scripts I supplied in my tenure on D C ’s Tr e k series— every other issue I wrote was done plotfirst.) Our liaison for the movie adaptations was Eddie Egan, a nice guy who had a very small part as a Vulcan in Trek III, and who told us he had written one of four fake plots for Trek III that had been distributed to throw fans off the scent of Spock’s true fate. On one of these trips to Paramount, Marv and I saw horrormeister Stephen King exiting the building and dashing to a waiting limo, doubtless worth more on the way out than he had been on the way in. A few snags presented themselves with the adaptations, but nothing we couldn’t handle. Tom Sutton was too busy to pencil our adaptation of Trek in its entirety, so Ric Estrada was drafted to finish the job, with inker Ricardo Villagran melding their styles seamlessly. In terms of story continuity, when a character in the Trek III script referred to the Enterprise as “twenty years old,” I changed the number to “forty,” citing previous tours commanded by Captains April and Pike. I was overruled, though. Even as quick a penciler as Tom couldn’t produce both the movie adaptations and the monthly book simultaneously, so Eduardo Barreto filled in with a two-issue take of Saavik’s past. Our relationship with Paramount was terrific. Marv and I worked hard to make sure the comic stories weaved seamlessly between Trek III and IV, and I possess a handwritten letter from Bennett saying that my overview for our continuity between the films—what we called Trek III and 1/2—presented him with no problems and was approved. Of such small graces are a Trekkie’s life made. The story we called Trek III and 1/2 was printed under the name “The Mirror Universe Saga.” We thought a long, multi-part story concerning the evil parallel universe from one of Trek’s most popular episodes would be a natural—and it was, being collected in a trade paperback that’s still in print. Not all the fun of being involved in the Trek comic was had behind the typewriter. Marv was asked, during a panel at a convention in upstate New York that also hosted a few of the stars of Trek, why the

character of Chekov wasn’t used more. Before Marv could answer I leaned over and whispered “Marv, that’s Walter Koenig.” Ensign Chekov hisownbadself. Marv immediately picked up the ball, offering Walter, in front of the audience, the opportunity to script an issue of DC’s Trek. The resulting issue was, to no one’s surprise, entitled “Chekov’s Choice.” With the success of the monthly Trek title came the demand for annuals. The first of these, in 1985, came from a story co-plotted by Marv, Dave Cockrum, and myself when the three of us crossed paths at a convention and was intended as a possible fill-in issue before drafted into service as Star Trek Annual #1. Dave intended to pencil it, but David Ross was tapped when Dave was unable to fit the story into his schedule, with Bob Smith inking. It told the story of Kirk’s first mission as captain of the U.S.S. Enterprise. . . . . . So it seemed fitting that 1986’s Annual #2 tell the story of Kirk’s last mission. For this one, the last original classic Trek comic I’ve written to this date, I deliberately (but respectfully) disregarded Marv’s dictate not to emulate the structure of the TV show and wrote as close to an episode of the show as I possibly could. Dan Jurgens and Bob Smith did a superb job of aping the look of the TV series, and this story, “The Final Voyage,” remains my favorite of all the Trek comics I’ve written. Others seem to agree, it was included in a Best of Star Trek trade paperback from DC. As good as the setup I had with Trek was, it couldn’t last forever. As noted earlier, DC wanted to take the title I co-created, edited and wrote, Batman and the Outsiders (that era’s best-selling “Batman” title), the hardcover/softcover route. And as much as I loved Trek, I was intrigued by the idea of writing essentially the same title, set in the present and one year in the future, at the same time. I bid what I thought would be a temporary farewell to Trek, but not before bringing in some good help. My colleague Laurie Sutton (former DC and Marvel editor) would write #20 under the pseudonym “Wenonah Woods,” making her the first woman, as far as is known, to write a Star Trek comic. This issue featured Lt. Sulu, and was the first use in the Trek comic (though not in Trek prose) of the name that was later given to him in the films, Hikaru. My friend Dave Kellogg, who was already writing DC’s World’s Finest title under the pseudopseudonym of “L.B. Kellogg,” would beam in for one issue as guest scripter. Other writers hired by Marv and me included Bob Rozakis, Paul Kupperberg, and Bob Greenberger himself, making his debut as a scripter. Bob would eventually become full editor of the title, editing Annual #2 and soon making his own mark on the book. Marv had departed by that time to

oversee the hardcover/softcover New Teen Titans. My intention was to return to Trek after the year of doing double duty on Outsiders, but when that hitch was over the monthly title Detective Comics became available. I had long waited for a chance to write a solo Batman title, and teamed with Alan Davis and Paul Neary on ’Tec, now making it DC’s best-selling “Batman” book. When that too-short run was over (editorial meddling drove Alan off the book; I lasted a few issues more), other editorial teams were entrenched on Star Trek. Tony Isabella wrote a cool sequel to the TOS episode “Wolf in the Fold;” Len Wein served a hitch, as did Trek novelist Peter David and DC editor Mike Carlin. (Stories by David, Carlin, and Wein were cited in Amazing Heroes’ “Ten Best Trek Comic Stories” article; David for Annual #3, Carlin for #43–45, a sequel to the episode “The Apple,” and Wein for #33, a 20th anniversary story.) Tom Sutton stuck around for most of the run, with occasional fill-in artists. DC’s Star Trek title was drydocked with #56, dated November 1988, but would later return to the skies with a new series, beginning in October 1989, and lasting 80 issues until January 1996, published concurrently with a Star Trek: The Next Generation title that lasted the exact same number of issues. Creative staffs on both of these titles included writers Peter David, Howard Weinstein (who had written the animated Trek “The Pirates of Orion”) and Michael Jan Friedman, Trek novelists all. Artists included James Fry and Arne Starr. (David’s story for #5 and 6 of this series was hailed by AH as one of the top ten comic Treks.) Many runs of Star Trek comics were to follow, with titles based on each of the franchise’s titles, and a number of spinoffs. All have their virtues and their faults, but none are as notable—or possibly as successful—to me as the first DC run. And with as many incarnations as Star Trek has seen in the comics, I feel confident the series’ final frontier lies very far away.

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Comics Continuance Marvel Comics once again (temporarily) resumed publication of Star Trek, including 1997’s Star Trek: Mirror Mirror #1. Pictured here is the original art to the cover, by penciler Mark Bagley and inker Larry Mahlstadt; courtesy of Ted Latner. The inset shows the published version. © 1997 Paramount Pictures.

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Adventures of Captain Marvel, The

D D V o t m l i F e n O t ar

Artisan (1941, 216m) Comments: Considered one of the best comic-book serials ever released, this violent 12-parter features Tom Tyler as Captain Marvel as he fights against a sinister plot by the mysterious Scorpion. This is an unrestored transfer on one disc. DVD Extras: Trailer.

Captain Marvel, and Captain America, each of whom was less than three years

Adventures of Captain Marvel, The

old when work began on serials and cartoons which transferred their adventures

Serialsquadron.com (1941, 216m) Comments: The 12-part serial is spread over 3 discs and restored by the Serial Squadron, a serial preservation group. More expensive than the Artisan version, but worth the cost. DVD Extras: Featurette, bloopers, tinted scenes, trailer.

Andy Mangels

The relationship between comics and film is a long one. Consider Superman,

to the movie screen. And even before those heroes from comic-book pages made their celluloid debuts, characters from the comic strips—Annie, Popeye, Buster Brown—were caught in Hollywood’s flickering light. Over the last decade, the number of comic-book series translated to film has risen dramatically. The reasons are varied: special effects have gotten easier, quicker, and cheaper in the digital age; younger movie executives have grown up

special feature

reading comics; some companies, such as Dark Horse, have deals with movie stu-

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dios; and super-hero films offer the potential for a franchise. Technology for getting the films into the hands of fans has also changed over the last decade, especially with the rise of DVDs. The DVD technology allows video and audio images to be stored (with crystal clarity) on a small disc also gives room for a host of extras: widescreen theatrical images, director and star commentaries that can be played over the film, isolated music scores, deleted scenes, outtakes, uncensored footage, behind-the-scenes clips, alternate endings,

American Splendor Warner/HBO Video (2004, 101m) Comments: An autobiographical film about the life of cartoonist/curmudgeon Harvey Pekar, this was critically acclaimed. It features a variety of styles to tell its story, including actors, the real Pekar and wife Joyce Brabner, and animation. DVD Extras: Widescreen, commentary, featurettes, easter eggs, music track.

music videos, foreign language subtitles, and more. For fans, the ability to get their favorite comics film on DVD—with all the bells and whistles—is irresistible. There are many good sources for DVDs, but some comic book-based DVDs are tougher to find. First, check with your local comic book store to see if Diamond or other distributors they use might carry the disc in question. Failing that, to get the best price, go to www.dvdpricesearch.com. What follows is a comprehensive look at what comic-book DVDs are available on the market. It does not include CrossGen or Marvel Comics “Comic on DVD” releases, but instead is a look at live-action and animation.

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Annie Sony/Columbia TriStar (1982, 127m) Comments: The story of Harold Gray’s Little Orphan Annie was transferred to Broadway stages, and then filmed by John Huston. Despite an impressive cast, this musical fails to thrill, though kids will like it. DVD Extras: Widescreen, fullscreen, advertising, cast bios, production notes, trailers.

Annie - Special Anniversary Edition Sony/Columbia TriStar (1982, 87m) Comments: A new version of the stage-to-film project. DVD Extras: Fullscreen, featurette, game, sing-along, trailer.

Annie Disney (1999, 90m) Comments: Disney remakes the stage play for television, adding an eclectic Tony-and-Oscar-winning cast that brings the project to vibrant life. Look for a cameo from Andrea McArdle, the original Annie! DVD Extras: Fullscreen, trailers.

Batman: The Movie

Batman and Robin (#4)

Batman and Mr. Freeze: Subzero (2)

Fox (1966, 105m) Comments: Produced concurrently with the campy television series, this Bat-film finds our heroes up against the villains Joker, Penguin, Riddler, and Catwoman. The best scene is one in which Batman finds he just can’t get rid of a bomb. DVD Extras: Widescreen, commentary by Adam West and Burt Ward, featurette, Batmobile tour, still gallery, trailers.

Warner Bros. (1997, 125m) Comments: George Clooney does his best in a story that features 2 overacting villains, Robin, and the introduction of Batgirl. A campy, colorful mess. DVD Extras: Widescreen, fullscreen, production notes.

Warner Bros. (1997, 67m) Comments: A tie-in to the feature film had deeper characterization for the title villain, plus Batgirl. DVD Extras: Game, how to draw, music montage, cast and crew info, trailers.

Ballistic: Ecks vs. Sever Warner Bros. (2002, 91m) Comments: Based on a little-known independent comic, this clichéd uberaction film stars Antonio Banderas and Lucy Liu. Also available in 2-packs with either Femme Fatale or Exit Wounds. DVD Extras: Widescreen, featurette, game, trailers.

Batman (#1)

Barbarella

Batman Returns (#2)

Paramount (1968, 98m) Comments: Jane Fonda stars in this campy and sexy cult film based on French cartoonist Jean-Claude Forest’s heroine. The first of producer Dino De Laurentiis’ comic films. DVD Extras: Widescreen, trailer.

Warner Bros. (1992, 126m) Comments: Michelle Pfeiffer doesn’t hit a single wrong note as Catwoman, but Danny DeVito’s Penguin muddles Tim Burton’s mix just a bit. The best of the new Bat-quartet though. DVD Extras: Widescreen, fullscreen, production notes.

Warner Bros. (1989, 126m) Comments: Michael Keaton proves the fans wrong by turning in an understated and grim performance, Tim Burton dazzles with direction, and Jack Nicholson overacts like mad. DVD Extras: Widescreen, fullscreen, production notes.

Barb Wire Universal (1996, 98m) Comments:Pamela Anderson Lee is the titular guns-and-leather heroine of this trashy extravaganza based on the Dark Horse comic series. Without this, TV might never have gotten VIP. DVD Extras: Widescreen, fullscreen, outtakes, photo gallery, trailer.

Warner Bros. (1989-1997, 499m) Comments: Boxed set featuring 4 Batman movies.

Batman: The Animated Series (1): The Legend Begins Batman: The Animated Series (2): Tales of the Dark Knight Batman: The Animated Series (3): Out of the Shadows Batman: The Animated Series (4): Adventures of Batman and Robin: The Joker/Fire and Ice Batman: The Animated Series (5): Adventures of Batman and Robin: Poison Ivy/The Penguin

Archie Show, The - The Archie Show Vol. 1 Archie’s TV Funnies - Archie’s TV Funnies Vol. 1 Archies, The: The Jugman U S of Archie, The - Archie’s Classic Cartoons Vol. 1 Nostalgia Ventures (1968-1976) Comments: The animated adventures of the gang from Riverdale are brought to DVD by this small company. DVD Extras: Unavailable to review.

The Batman Superman Movie (3)

The Batman Legacy

Batman Forever (#3) Warner Bros. (1995, 122m) Comments: Val Kilmer is Batman and Chris O’Donnell is introduced as Robin, but the silly plot gives free reign to the manic Jim Carrey’s Riddler, and encourages Tommy Lee Jones to go over the top as well. DVD Extras: Widescreen, fullscreen, production notes.

Warner Bros. (1992-1993, 88-110m) Comments: 4-5 episodes each of the Dark Deco hit series from Fox that redefined DC’s animated future. Batman was never better on the big or small screen. DVD Extras: Interview, featurettes, game, how to draw.

Batman: The Animated Series (Subscription) Warner Bros./Columbia House (1992-1993) Comments: Offering 4 episodes per DVD, Columbia House has released 10 volumes. To order, call customer service 800-262-2001.

Batman: The Animated Series Volume 1 (4 discs) Warner Bros. (1992) Comments: This 4-disc set includes the first 28 episodes of the initial season of the WB show. DVD Extras: Commentaries, featurettes. Unavailable for review. Release Date 07/06/2004

Batman: Mask of the Phantasm (1) Warner Bros. (1993, 76m) Comments:The first feature-length animated film hews close to the popular animated series, but is darker and more violent. DVD Extras: Widescreen, fullscreen, trailer.

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Warner Bros. (1997, 61m) Comments: A lead-in to the animated Superman series, this pitted the World’s Finest team against Joker and Lex Luthor. DVD Extras: Interview with Bruce Timm, game, how to draw, music montage, cast and crew info, trailers.

Batman: Mystery of the Batwoman (4) Warner Bros. (2003, 75m) Comments: When Penguin and Boss Thorne join forces, Batman and Robin get help from a new heroine, the mysterious Batwoman. Also includes a DVD-exclusive short adventure. DVD Extras: Interviews, featurette, game, character bios, art.

Batman Beyond: The Movie (1) Warner Bros. (1999, 127m) Comments: Six early episodes of the popular WB cartoon show include “Rebirth I and II,” “Meltdown,” “Dead Man’s Hand,” “Gotham Golem,” and “The Winning Edge.” DVD Extras: None.

Batman Beyond: School Dayz/Spellbound (2) Warner Bros. (1999) Comments: More episodes from the first season are “Spellbound,” “A Touch of Curare,” “Hooked Up,” “Golem,” “The Winning Edge,” and “Dead Man’s Hand.” DVD Extras: Unavailable for review.

Batman Beyond: Tech Wars/Disappearing Inque (3) Warner Bros. (1999) Comments: More episodes from the first season are “Splicers,” “Heroes,” “Lost Soul,” “Black Out,” “Disappearing Inque,” and “Shriek.” DVD Extras: Unavailable for review.

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Batman Beyond: Return of the Joker

Blade II New Line (2002, 117m) Comments: Wesley Snipes is back to team up with a pack of vampires to kill an even deadlier breed. Gorier than the first film, and more kinetic. DVD Extras: 2 discs. Widescreen, commentaries, featurettes, deleted scenes, art gallery, isolated score, trailer, music video, game, and more.

Warner Bros. (1999, 76m) Comments: An original story made for the video/DVD market, in which the Joker returns to life in the future, and Terry McGinnis, the new Batman, must stop him before he kills Bruce Wayne. In the process, he finds out what happened during Batman’s final battle with the Joker, what the fate of Tim Drake was, and more chilling revelations. DVD Extras: Commentary, featurettes, deleted scenes, music videos, character bios, production notes, trailers.

Challenge of the Super Friends: The First Season

The Crow: The Ultimate Collection (Boxed Set)

Warner Bros. (1978, 347m) Comments: Now that you’ve bought the other 2 discs already, here’s the complete series. All 16 episodes are included on 2 discs. DVD Extras: Commentaries, featurette, character bios.

Miramax (2003, 310m) Comments: A nice set of all 3 films also includes an exclusive commemorative booklet.

The Crow Brenda Starr

DC Comics.

Anchor Bay (1989, 94m) Comments:Dale Messick’s comic strip heroine is ill-served by actress Brooke Shields in this campy film, but hey, how about those Bob Mackie costumes? Unreleased for years, this feature eventually made it to DVD, preserved for the ages. DVD Extras: Widescreen, fullscreen.

Miramax (1994, 117m) Comments: The death of lead actor Brandon Lee while making this film underscored its poignant story and lush visual and auditory appeal. Unfortunately, the DVD picture has been brightened in its transfer from film. DVD Extras: Widescreen, trailer.

The Crow (Collector’s Series) Bulletproof Monk MGM (2003, 117m) Comments: An Image Comics mini-series is turned into a comedyaction film, starring Chow Yun-fat as a powerful monk who must train American Sean William Scott. DVD Extras: Widescreen, commentaries, featurettes, deleted scenes, photo gallery, and more.

Blade New Line (1998, 120m) Comments: An entertaining and bloody film version of the Marvel comic character created by Marv Wolfman, this vampirekilling DVD is packed full of superb extras. DVD Extras: Widescreen, commentary, original ending, featurettes, production designs, extensive notes, isolated score, trailer, and more.

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The Crow: City of Angels (Collector’s Series)

Warner Bros. (1999, 77m) Comments: The “Original, Uncut Version” of the video features minor new material, deemed too adult for the original release. DVD Extras: Commentary, featurettes, deleted scenes, music videos, character bios, production notes, trailers.

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The Crow: City of Angels Miramax (1996, 117m) Comments: Vincent Perez isn’t quite the gripping actor that Lee was, and the persistently sepia/yellowish look of the film lends itself to nausea. DVD Extras: Widescreen, trailer.

Batman Beyond: Return of the Joker (Uncut)

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Miramax (1994, 117m) Comments: A much better version of this landmark gothic film, here in a 2-disc set loaded with extras. DVD Extras: Widescreen, commentary, featurettes, deleted scenes, profiles, art and photos, storyboards, creator profile, and more.

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Miramax (1996, 91m) Comments: This contains the director’s cut of the film (with added footage), although it appears that it might be shorter than the original release! DVD Extras: Widescreen, featurettes, art and photos, and more.

Challenge of the Super Friends: Attack of the Legion of Doom (1) Challenge of the Super Friends: United They Stand (2) Warner Bros. (1978, 86-88m) Comments: The Justice League fights the Legion of Doom, a group of the world’s deadliest villains, in this most popular Super Friends incarnation. 4 episodes are on each disc. DVD Extras: Introductions, character bios, game.

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The Crow: Salvation Miramax (2003, 102m) Comments: Debuted at the 2000 San Diego Comic Con and given a one-city theatrical run, this film was roundly drubbed. Clichéd S/M subplots, abuse of Kirsten Dunst, and an unengaging lead (Eric Mabius) make this the weakest in the run. DVD Extras: Widescreen, commentary, featurettes, and more.

Daredevil (widescreen or fullscreen) Fox (2003, 102m) Comments: Ben Affleck straps on red leather for this mostly faithful adaptation of a bunch of Daredevil storylines, but the film wasn’t as big a hit as expected. The 2-disc DVD set is packed with extras, but a deleted hour or so of footage is rumored to be on a future DVD rerelease. DVD Extras: Widescreen [except on fullscreen version], commentary, featurettes, screen tests, music videos, trivia, and more.

Dick Tracy Disney (2003, 105m) Comments: Chester Gould’s comic strip is brought to 4-color life in a faithful adaptation that features amazing makeup, Stephen Sondheim songs, and Madonna. DVD Extras: Widescreen.

Faust: Love of the Damned Trimark (2003, 92m) Comments: Tim Vigil and David Quinn’s splatter comic opus is translated into a low-budget foreign film that is stripped of most of the gore and sex that made the comic book series so shocking. DVD Extras: Widescreen.

Flash Gordon Image (1980, 111m) Comments: Mention the name “Flash Gordon” and most people will begin singing the soundtrack song by Queen, which is one of the best things about this campy adaptation of Alex Raymond’s interstellar hero. But really, the film is well-designed, and the overacting is fun in a Rocky Horror kind of way. DVD Extras: Widescreen.

Flash Gordon Conquers the Universe Image (1940, 220m) Comments: This 12-part Universal serial is the third serial to star Buster Crabbe and some of his

regular co-stars (though the roles of Dale, Aura, and Barin were recast), in a story about Flash returning to Mongo to find an antidote to Ming’s purple dust which is killing people on Earth. This features the best photography and effects of the serial trio. DVD Extras: Fullscreen, liner notes.

Flash Gordon: Space Soldiers Image (1936, 245m) Comments: The original 13-chapter serial was retitled to separate it from the 1950s TV series, and the newer name has been kept for this DVD. Buster Crabbe cuts a heroic figure as the title character, looking like he walked out of Alex Raymond’s comic strip. DVD Extras: Fullscreen, liner notes.

Flash Gordon’s Trip to Mars Image (1938, 299m) Comments: The longest of the Flash Gordon serials is this second 15-episode storyline. A Martian queen is stealing Earth’s nitrogen, and Flash must not only rescue a race of Clay People, but fight Ming the Merciless as well. DVD Extras: Fullscreen, liner notes.

Frost: Portrait of a Vampire

Heavy Metal 2000/Heavy Metal

Artisan (2003, 92m) Comments: A 1980s’ independent comic is adapted and directed by its creator for this low-budget action film which has good scenes and atmosphere, in addition to a few overacting performers. DVD Extras: Widescreen, commentary, featurette, deleted scene, storyboards, trailer, and more.

Sony/Columbia TriStar (2000, 178m) Comments: Boxed set featuring both Heavy Metal movies.

Ghost World MGM (2003, 111m) Comments: Two girls graduate high school and set out to create mischief, bringing them into the paths of an odd loner (Steve Buscemi, perfect) in this eclectic and funny adaptation of a Dan Clowes comic. DVD Extras: Widescreen, featurette, deleted scenes, music video, trailer.

From Hell Fox (2001, 121m) Comments: Alan Moore and Eddie Campbell’s graphic novel is given a stylish and fairly faithful adaptation in this film, presented here in a lowfrills, one-disc version. DVD Extras: Widescreen, commentaries.

From Hell (Director’s Limited Edition) Fox (2001, 121m) Comments: Invest in this 2-disc DVD set which has lots of cool extras, for the full Jack the Ripper experience. DVD Extras: Widescreen, commentaries, featurettes, deleted scenes, graphic novel comparison, trailers, and more.

Columbia TriStar (2004, 122m) Comments: Ron Perlman perfectly embodies Mike Mignola’s comic character in this excellently moody film that’s already slated for a sequel. Though this is a 2-disc set, rumors are that an expanded edition will be available later. DVD Extras: Commentary, featurettes, deleted scenes, comics, storyboards, trailers. Unavailable for review. Release date July 27, 2004.

Sony/Columbia TriStar (1981, 90m) Comments: Adapted from a number of stories in the long-running graphic magazine, this fan-favorite film is delivered in an excellent package. DVD Extras: Widescreen, trailer, feature-length “rough cut” version with commentary, documentary, production designs and art gallery, deleted scenes, extensive notes, and more!

Universal (2003, 102m) Comments: Eric Bana and Jennifer Connelly do their best to act in a film that includes lots of CGI and a nearly incomprehensible ending. The 2-disc DVD set has loads of cool extras for special effects fans. DVD Extras: Widescreen [except on fullscreen version], commentary, featurettes, deleted scenes, and more.

Incredible Hulk, The: Original Television Premiere Universal (1977-1978, 193m) Comments: The opening telefilm that introduced Bill Bixby and Lou Ferrigno as David Banner/the Hulk is joined by the fan-favorite, Emmy Award-winning telefilm “Married,” and a cool commentary track. DVD Extras: Commentaries, introduction, trailer, novel excerpt.

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Anchor Bay (1988-1989, 189m) Comments: The legitimate US release of the 2 telefilms is in a 2-disc set with lots of extras, including an 84-minute documentary on Lou Ferrigno! DVD Extras: Featurettes, cast and crew bios, poster and photo gallery, booklet.

Incredible Hulk, Death of the (3)

Hulk, The (widescreen or fullscreen)

Heavy Metal 2000 Sony/Columbia TriStar (2000, 88m) Comments: Kevin Eastman provides a feature-length chance to ogle his wife, Julie Strain, in animated action. With lots of sex and violence, this incorporates elements from his comic series Melting Pot. DVD Extras: Widescreen, trailer, featurette, isolated music score, photo and art gallery, animation tests and comparisons, and more!

Top Ten (1998, 94m) Comments: This telefilm returned Bixby and Ferrigno to their famous roles, and introduced Thor into the mix as a backdoor pilot. Thankfully, “surfer dude-speak” Thor never went anywhere. This DVD is an unlicensed Hong Kong disc, sold mostly in airports. DVD Extras: None.

Incredible Hulk Returns, The/Trial of the Incredible Hulk

Michael Allred’s G-Men From Hell

Heavy Metal (Special Edition)

Incredible Hulk Returns, The (1)

Top Ten (1989, 95m) Comments: A second telefilm introduced the black-garbed Daredevil, and saw Hulk and Daredevil battle the Kingpin. This is another unlicensed Hong Kong disc. DVD Extras: None.

Framework (2001, 90m) Comments: Few people know that this low-budget film was actually adapted from Michael Allred’s Graphic Musik and Madman comics, that it was directed by Christopher Coppolla, or that it had a wonky cast including Robert Goulet as the Devil. DVD Extras: Unavailable for review.

Razor Digital Ent. (2001, 98m) Comments: Maybe with this rerelease it will find an audience? DVD Extras: Unavailable for review. Release date June 29, 2004.

Universal (1977-1982, 865m) Comments: This six disc set includes 18 episodes from throughout the popular television series’ 5-season run. DVD Extras: None.

Incredible Hulk, Trial of the (2)

G-Men From Hell

Flash Gordon: Boxed Set Image (1936-1940, 778m) Comments: Boxed set featuring all 3 Image Flash Gordon DVDs.

Hellboy - Special Edition

Incredible Hulk, The: The Television Series Ultimate Collection

Fox (1990, 100m) Comments: Helping to break an international spy ring, David Banner falls in love and pays the ultimate price. DVD Extras: None.

Incredible Hulk, The Disney (1966 and 1996, 83m) Comments: Episodes of the Hulk’s third animated series are collected on this disc, in addition to one 3-part storyline from the 1966 series. Slick animation next to stilted animation shows how far Marvel’s fortunes have come. DVD Extras: Featurettes, enhanced viewing mode.

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Josie and the Pussycats (PG or PG-13) Universal (2001, 98m) Comments: Grrrrl power and pop music get full play for tweens in the first Archie Comics-related feature film ever. Campy, fluffy, and full of product placement. Look for the PG13 version to have a few naughtier elements than the kid-friendly PG version. DVD Extras: Widescreen (on both), commentary, featurettes, deleted scenes (on PG-13).

League of Extraordinary Gentlemen (widescreen or fullscreen) Fox (2003, 110m) Comments: Sean Connery headlines a low-star cast to adapt the Alan MooreKevin O’Neil miniseries about 19thcentury adventurers. Not nearly as bad as reviews made it out to be, there are still a lot of unbelievable sequences, even for a fantasy. This is a 2-disc set. DVD Extras: Widescreen [except on fullscreen version], commentaries, featurettes, deleted scenes, and more.

Judge Dredd Hollywood/Disney (1995, 96m) Comments: Sylvester Stallone is fine in this lavishly produced film based on the British comic series, except when he takes his mask off (which is too often). And why is Rob Schneider in this? DVD Extras: Widescreen, trailer.

Justice League (1) Justice League: Justice on Trial (2) Justice League: Paradise Lost (3) Justice League: Starcrossed (4) Warner Bros. (2001-2002, 60-88m) Comments: When Martian Manhunter warns Earth of an invasion threat, DC’s greatest heroes gather together into the Justice League. An excellent animated series begins here. Subsequent discs feature 4 episodes each DVD Extras: Introductions, featurettes, character bios, cast and crew info, how to draw, trailers.

Lucky Luke Simitar and Unapix (1991, 91m)

Lucky Luke - Vol. 1: Mr. Joseph Lucky Luke - Vol. 2: Midsummer Lucky Luke - Vol. 3: Ghost Train Lucky Luke - Vol. 4: Ma Dalton Lucky Luke - Vol. 5: Caffe Ole Lucky Luke - Vol. 6: Luke’s Fiancee Lucky Luke - Vol. 7: Grand Delusion Lucky Luke - Vol. 8: Nobody’s Fool Tapeworm (1991, 60m) Comments: Lucky Luke is an adaptation of a French comic series about the fast-drawing sheriff of Daisy Town and his talking horse Jolly Jumper. Terence Hill stars in the feature film (released by 2 different companies) and the resulting television series. DVD Extras: Fullscreen, production notes (Simitar disc).

The Mask

New Line (1994, 101m) Comments: Jim Carrey is perfect as the man who becomes a living Tex Avery cartoon when he dons an enchanted mask. Based on the Dark Horse comic. DVD Extras: Widescreen, fullscreen, commentary, deleted scenes, production notes, trailer.

Men in Black (Collector’s Series, DTS, or Superbit)

Killer Condom Troma (1996, 106m) Comments: A gay New York detective must capture a genetically engineered cannibal condom in this live-action adaptation of Rolf König’s hilarious graphic novels (the first of which was published in the US by NBM). Ribald, gritty, gory, and not for young ’uns! DVD Extras: Fullscreen, in German with subtitles, drunken commentary, trailer, and more.

Sony/Columbia TriStar (1997, 97m) Comments: Witty, well-acted, and full of great special effects and set designs, this feature is based on a nearly forgotten Malibu Comics series. DVD Extras: Widescreen, commentaries, featurettes, art and photos, storyboards, music video, production notes, trailer, and more! The DTS version also has specialized DTS sound encoding. The Superbit version has higher-resolution images.

Men in Black (Limited Edition Box Set) Sony/Columbia TriStar (1997, 98m) Comments: Same movie as above, but featuring a second disc full of lots of extras. Look for the special all-black box with logo. DVD Extras: As above, plus fullscreen, more commentary, fight scene deconstruction, more art and photos, scene editing workshop, alternate scenes, and much more!

Men in Black (Deluxe Edition) Sony/Columbia TriStar (1997, 98m) Comments: Exactly the same as the earlier Limited Edition boxed set, but now in a keepcase and cheaper version. DVD Extras: As above.

Men in Black II: Collector’s Edition (widescreen, fullscreen, or Superbit) Sony/Columbia TriStar (2002, 88m) Comments: More silliness, but not quite as clever as the first film. This 2-disc set has tons of extras. Watch for a great short film called “The ChubbChubbs.” DVD Extras: Widescreen [except on fullscreen version], commentaries, featurettes, art and photos, storyboards, music video, trailer, bloopers, and more! The Superbit version has higher-resolution images.

Men in Black / Men in Black II Sony/Columbia TriStar (2002, 186m) Comments: Four-disc set includes the Deluxe Edition of the first film and the Collector’s Edition of the second film. DVD Extras: As above.

Modesty Blaise Fox (1966, 119m) Comments: Spoof doesn’t get much campier than this foreign import about a London spy with long legs, a beehive hairdo, and a precarious command of English. Full of pop-art psychedelia. DVD Extras: Widescreen.

Monkeybone Fox (2002, 186m) Comments: Based on an unfinished graphic novel, this film teeters into Tim Burton territory, largely due to the extensive stop-motion animation of (Burton sidekick) director Henry Selick. It’s also written by Batman

writer Sam Hamm, but the only thing that saves this bizarre film is the undead Chris Kattan. DVD Extras: Widescreen, commentary, deleted scenes, featurettes, photo gallery, trailers.

Mutant X: Season One (#1) Mutant X: Season One (#2) Mutant X: Season One (#3) Mutant X: Season One (#4) Mutant X: Season One (#5) Mutant X: Season One (#6) Mutant X: Season One (#7) ADV Films (2001-2002, 100m) Comments: Under ex-Genomex mentor Adam (Michael Shea), a group of gorgeous young mutants try to rescue other mutants while facing threats from the Genetic Security Agency and its evil leader Eckhart. The subject of a lawsuit from Fox for “similarities” to X-Men, this is actually another Marvel production, and one which comic creator Howard Chaykin worked on regularly. The discs feature 2 episodes each. DVD Extras: Widescreen, commentary, photo gallery, character bio, cast bios, TV promos.

Mutant X: Season One (#8/9) Mutant X: Season One (#10/11) ADV Films (2001-2002, 200m) Comments: ADV switches to 2-disc sets, with 4 episodes per set. DVD Extras: Widescreen, featurettes, photo gallery, TV promos.

Mutant X: Season 2 (#1/2) Mutant X: Season 2 (#3/4) ADV Films (2002-2003, 200-250m) Comments: The mutants are back with 4-5 new episodes per set. DVD Extras: Widescreen, interview, featurettes, photo gallery, TV promos.

Mystery Men Universal (1999, 122m) Comments: It’s still a mystery why this film wasn’t a hit given its terrific cast of quirky actors, great design, and overall sense of fun. Based on Bob Burden’s comics characters. DVD Extras: Widescreen, commentary, deleted scenes, production notes, music highlights, comic book info, trailer, and more.

Editor’s note: This exhaustive list will conclude in BACK ISSUE #7. – M.E. 8 2

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cont.

Dan Joh

nson

special feature

An Interview with Punisher (1989)

Director Mark Goldblatt

Taking Direction Director Mark Goldblatt (right) on the set of 1989’s

There are two things for certain about comic-book fans: We are opinionated about comic books, and we are opinionated about the film and television projects that spin off from comic books.

The Punisher, with star

The release of the new Punisher movie has sparked a lot of debate at comic-book shops since it was first

Dolph Lundgren.

announced, as well as new rounds of discussion regarding New World Pictures’ 1989 take on the Punisher. For

Photo courtesy of

those who haven’t seen the original film, the story has the Punisher landing right in the middle of a shooting

Mark Goldblatt.

war between members of the mob and the Yakuza, Japanese gangsters. The film stars Dolph Lundgren as Frank

Castle—aka the Punisher—a police officer whose family is killed by the Mafia. Louis Gossett, Jr. plays Jake Berkowitz, Castle’s ex-partner, determined to stop his friend’s one-man war on the mob. The first Punisher film has taken some heat in the past, and it is heat that I really don’t think it deserves. If you haven’t taken a look at the 1989 version of The Punisher lately, you really should.

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When Mark Goldblatt got the job directing The Punisher, he had already established himself as a noted film editor who had worked on The Howling and The Terminator; he has since worked on such movies as Terminator 2: Judgment Day and Starship Troopers. The greatest testimony to his skill is that he is a man who has worked repeatedly with such top-notch genre talent as Joe Dante, James Cameron, and Paul Verhoeven. As it was, Goldblatt’s foray into directing was all too brief, and The Punisher was only his second (and last) film as director. “I had [directed] a movie called Dead Heat (1988, recently released on widescreen DVD by Anchor Bay Entertainment) with Treat Williams, Joe © 1989 New World Pictures.

Piscopo, and Vincent Price,” Goldblatt reveals. “Before

Dead Heat came out and bombed at the box office, [New World Pictures] was very high on me. They thought I did a good job, especially given its low budget. Basically, New World was offering me a choice of projects. I was approached by producer Robert Kamen, who created The Karate Kid [the film series that began in 1984]. He had shepherded the Punisher project and had engaged Boaz Yakin to write the screenplay. Boaz has since had a lot of success: Remember the Titans and Fresh, and a few others.”

Men at Work The Punisher proved to be an interesting exercise in low-budget filmmaking for Goldblatt. The film was a 50-day shoot, had no second unit crew, and was budgeted for only $9.5 million, a very low sum for a film even in 1989 (that was for everything, including the actors’ salaries). New World got creative, though, and early on realized that they could stretch their dollars farther by taking a step that is very common these days: shooting the film outside of the United States. According to Goldblatt, the first non-U.S. site discussed was British Columbia. In the end, the producer settled on Australia. “One of the issues about the movie, which is a little interesting, is that we were told we were supposed to start scouting locations in Australia,” Goldblatt explains. “If I had had my choice of wherever I would have shot it, in terms of what the movie called for, it would have been New York. I always felt New York and New Jersey was really Punisher territory. We went to Sydney, which doesn’t look anything like New York, though it’s a beautiful place—I love it. For the [limited] budget we had, I knew we could get really great people [there] compared to the people that might have been available at that time in the States.” As it turned out, there were other reasons besides economic concerns for making The Punisher in Australia. “It became apparent that New World had a company that they had set up in

Filming Down Under

Australia, New World Pictures Australia, a company that had raised

Australian as well as

a lot of money,” says Goldblatt. “It

American actors got

had been around for some years, but

kicked in the head

had never made a movie. If we would

by the Punisher.

agree to go to Australia, [New World]

Photo courtesy of

would agree to make our movie.

Andy Mangels.

If we didn’t agree on going to

Australia, they probably wouldn’t

have made our movie at all. It was that simple.”

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Goldblatt experienced a frontier quality to the style of filmmaking of The Punisher in the land down under. He had to work with an all-Australian crew. That was not a problem, however, as he hired some of the best professionals working in the industry at the time. Also, the director had a limit of how many non-Australian actors he could hire for The Punisher. After those roles were filled, Goldblatt would have to start pulling from the Australian acting pools. Fortunately, there existed an abundance of fine actors in Australia.

together an excellent group of actors for The Punisher.

The only prerequisite was that the actors be able to

The lead actor was Dolph Lundgren, known at this

speak with convincing American accents.

time as the Russian boxer, Ivan Drago, in Rocky IV,

The biggest headache for Goldblatt wasn’t the

and as He-Man from the live-action Masters of the

talent, but rather the Australian roadways. Australians

Universe. Lundgren certainly looks the part of the

drive on the left side of the road, and the actors in

Punisher, and he pulls it off well once you under-

the film, portraying Americans, had to drive on the

stand the way Goldblatt envisioned the character.

right. “At the time, there was a real scarcity of vehicles

“There are many ways you could interpret the

with the steering wheel on the left hand side, so we

Punisher within the parameters of the way it is

had to import some vehicles and jerry-rig some others,”

written,” Goldblatt rationalizes. “Our approach was

Goldblatt remembers. But when it came to action

that when Frank Castle’s family was killed, and he

on the roads, which side to drive on was the least

was almost killed, he [actually died]. If he is not

of the crew’s concerns. “We couldn’t really get per-

physically dead when he becomes the Punisher, he

mission to film high-speed car chases in those days

is certainly metaphorically dead. That was our

on the motorways or anywhere else,” recalls Goldblatt.

approach. That translated into the way he looked,

“That’s why if you look at the bus chase (when the

too. He was not an emoting character. He didn’t

Punisher saves the children of the gangsters from the

portray any emotion because he didn’t have any.

Yakuza), the cars aren’t really going all that fast. We

You take a risk when you do something like that.

had to fake a highway on a private road.”

It’s no accident that studios are always looking to ‘sex’ [movies] up. They always want to make sure,

Dead Man Walking

and rightly so, that their leading character is like-

Despite the film’s low budget and the restrictions

able. In our version, the Punisher does crack some

that came with having to use a mostly Australian

jokes and there’s some one-liners, but they’re always

cast, Goldblatt and company still managed to pull

dark, it’s gallows humor. This guy is never happy

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and never will be.” Goldblatt’s decision to have Lundgren portray the

Goldblatt doesn’t recall the circumstances under which

Punisher in this fashion fit well with the way the

Gossett was hired, “but we were certainly very happy

character was in the comics: a no-nonsense avenger

to get him. He certainly brought a sense of dignity

with a one-track mind. It also led to the look that the

and drama to his character.”

Punisher sported in the film. “We played the Punisher

Directing Grade-A Talent Gossett isn’t quite as mouthy in this Punisher scene as he was as An Officer and a Gentleman’s Sgt. Foley. Photo courtesy

like the living dead,” states the director. “He didn’t

most powerful dramatic scene: “It’s after the police finally capture the Punisher and he’s in a jail cell,”

faced and he doesn’t have good color in his cheeks.”

says Goldblatt. “Gossett’s character, Berkowitz, comes

Lundgren came into the project by way of New

to visit him. He hasn’t seen Frank Castle since he

World. “The producers had a list of people that they

believed [his friend] was dead. They have an argument

would go with in the lead, and Dolph was on the list,”

—a screaming match, really. What we did was we

Goldblatt says. Lundgren “wanted to do it and he liked

kept the actors apart for days. They didn’t rehearse

the character,” a casting choice Goldblatt remains

the scene at all and we basically shot the rehearsals.

pleased with to this day. “I think he was good in the

They were both just trying to [express] their different

movie,” contends the director. “In fact, I think it is

types of anger. For the Punisher, there was his repressed

still one of his best pictures, personally. We didn’t know

anger, the anger he doesn’t even allow himself to feel.

it until we cast him, but Dolph was a big karate cham-

For Berkowitz, it’s the anger of being betrayed by his

pion. He was highly trained and he really knew his

partner and the emotional betrayal of having their

stuff. He really worked quite hard and he had to train

friendship and allegiance and love for each other

a lot prior to the actual shooting.”

totally detached. They had a really good confrontation, and I remember on the set it was pretty heavy-duty.”

and attitude, it was actor Louis Gossett, Jr. of 1982’s

Almost Featuring Nicole Kidman

An Officer and a Gentleman (for which he won an

Another American actor in The Punisher was Nancy

Academy Award for Best Actor in a Supporting Role)

Everhard, who plays Sam Leary, an eager young detec-

The director credits Gossett with The Punisher’s

have a good complexion. He’s really kind of pasty

Oscar-Winning Co-Star

of Mark Goldblatt.

that lent the film itself credibility as Jake Berkowitz.

tive who teams up with Berkowitz to bring Castle in. Director Sean Cunningham, who directed Everhard in DeepStar Six, recommended the actress to Goldblatt, although Nicole Kidman auditioned and was first considered for the Leary role but passed on the part after the positive buzz of her performance in Dead Calm made her become more selective about her roles. Incidentally, The Punisher was one of two Marvel cinematic projects Everhard completed in 1989, the other being the TV movie, The Trial of the Incredible Hulk. In meeting his limit for non-Australian talent, Goldblatt managed to secure the acting services of some very solid character actors. “Jeroen Krabbé (who played gangster Gianni Franco) was an actor I had

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admired for a long time,” admits the director. “Kim Miyori (who played Lady Tanaka, the head of the Yakuza) I had seen in a television movie called John and Yoko. She was marvelous [in The Punisher].” There was a need for some levity to keep The Punisher from being all doom and gloom, as well as the presence of a voice of reason for the Punisher. That was where Australian actor Barry Otto’s character of Shake came in. “Barry Otto was the comic confidant that Boaz had written,” Goldblatt reveals. “We met many good actors, but he came in and just nailed the part.” Most of former Hammer Studios actor Bryan Marshall’s role as gangster Dino Moretti ended up on the cutting-room floor. “We shot a prologue, about eight or nine minutes, where we see Frank Castle before he became the Punisher and learn about his family life and his friendship with Berkowitz,” says Goldblatt. “And we see the fact that as a cop he is trying to get the goods on the mafia and he is trying to get the goods on Gianni Franco. It’s much more explanatory in what happens in that Gianni Franco orders Bryan Marshall’s character to put a hit out on Frank Castle, resulting in the deaths of Frank’s wife and children. Frank is also believed to be dead. We cut most of this out because after our first preview,

from the comics. This is a sore spot for some comics

it became apparent that it would be much more

fans (and a pretty weak reason for not giving the film

interesting and mysterious to start the movie in the

the chance that it deserves).

Punisher’s universe, and only allude to his past life

Goldblatt had some very good reasons for jetti-

as Frank Castle elliptically, instead of in a more literal

soning the Punisher’s costume when he made the

way. Unfortunately, this resulted in cutting out a great

film, reasons that in hindsight he regrets. “[Warner

deal of Bryan Marshall’s wonderful performance.” This

Bros.] was shooting Batman when we made this,” he

footage may not be forever lost: “If they ever do a

explains. “If our movie had been released as it was

special edition DVD, I’ve got these scenes on tape,”

supposed to have been, [The Punisher] would have

promises the director.

been out before Batman. Up until that point, I had

Before Body-Sculpted Costumes While absent from the vigilante’s chest, the skull insignia of the Punisher is visible if you look closely. Photo courtesy of Andy Mangels.

never seen a cinematic super-hero where the costume

THE FANBOYS ASK, “SO, WHERE’S THE SKULL SHIRT?!”

didn’t look cheesy to me. I kept having the impres-

The great controversy of Goldblatt’s Punisher, a sub-

that. In a comic we buy that, but in a movie with a

ject that he brought up before I even had the chance

real actor it’s kind of tough. What they did in Batman,

to, is the fact that Dolph Lundgren’s Frank Castle

which was a brilliant concept, was make a body-

never sports the John Romita, Sr.-designed costume

sculpted suit, as a bigger-than-life extension of the actor.

sion of a skin-tight leotard suit, and I just didn’t buy

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Comic-Book Roots

“Unfortunately, we didn’t have that brilliant

Mike Zeck delivers

master stroke. So we went with a heavy leather

showing the skull insignia. That’s a mistake, but

the goods in this

look that the brilliant designer Norma Moriceau (of

I think the picture still works.”

Punisher illo from the

The Road Warrior and Crocodile Dundee fame) created

Goldblatt’s points regarding the costume are

late 1980s. Courtesy

for us. And I really like this costume. It’s reflective

valid. It is better to have discarded a costume that

of something that the self-sufficient Punisher would

he didn’t think would work than run the risk of

have designed and crafted for himself, in his sewer

losing the believability of the character because the

dwelling. We figured we would keep [the Punisher]

audience thought it looked silly and unrealistic. But

skull insignia on his knife handle. Unfortunately,

still there are critics who tend to focus on the few

the knife isn’t featured in closeup that much. I later

things that might have been wrong about the film

realized that what we should have done was have

and who don’t give the movie enough credit for

the skull insignia stenciled or silk-screened (by the

what they got right. To his credit, Goldblatt doesn’t

Punisher himself) on a black T-shirt, under his jacket.

let the critics wear him down. “I think we did an

We could have retained the skull motif in this way,

outstanding job, given the situation. As with most

along with Norma’s costume, and still avoided the

movies, some people like it, some people don’t. I

spandex look.

must say that I had a great time doing it and am

“In hindsight, I’m afraid that we threw out the baby with the bath water. I base that on the fact

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end

DOOM L O R PAT

collected editions review

The

A R C H I V Eby S Arnold Drake

and Bruno Premia ni

Reading the original Doom Patrol is like watching a marathon of Outer Limits episodes—there’s a robot, a 50-foot woman,

a radioactive man with a bandaged face, an immortal mastermind, an intelligent talking gorilla, a far-Eastern mystic, a green-skinned alien conqueror, a snobby jetsetter with a “Mento” helmet, bubbling lava monsters, a repugnant sea beast, an animal-vegetable-mineral menace, and even an evil brain in a jar! I loved The Outer Limits (1963–65) during my wee years, and followed it in

The Doom Patrol Archives Volume 1: My Greatest Adventure/ Doom Patrol #80–89 DC Comics • 2002 Hardcover • 226 pages color • $49.95 US

reruns for years after that, but DC’s Doom Patrol just didn’t register on my radar. I wasn’t alone. Grade-schoolers like me were suckered in by flashier funnybooks like Batman, Superman, and upstart Marvel Comics’ hyperbolic offerings, but most of us ignored the Doom Patrol throughout its five-year run, perhaps discovering the oddball team during its 1977 Showcase revival, or in the early 1980s in the pages of The New Teen Titans. The Doom Patrol, now the subject of two DC Comics Archives editions (presumably with more to follow), commanded a loyal, but small, cult audience during its original run. Much has been written about the coincidental timing of the

Volume 2: Doom Patrol #90–97 DC Comics • 2003 Hardcover • 218 pages color • $49.95 USA

debuts of DC’s tragic team of societal outcasts—Robotman (Cliff Steele, a former daredevil whose body was destroyed in an accident, his brain being encased in a robotic form), Elasti-Girl (a babelicious starlet named Rita Farr who could grow or shrink), Negative Man (Larry Trainor, a living mummy from whom an electromagnetic super-being could burst forth), and their wheelchair-bound, big-brain leader, Niles Caulder, aka the Chief—and Marvel’s similarly themed X-Men, who first appeared three months after the DP (another famous DC/Marvel “who came first?” fluke, Swamp Thing and Man-Thing, is the subject of next issue’s “Greatest Stories

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Never Told” feature). Less ink has been devoted to

Third, The Doom Patrol subtly, and sometimes

why the 1960s’ Doom Patrol series never made it past

not so subtly, explored the themes of self-image and equal rights. No one in the Doom Patrol wanted

stories on chronological display, impeccably reprinted

that gave them their powers, especially the tormented

in DC’s upscale hardcover format, it’s now clear to me,

Robotman. And while the public wasted no time

as an adult reader, why this comic book struggled to

calling the Doom Patrol to the rescue when some

find an audience and was cancelled after only five

curious creature slithered forth, they mostly kept

years of bimonthly adventures.

these bizarre heroes at a comfortable arm’s length.

First and foremost, the original Doom Patrol tales

Those three attributes earmarked The Doom Patrol

were masterfully illustrated in a pseudo-realistic

as DC’s most non-DC book of the 1960s. With its

manner by artist Bruno Premiani. Absent were the

freakish, bickering characters, Doom Patrol seemed

exaggerated body types so commonplace in super-

like a Marvel comic masquerading as a DC title,

hero comics. Premiani’s expressive linework and

particularly when compared to the charming but

concise storytelling make his DP adventures a joy to

innocuous then-contemporary DC stories featuring

behold for the discerning eye, but for the reader of

Lois Lane’s latest attempt to expose Clark Kent’s

the day, accustomed to the clean but simplistic ren-

Superman identity and Batman parading around

dering of other DC super-hero series, his Patrol work

Gotham City in rainbow-colored costume variations.

was quiet and easy to overlook—despite the DP’s

This is not to say that the tales reprinted in The

outlandish adversaries like super-ape Monsieur Mallah

Doom Patrol Archives are flawless. Drake repeatedly

and shapeshifter Madame Rouge.

hints at the social ostracism felt by the DP but never

was uncharacteristic for DC’s mid-1960s’ fare. Drake’s

this shortcoming: The readership of the era was not

DP displayed a broad range of human emotions—

prepared for the psychoanalysis of tortured super-

anger, jealousy, self-pity, and humor—during a time

psyches. And on the occasions that he and Premiani

when DC’s super-heroes were largely one-dimension-

steered the DP into traditional super-heroics in their

al. The Doom Patrol frequently squabbled, their banter

battles against stereotyped villains—issue #92’s Dr.

rivaling that of the early days of Stan Lee and Jack

Tyme and #94’s bird-controlling Claw (both in

Kirby’s Fantastic Four. And their rogues’ gallery hated

Volume 2)—the tales falter. Those relatively minor

the Doom Patrol so intensely that they constantly

weaknesses aside, The Doom Patrol Archives captures

tried not merely to thwart but to actually kill the

some of DC’s smartest super-hero adventures from

“world’s strangest heroes.”

the 1960s and comes highly recommended.

1977

DP premieres in

Three-issue

New version

My Greatest Adventure

all-reprint

of DP premieres

Patrol with #86. Last issue is #121. •

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revival of Doom Patrol.

1963–1968

#80. Retitled Doom

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adequately explores it, but he is not to be blamed for

Second, Doom Patrol scribe Arnold Drake’s writing

Since The Doom Patrol Archives places those original

to be a super-hero, lamenting the twists of fate

in Showcase #94. Appears sporadically.

Doom Patrol

second-banana series.

An interview with John Byrne by Peter Sanderson PETER SANDERSON: Can you talk about Doom Patrol?

June 2004

Doom Patrol

Introducing the

Writer/penciler John Byrne launches all-new Doom Patrol title, ignoring previous

JOHN BYRNE: Doom Patrol comes out in June. The story

continuities.

in JLA from which it spins started in March. And what we’re doing is—I’ve actually written a text piece for the first issue

NEW In Print! New Comics. Classic Appeal.

talking about how back in the happy halcyon days of yore when I relaunched Superman and Frank [Miller] relaunched

SANDERSON: And DC and Disney/Pixar will have to

Batman and George [Pérez] relaunched Wonder Woman,

fight it out over who owns the Elasti-Girl trademark.

Frank and I both took the flashback that retconned the

[One of the character’s in this fall’s new Disney/Pixar film,

changes and George did the changes in continuity. So

The Incredibles, is called Elastigirl, without the hyphen.]

suddenly Wonder Woman was a new character appearing

BYRNE: Yeah. I’m trying to avoid using that name, actually.

for the first time. That’s the approach we’re taking with

I think it’s kind of dated.

Doom Patrol, to say, “Together again for the first time,” basically.

SANDERSON: Elasti-Woman. BYRNE: Elasti-Woman. [laughs] It just doesn’t really work.

When they appear in Justice League, nobody’s ever heard of them before. This was our major concern. [Doom Patrol editor Mike] Carlin and [DC Comics VP-editorial] Dan Didio and I talked about this at length. The biggest problem with the Doom Patrol is, it’s got an awful lot of baggage. And we probably have to set aside the baggage and say, “No, this is a brand-new series, brand-new characters that just happen to be the original characters.” SANDERSON: So it is indeed the Chief, Robotman— BYRNE: The Chief, Robotman, Elasti-Girl, Negative Man,

So ultimately I will probably do exactly what Arnold Drake [the original Doom Patrol writer] did the first time around, which is to have the press refer to them by those names. And then just sort of say, “Yeah, yeah, yeah, ‘Elasti-Girl,’ that’s what they call me.” But I’ve done almost five issues of the series so far and haven’t used the name “Elasti-Girl” once. [laughs] ’Cause they don’t have secret identities, which helps. SANDERSON: And is it written, drawn, and inked by you? BYRNE: It isn’t inked by me. It’s inked by Doug Hazlewood, who has not inked me before, but who did an audition

and then some new guys.

page that looked very good.

SANDERSON: No Beast Boy. BYRNE: No. In fact, in my text piece I make the comment that just as Donna Troy became such a problem because of

SANDERSON: And will we see General Immortus and Madame Rouge, and—?

the way George rebooted Wonder Woman, Gar Logan

BYRNE: There is a character who appears in the first story

[Beast Boy] effectively becomes the “Donna Troy” of this

arc in Doom Patrol who may or may not turn out to be

reboot. So he will have to have a whole different back-

Madame Rouge. The rest of them I’m not sure about. I think

ground, ’cause he’s never been in the Doom Patrol, and

the Brain is pretty much gone.

certainly Rita [Elasti-Girl], who’s all of 22, has never been

SANDERSON: Oh, no. I was hoping you’d work in a Pinky

his stepmother.

and the Brain joke.

2001-2003

Robotman follows

DP returns as DC main-

DP name

Robotman

Titan Changeling

stream title. Becomes

is used for

headlines

(former DP member Beast Boy) into The New Teen Titans.

Vertigo book written by Grant Morrison. Last issue is #87.

1981

Tangent imprint one-shot. C o m i c s

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short-lived DP revival. Last issue is #22. •

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BYRNE: Well, that’s exactly why he’s gone. [laughs] You can’t have a character called the Brain any more.

“Together Again for the First Time”

SANDERSON: Maybe it could be him under a different name.

John Byrne’s cover

BYRNE: Yes. And also I feel that just by existing, the Brain

to Doom Patrol #2

kind of diminishes the uniqueness of Robotman, ’cause he’s

(right) and #3

another brain in a jar. So I’ll try to avoid that as much as I can. No Monsieur Mallah.

(far right), on sale in July and August.

SANDERSON: Aww. . . . BYRNE: There is a gorilla, but he’s not Monsieur Mallah.

This is the whole point, of course: People will be able to come into this knowing absolutely nothing and not have to figure out who people are. You won’t have General Immortus

Robotman has

turning up and everybody having to figure out who he is, because if he

exactly the

ever does turn up, it will be the first time.

same origin.

SANDERSON: Do you have a particular take on The Doom Patrol, what

SANDERSON:

it’s about, what you want to recapture? Some of us think it could have

Are there new

been DC’s X-Men.

members of the

BYRNE: It could have been DC’s X-Men. [DC president and publisher]

Doom Patrol?

Paul Levitz summed it up best. He and I were talking about it, and he said

BYRNE: Yeah, there’s three. Plus I borrowed

the X-Men is a metaphor for racism, and the Doom Patrol is a metaphor

Faith from JLA.

for the handicapped.

SANDERSON: Good name. I see a war with

SANDERSON: I like that.

Dark Horse. [Dark Horse Comics has the comics

BYRNE: And I think that’s exactly perfect. Because unlike the X-Men, whom

rights to Buffy the Vampire Slayer, including

the Doom Patrol pre-date, these guys were not born this way. These

its character named Faith.]

people are this way because something has happened to them. So Cliff

BYRNE: One of my characters has psychic powers, so Faith comes

[Robotman] is effectively in a super-science-fiction version of a wheelchair:

along to take her under her wing and give her guidance until she’s

a robot body.

good enough at it to work on her own.

SANDERSON: I’m not sure what Rita’s handicap is.

SANDERSON: What are the names of the new characters?

BYRNE: Well, she’s a little bit of the ringer in this. She always seemed to

BYRNE: Their names, which won’t tell you much, are Nudge, Vortex,

enjoy it. And she does in this, too. She kind of likes being able to do this

and Grunt.

gag. So she’s the one who’s having a good time with it. And the others

SANDERSON: What do they do?

are kind of [groans] doing good deeds because, what else can they do,

BYRNE: Nudge has psychic powers. Vortex can create this swirling energy

they’re freaks, kind of thing.

which can have varying degrees of destructive force. And Grunt is a four-

The Doom Patrol was an add-on [to the JLA storyline], actually. I hope

armed gorilla. But there’s something strange about him: He has a bond

it won’t read that way. Carlin called up one day and said, “How about

with Nudge, who is this little Korean gal. We’re not sure what Grunt is

if we use this story to launch The Doom Patrol?” I said, “Okay, sure.”

all about.

And it was easy enough to fit them in and establish some backstory with

SANDERSON: Why introduce the new members? One of the themes of the

the Chief and the Tenth Circle and things like that. There’s lots for every-

Doom Patrol originally was that it was a very close, family-like foursome.

body to do. The biggest challenge, in fact, that I set myself was finding

BYRNE: Yes. Well, what I wanted effectively was a “Legion of Substitute

something for each of the six or seven members. Carlin just rattled off

Doom Patrol.” I wanted a second group, because the way I’m setting this

a list. I said, “Who’s in the Justice League?” And he said, “These guys.”

up is the group has been operating covertly for several years. We just haven’t

So I had to come up with something interesting and specific that each

seen them before this, ’cause I didn’t want to waste a lot of time on here

of them could do.

they are practicing, and here they are in the Danger Room, and that

SANDERSON: Will somebody like myself who remembers the origin of the

kind of stuff. So I wanted a secondary group: much the same thinking

Doom Patrol see big changes in your version of the origin?

that led to the creation of Kitty Pryde [in X-Men], of course. I wanted a

BYRNE: There are some changes. The Chief has a totally different origin.

secondary group that could be the ones who stumble around and are

Rita’s no longer an actress; she was one of the Chief’s lab assistants, so her

still trying to figure out what they’re doing, while the main guys are

origin is different. Negative Man has essentially the same origin, and

already good at it.

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Send your comments to: Email: euryman@msn.com (subject: BACK ISSUE)

No attachments, please!

Postal mail: Michael Eury, Editor • BACK ISSUE 5060A Foothills Drive • Lake Oswego, OR 97034

BACK ISSUE is off to a rousing start. I just finished your third outing, and the Joker history was absorbing. I remember the buzz among the few comics readers who knew back then that O’Neil and Adams were going to do the Joker, and when the issue finally hit the stands, it was euphoria! They had done the same for Two-Face a short time earlier, and the results were also wonderful. After being Comics Code-ed out [of print] in the 1960s, ol’ “Face” was a welcome sight—so to speak. Good to hear from the creators on the evolution of the Joker and their takes on the character and Batman. I agree 100% with Mr. Englehart—Batman isn’t crazy and never should be thought of that way. He triumphed over the madness that threatened to ruin his life, and made something positive out of the horror that shaped him when his parents were slain. That’s why he’s a hero to many— because he stepped above the mess. Good reporting on Plastic Man—Jim Carrey would be perfect in a manic movie on the character. They’ve already done the Mask, and Plas isn’t far from that milieu. “Rough Stuff” is a nice interlude from the interviews and articles. Please keep that feature a part of your ’zine. I also enjoyed revisiting the Justice League with Maguire, Helfer, and the others. It was one wild ride, but totally different in style and I was glad they put it together as well as they did. Again, it’s a good thing you’re doing. Keep it up.

[In BACK ISSUE #3,] the Brian Bolland Joker and Batman art (below left) that you couldn’t quite identify came from a bank magazine, of all places. If memory serves me correct, it was the Abbey National who was responsible, and the magazine was titled Speakeasy (not to be confused with the fanzine of the same name). It was one of those periodic attempts banks make to seduce teenagers with a bunch of hip articles, and they ran a piece about The Killing Joke upon its release.

– Frank Plowright

– Jerry Boyd

Thanks for the info. FYI, Frank is the

Thanks, Jerry! You’ll be happy to learn that future “Rough Stuff”

editor of The Slings & Arrows Comic

spotlights will feature “Heroes and Horror,” “Super Teams,” the X-Men,

Guide, which we’ll be reviewing in a

Gil Kane, Batman, and John Buscema, so there’s no shortage of

future issue. - M.E.

glorious graphite in store! - M.E.

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bonus pinup

wonder woman by george pérez

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Questions? Comments? Exaltations? Send 'em to euryman@msn.com. Thanks for helping make BACK ISSUE the ultimate comics experience!

ON S U B M I S SEI S GUIDELIN

I have to say BACK ISSUE is one of the best comic-oriented magazines to come around in a long, long time. My only regret is that it’s bimonthly. I was wondering if there were any plans to cover the aborted television series Unlimited Powers. I remember some mention of it years and years ago. To my best recollection, the show was to feature Dr. Occult, Blok from the Legion of Super-Heroes, a Flash, and Green Arrow’s daughter. I think it was being developed by Pet Fly, but I could be wrong.

BACK ISSUE is on the lookout for the following comics-related material from the 1970s and 1980s:

Unpublished artwork Original artwork Penciled artwork Character designs, model sheets, etc. Original scripts

Photos Original sketches and/or convention sketches Rare fanzine material Other rarities

Creators and collectors of 1970s and 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).

– David M. Gutierrez I’d forgotten about Unlimited Powers, David—thanks for the reminder; we’ll add it to the list of topics to cover. And while we

Submit artwork as (listed in order of preference):

appreciate your desire for BI to go monthly, the very thought of that

Scanned images: 300dpi TIF (preferred) or JPEG (e-mailed or on CD, or to our FTP site; please inquire)

has me reaching for the defibrillator. But never say “never.” - M.E.

– Paul Green Paul, I’m glad you brought up the Archies, as I’ve considered a “Beyond Capes” on that comics-inspired singing group, and have wondered if anyone would be interested. What about the rest of you? Does an article on the Archies make you scream “Hot Dog!” or does it make your face all Grundy? See you in 60! Your friendly neighborhood Euryman, Michael Eury

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. Artwork submissions and SASEs for writers’ guidelines should be sent to: Michael Eury, Editor BACK ISSUE 5060A Foothills Dr. Lake Oswego, OR 97034 © 2004 Archie Comics.

I enjoyed BI #3 tremendously. The always-great Brian Bolland’s cover started the issue off with a bang, and I really appreciated the focus on humor this issue, though I wished there could have been coverage of one of my favorites, the Archies. I totally agree with Mark Evanier’s article on writing humor. I was floored watching his Garfield and Friends cartoon show, where so many unexpected things happened. His work on Groo and other comics projects puts him in a place of honor in the generally underappreciated field of humor. He is correct in viewing life with humor. Real life IS funny, and I know I enjoy it more when I’m laughing and not getting stuck on the negative side of things. Keep up the good work. You’re headed in the right direction.

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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, 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 examining Superman’s influential past! Cover by DAVE GIBBONS!

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BATCAVE COMPANION The writer/editor of the critically acclaimed KRYPTON COMPANION and the designer of the eye-popping SPIES, VIXENS, AND MASTERS OF KUNG FU: THE ART OF PAUL GULACY team up to explore the Silver and Bronze Ages of Batman comic books in THE BATCAVE COMPANION! Two distinct sections of this book examine the Dark Knight’s progression from his campy “New Look” of the mid-1960s to his “creature of the night” reinvention of the 1970s. Features include issue-by-issue indexes, interviews with CARMINE INFANTINO, JOE GIELLA, DENNIS O’NEIL, and NEAL ADAMS, and guest essays by MIKE W. BARR and WILL MURRAY. Contributors include SHELDON MOLDOFF, LEN WEIN, STEVE ENGLEHART, and TERRY AUSTIN, with a special tribute to the late MARSHALL ROGERS. With its incisive introduction by DENNIS O’NEIL and its iconic cover painting by NEAL ADAMS, THE BATCAVE COMPANION is a musthave for every comics fan! By MICHAEL EURY and MICHAEL KRONENBERG. (240-page trade paperback) $26.95 US • ISBN: 9781893905788 • Diamond Order Code: NOV068368

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DICK GIORDANO: CHANGING COMICS, ONE DAY AT A TIME

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CAPTAIN ACTION was introduced in 1966 in the wake of the Batman TV show craze, and later received his own DC comic book with art by WALLY WOOD and GIL KANE. Able to assume the identities of 13 famous super-heroes, his initial career was short-lived, but continuing interest in the hero has led to two different returns to toy-store shelves. Lavishly illustrated with over 200 toy photos, this FULL-COLOR HARDCOVER SECOND EDITION chronicles the history of this quick-changing champion, including photos of virtually EVERY CAPTAIN ACTION PRODUCT ever released, spotlights on his allies ACTION BOY and the SUPER QUEENS and his arch enemy DR. EVIL, an examination of his comic-book appearances, and “Action facts” that even the most diehard Captain Action fan won’t know! The original softcover edition has been sold out for years, but this revised, full-color hardcover second edition includes behind-the-scenes coverage of CAPTAIN ACTION’S TRIUMPHANT 2008 RETURN to comics shelves in his new series from Moonstone Books, and spotlights the new wave of Captain Action collectibles. Written by MICHAEL EURY. (176-page COLOR HARDCOVER) $39.95 US • ISBN: 9781605490175 • Diamond Code: APR091003

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BATCAVE COMPANION

IT’S FINALLY HERE! The writer/editor of the critically acclaimed KRYPTON COMPANION and the designer of the eye-popping SPIES, VIXENS, AND MASTERS OF KUNG FU: THE ART OF PAUL GULACY team up to explore the Silver and Bronze Ages of Batman comic books in THE BATCAVE COMPANION! Two distinct sections of this book examine the Dark Knight’s progression from his campy “New Look” of the mid-1960s to his “creature of the night” reinvention of the 1970s. Features include issue-byissue indexes, interviews with CARMINE INFANTINO, JOE GIELLA, DENNIS O’NEIL, and NEAL ADAMS, and guest essays by MIKE W. BARR and WILL MURRAY. Contributors include SHELDON MOLDOFF, LEN WEIN, STEVE ENGLEHART, and TERRY AUSTIN, with a special tribute to the late MARSHALL ROGERS. With its incisive introduction by DENNIS O’NEIL and its iconic cover painting by NEAL ADAMS, THE BATCAVE COMPANION is a must-have for every comics fan! By MICHAEL EURY and MICHAEL KRONENBERG.

WHE % N YO ORD U ONL ER INE!

(224-page trade paperback) $26.95 US • ISBN: 9781893905788 • Diamond Order Code: NOV068368 • Ships April 2009

COMIC BOOK PODCAST COMPANION Comic book podcasts have taken the Internet by storm, and now TwoMorrows offers you the chance to go behind the scenes of ten of today's top comic book podcasts via all-new interviews with the casts of AROUND COMICS, WORD BALLOON, QUIET! PANELOLOGISTS AT WORK, COMIC BOOK QUEERS, iFANBOY, THE CRANKCAST, THE COLLECTED COMICS LIBRARY, THE PIPELINE PODCAST, COMIC GEEK SPEAK, and TwoMorrows’ own TUNE-IN PODCAST! Also featured are new interviews about podcasting and comics on the Internet with creators MATT FRACTION, TIM SEELEY, and GENE COLAN. You'll also find a handy guide of what you’ll need to start your own podcast, an index of more than thirty great comic book podcasts, numerous photos of your favorite podcasters, and original art from COLAN, SEELEY, DC's MIKE NORTON, and many more! By ERIC HOUSTON, with a spectacular new cover by MIKE MANLEY. (128-page trade paperback) $15.95 • ISBN: 9781605490182 • Ships May 2009

ALL-STAR COMPANION Volume 4 The epic series of ALL-STAR COMPANIONS goes out with a bang, featuring: Colossal coverage of the Golden Age ALL-STAR COMICS! Sensational secrets of the JUNIOR JUSTICE SOCIETY! An index of the complete solo adventures of all 18 original JSAers in their own features, from 1940 to 1951! The JSA's earliest imitators (Seven Soldiers of Victory, All Winners Squad, Marvel Family, and International Crime Patrol)! INFINITY, INC. on Earth-Two and after! And the 1980s SECRET ORIGINS series! With rare art by ALEX ROSS, TODD McFARLANE, JERRY ORDWAY, CARMINE INFANTINO, JOE KUBERT, ALEX TOTH, GIL KANE, MURPHY ANDERSON, IRWIN HASEN, MORT MESKIN, GENE COLAN, WAYNE BORING, GEORGE TUSKA, MICHAEL T. GILBERT, GEORGE FREEMAN, DON NEWTON, JACK BURNLEY, MIKE MACHLAN, HOWARD CHAYKIN, DICK DILLIN, and others. Edited by ROY THOMAS.

CAPTAIN ACTION: THE ORIGINAL SUPERHERO ACTION FIGURE

(240-page trade paperback) $27.95 US • ISBN: 9781605490045 Ships June 2009

(Hardcover 2nd Edition)

CAPTAIN ACTION was introduced in 1966 in the wake of the Batman TV show craze, and later received his own DC comic book with art by WALLY WOOD and GIL KANE. Able to assume the identities of 13 famous super-heroes, his initial career was short-lived, but continuing interest in the hero has led to two different returns to toy-store shelves. Lavishly illustrated with over 200 toy photos, this FULL-COLOR HARDCOVER SECOND EDITION chronicles the history of this quick-changing champion, including photos of virtually EVERY CAPTAIN ACTION PRODUCT ever released, spotlights on his allies ACTION BOY and the SUPER QUEENS and his arch enemy DR. EVIL, an examination of his comic-book appearances, and “Action facts” that even the most diehard Captain Action fan won’t know! The original softcover edition has been sold out for years, but this revised, full-color hardcover second edition includes behind-the-scenes coverage of CAPTAIN ACTION’S TRIUMPHANT 2008 RETURN to comics shelves in his new series from Moonstone Books, and spotlights the new wave of Captain Action collectibles. Written by MICHAEL EURY. (176-page FULL-COLOR HARDCOVER) $39.95 US • ISBN: 9781605490175 • Ships July 2009

MARVEL COMICS IN THE 1960s: An Issue-By-Issue Field Guide

The comic book industry experienced an unexpected flowering in the early 1960s, compliments of Marvel Comics, and this book presents a step-by-step look at how a company that had the reputation of being one of the least creative in a generally moribund industry, emerged as one of the most dynamic, slightly irreverent and downright original contributions to an era when pop-culture emerged as the dominant force in the artistic life of America. In scores of handy, easy to reference entries, MARVEL COMICS IN THE 1960s takes the reader from the legendary company’s first fumbling beginnings as helmed by savvy editor/writer STAN LEE (aided by such artists as JACK KIRBY and STEVE DITKO), to the full maturity of its wild, colorful, offbeat grandiosity. With the history of Marvel Comics in the 1960s divided into four distinct phases, author PIERRE COMTOIS explains just how Lee, Kirby, Ditko, and others created a line of comic books that, while grounded in the traditional elements of panel-to-panel storytelling, broke through the juvenile mindset of a low brow industry and provided a tapestry of full blown pop culture icons. (224-page trade paperback) $27.95 US • ISBN: 9781605490168 • Ships July 2009

GRAILPAGES:

Original Comic Book Art And The Collectors GRAILPAGES brings to light the burgeoning hobby of collecting the original, hand-drawn art that is used to create comic books! Beginning more as a novelty, the hobby of collecting original comic art has expanded to a point where some of the seminal pages commonly run more than $10,000 each. Author STEVEN ALAN PAYNE lets you meet collectors from around the globe and hear their passion in their own words, as they detail collections ranging from a few key pages, to broad, encompassing collections of literally hundreds of pages of original comic art by such artists as JACK KIRBY, JOHN ROMITA SR., and others! Balancing out the narratives are incisive interviews with industry pros, including writers GERRY CONWAY, STEVE ENGLEHART, and ROY THOMAS, and exclusive perspectives from Silver Age artists DICK GIORDANO, BOB McLEOD, ERNIE CHAN, TONY DeZUNIGA, and the unparalleled great, GENE COLAN! Completing the book is a diverse sampling of breathtakingly beautiful original comic art, some lavishly presented in full-page spreads, including pages not seen publicly for decades. Fans of comic art, comic books, and pop culture will find in GRAILPAGES an appreciation for a uniquely American form of art! (128-page trade paperback) $15.95 US • ISBN: 9781605490151 Diamond Order Code: JAN094470 • Ships March 2009

MAGAZINES

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BRICKJOURNAL magazine is the ultimate resource for LEGO enthusiasts of all ages, spotlighting the LEGO Community with contributions and how-to articles by top builders worldwide, new product intros, and more. Edited by JOE MENO. 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.

BRICKJOURNAL #3

BRICKJOURNAL #4

BRICKJOURNAL #5

BRICKJOURNAL #6

Event Reports from BRICKWORLD, FIRST LEGO LEAGUE WORLD FESTIVAL and PIECE OF PEACE (Japan), spotlight on our cover model builder BRYCE McGLONE, and 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!

Interviews with LEGO BUILDERS including BREANN SLEDGE (BIONICLE BUILDER), Event Reports from BRICKFAIR and BRICKCON, plus reports on new MINDSTORMS PROJECTS, STEP-BY-STEP BUILDING INSTRUCTIONS and TECHNIQUES for all skill levels, NEW SET REVIEWS, and a report on constructing the Chinese Olympic Village in LEGO!

Features event reports from around the world, and the MINDSTORMS 10TH ANNIVERSARY at LEGO HEADQUARTERS! Plus an interview with the head of the LEGO GROUP’S 3D DEPARTMENT, a glimpse at the LEGO Group's past with the DIRECTOR OF LEGO'S IDEA HOUSE, instructions and spotlights on builders, and an idea section for Pirate builders!

Spotlight on CLASSIC SPACE SETS and a look at new ones with LEGO SET DESIGNERS, BRANDON GRIFFITH shows his STAR TREK MODELS, plus take a tour of the DUTCH MOONBASE with MIKE VAN LEEUWEN and MARCO BAAS. There's also coverage of BRICKFEST 2009 and FIRST LEGO LEAGUE'S WORLD FESTIVAL and photos from TOY FAIR NEW YORK!

(80-page COLOR magazine) $8.95 US Diamond Order Code: JUN084415

(80-page COLOR magazine) $8.95 US Diamond Order Code: SEP084428

(80-page COLOR magazine) $8.95 US Diamond Order Code: DEC084408 Ships March 2009

(80-page COLOR magazine) $8.95 US Ships June 2009

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

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 Diamond Order Code: AUG084454

(100-page magazine) $6.95 US Diamond Order Code: OCT084483

(100-page magazine) $6.95 US Diamond Order Code: NOV084368

(100-page magazine) $6.95 US Diamond Order Code: JAN094555 Ships March 2009

C o l l e c t o r

The JACK KIRBY COLLECTOR magazine celebrates his life and career through INTERVIEWS WITH KIRBY and his contemporaries, FEATURE ARTICLES, RARE AND UNSEEN KIRBY ART, and more. Edited by JOHN MORROW.

SUBSCRIBE TO THE PRINT EDITION, AND GET THE DIGITAL EDITION FREE, BEFORE THE PRINT ISSUE HITS STORES!

BACK ISSUE #29

BACK ISSUE #30

BACK ISSUE #31

BACK ISSUE #32

“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!

(100-page magazine) $6.95 US Diamond Order Code: MAY084246

(100-page magazine) $6.95 US Diamond Order Code: JUL084393

(100-page magazine) $6.95 US Diamond Order Code: SEP084399

(100-page magazine) $6.95 US Diamond Order Code: NOV084369

DRAW! #17

DRAW! #18

ROUGH STUFF #10

ROUGH STUFF #11

ROUGH STUFF #12

Interview with Scott Pilgrim’s creator and artist BRYAN LEE O’MALLEY on how he creates the acclaimed series, plus learn how B.P.R.D.’s GUY DAVIS works on his series. Also, more Comic Art Bootcamp: Learning from The Great Cartoonists by BRET BLEVINS and MIKE MANLEY, reviews, and more!

Features an in-depth interview and demo by R.M. GUERA (the artist of Vertigo’s Scalped), behind-the-scenes in the Batcave with Cartoon Network’s JAMES TUCKER on the new hit show “Batman: The Brave and the Bold,” plus product reviews by JAMAR NICHOLAS, and Comic Book Boot Camp’s “Anatomy: Part 2” by BRET BLEVINS and MIKE MANLEY!

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!

Interview and cover by comic painter CHRIS MOELLER, features on New Zealand comic artist COLIN WILSON, G.I. Joe artist JEREMY DALE, and fan favorite TERRY DODSON, plus "GOOD GIRL ART" (a new article about everyone's favorite collectible art) by ROBERT PLUNKETT, a "Rough Critique" of an aspiring artist's work, and more!

(80-page magazine with COLOR) $6.95 US • Ships Spring 2009

(100-page magazine) $6.95 US Diamond Order Code: AUG084469

(100-page magazine) $6.95 US Diamond Order Code: NOV084404

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

(80-page magazine with COLOR) $6.95 US • Ships February 2009 Diamond Order Code: DEC084377

ALTER EGO #85

ALTER EGO #86

ALTER EGO #87

ALTER EGO #88

WRITE NOW! #20

Captain Marvel and Superman’s battles explored (in cosmic space, candy stories, and in court, with art by WALLY WOOD, CURT SWAN, and GIL KANE), an in-depth interview with Golden Age great LILY RENÉE, overview of CENTAUR COMICS (home of BILL EVERETT’s Amazing-Man and others), FCA, MR. MONSTER, new RICH BUCKLER cover, and more!

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

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

First-ever in-depth look at National/DC’s founder MAJOR MALCOLM WHEELERNICHOLSON, and early editors WHITNEY ELLSWORTH, VIN SULLIVAN, and MORT WEISINGER, with rare art and artifacts by SIEGEL & SHUSTER, BOB KANE, CREIG FLESSEL, FRED GUARDINEER, GARDNER FOX, SHELDON MOLDOFF, and others, plus FCA, MR. MONSTER, 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!

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

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

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

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

(80-page magazine) $6.95 US FINAL ISSUE! Ships February 2009 Diamond Order Code: DEC084398

BACK ISSUE #33

BACK ISSUE #34

BACK ISSUE #35

KIRBY COLLECTOR #52

KIRBY COLLECTOR #53

“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!

“New World Order!” Adam Warlock examined with JIM STARLIN and ROY THOMAS, the history of Miracleman with ALAN DAVIS & GARRY LEACH, JIM SHOOTER interview, roundtable with Marvel’s post-STAN LEE editors-in-chief on the New Universe, Logan’s Run, Star Hunters, BOB WIACEK on Star Wars and Star-Lord, DICK GIORDANO revisits Crisis on Infinite Earths and “The Post-Crisis DC Universe You Didn’t See,” and a new cover by JIM STARLIN!

“Villains!” MIKE ZECK and J.M. DeMATTEIS discuss “Kraven’s Last Hunt” in a “Pro2Pro” interview, the history of the Hobgoblin is exposed, the Joker’s short-lived series, looks back at Secret Society of Super-Villains and Kobra, a Magneto biography, Luthor and Brainiac’s malevolent makeovers, interview with Secret Society artist MIKE VOSBURG, plus contributions from BYRNE, CONWAY, FRENZ, NOVICK, ROMITA JR., STERN, WOLFMAN, and a cover by MIKE ZECK!

Spotlights Kirby’s most obscure work, like 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 covers inked by DON HECK and PAUL SMITH!

Spotlights THE MAGIC OF STAN & JACK! There’s a new interview with STAN LEE, a walking tour of New York showing where Lee & Kirby lived and worked, a re-evaluation of the “Lost” FF #108 story (including a missing page that just surfaced), “What If Jack Hadn’t Left Marvel In 1970?”, plus MARK EVANIER’s regular column, a Kirby pencil art gallery, a complete Golden Age Kirby story, and more, behind a color Kirby cover inked by GEORGE PÉREZ!

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

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

(100-page magazine) $6.95 US Diamond Order Code: JAN094556 Ships March 2009

(84-page tabloid magazine) $9.95 US Diamond Order Code: DEC084397 Ships February 2009

(84-page tabloid magazine) $9.95 US Ships May 2009

NEW MODERN MASTERS VOLUMES Each book contains RARE AND UNSEEN ARTWORK direct from the artist’s files, a COMPREHENSIVE INTERVIEW, DELUXE SKETCHBOOK SECTIONS, and more!

Volume 19: MIKE PLOOG

Volume 20: KYLE BAKER

Volume 21: CHRIS SPROUSE

Volume 22: MARK BUCKINGHAM

Volume 23: DARWYN COOKE

by Eric Nolen-Weathington & Roger Ash (120-page TPB with COLOR) $14.95 ISBN: 9781605490076 Diamond Order Code: SEP084304 Now shipping

by Eric Nolen-Weathington (120-page TPB with COLOR) $14.95 ISBN: 9781605490083 Diamond Order Code: SEP084305 Ships February 2009

by Eric Nolen-Weathington & Todd DeZago (128-page trade paperback) $14.95 ISBN: 97801605490137 Diamond Order Code: NOV084298 Ships March 2008

by Eric Nolen-Weathington (128-page trade paperback) $14.95 ISBN: 9781605490144 Diamond Order Code: JUL088519 Ships May 2008

by Eric Nolen-Weathington (120-page TPB with COLOR) $15.95 ISBN: 9781605490205 Ships June 2008

AGE OF TV HEROES Examines the history of the live-action television adventures of everyone’s favorite comic book heroes! FULL-COLOR HARDCOVER features the in-depth stories of the actors and behind-thescene players that made the classic super-hero television programs we all grew up with. 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! Written by JASON HOFIUS and GEORGE KHOURY, with a new cover by superstar painter ALEX ROSS! (192-page FULL-COLOR HARDCOVER) $39.95 US • ISBN: 9781605490106 Diamond Order Code: SEP084302 Rescheduled for July 2009

SUBSCRIPTION RATES 2009 SUBSCRIPTION RATES:

Media Mail

EXTRAORDINARY WORKS KIRBY FIVE-OH! OF ALAN MOORE: LIMITED HARDCOVER Indispensable Edition Limited to 500 copies, KIRBY FIVE-OH! The definitive biography of the co-creator of WATCHMEN and V FOR VENDETTA finally returns to print in a NEW EXPANDED AND UPDATED VERSION! Features an extensive series of interviews with MOORE about his entire career, including a new interview covering his work since the sold-out 2003 edition of this book was published. Includes RARE STRIPS, SCRIPTS, ART, and private PHOTOS of the author, plus a series of tribute comic strips by many of Moore’s closest collaborators, a COLOR SECTION featuring a RARE MOORE STORY (remastered, and starring MR. MONSTER), and more! Edited by GEORGE KHOURY, with a cover by DAVE McKEAN! (240-page trade paperback) $29.95 US ISBN: 9781605490090 Diamond Order Code: OCT084400 Limited Hardcover Signed by Alan Moore (100 hardcover copies) $49.95 US Only available from TwoMorrows!

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

JACK KIRBY COLLECTOR (4 issues)

$50

$60

$84

$136

BACK ISSUE! (6 issues)

$44

$60

$70

$105

$115

DRAW! (4 issues)

$30

$40

$47

$70

$77

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

$88

$120

$140

$210

$230

BRICKJOURNAL (4 issues)

$38

$48

$55

$78

$85

LIMITED HARDCOVER EDITION covers the best of everything from Jack Kirby’s 50-year career in comics, including his 50 BEST STORIES, BEST COVERS, BEST EXAMPLES OF UNUSED KIRBY ART, 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 PENCIL ART, a DELUXE COLOR SECTION, a previously unseen Kirby Superman cover inked by DARWYN COOKE, and an introduction by MARK EVANIER! Includes a full-color wrapped hardcover, and an individuallynumbered extra Kirby pencil art plate not included in the softcover edition! It’s ONLY AVAILABLE FROM TWOMORROWS, and is not sold in stores! Edited by JOHN MORROW.

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 Diamond Order Code: DEC084286 Ships February 2009

(168-page Limited Edition Hardcover) (500 hardcover copies) $34.95 US Only available from TwoMorrows!

SHIPPING COSTS: Order online for exact weight-based postage, or 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 & SAVE!

Subscriptions will start with the next available issue, but CURRENT AND OLDER ISSUES MUST BE PURCHASED AT THE BACK ISSUE PRICE (new issues ship in bulk, and we pass the savings on in our subscription rates). In the US, we generally ship back issues and books by MEDIA MAIL.

COLLECTED JACK KIRBY COLLECTOR Volume 7

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TwoMorrows. Celebrating The Art & History Of Comics. (& LEGO! ) TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com

“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!

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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!

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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!

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ROUGH STUFF #5

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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!

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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

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ROUGH STUFF #9

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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

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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: $44 US Postpaid by Media Mail ($60 First Class, $70 Canada, $105 1st Class Intl., $115 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!

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BACK ISSUE #4

BACK ISSUE #5

BACK ISSUE #6

BACK ISSUE #7

BACK ISSUE #8

“PRO2PRO” between JOHN BYRNE and CHRIS CLAREMONT on their X-MEN WORK and WALT SIMONSON and JOE CASEY on Walter’s THOR, WOLVERINE PENCIL ART by BUSCEMA, LEE, COCKRUM, BYRNE, and GIL KANE, LEN WEIN’S TEEN WOLVERINE, PUNISHER’S 30TH and SECRET WARS’ 20TH ANNIVERSARIES (with UNSEEN ZECK ART), and more! BYRNE cover!

Wonder Woman TV series in-depth, LYNDA CARTER INTERVIEW, WONDER WOMAN TV ART GALLERY, Marvel’s TV Hulk, SpiderMan, Captain America, and Dr. Strange, LOU FERRIGNO INTERVIEW, super-hero cartoons you didn’t see, pencil gallery by JERRY ORDWAY, STAR TREK in comics, and ROMITA SR. editorial on Marvel’s movies! Covers by ALEX ROSS and ADAM HUGHES!

TOMB OF DRACULA revealed with GENE COLAN and MARV WOLFMAN, LEN WEIN & BERNIE WRIGHTSON on Swamp Thing’s roots, STEVE BISSETTE & RICK VEITCH on their Swamp work, pencil art by BRUNNER, PLOOG, BISSETTE, COLAN, WRIGHTSON, and SMITH, editorial by ROY THOMAS, PREZ, GODZILLA comics (with TRIMPE art), CHARLTON horror, & more! COLAN cover!

History of BRAVE AND BOLD, JIM APARO interview, tribute to BOB HANEY, FANTASTIC FOUR ROUNDTABLE with STAN LEE, MARK WAID, and others, EVANIER and MEUGNIOT on DNAgents, pencil art by ROSS, TOTH, COCKRUM, HECK, ROBBINS, NEWTON, and BYRNE, DENNY O’NEIL editorial, a tour of METROPOLIS, IL, and more! SWAN/ANDERSON cover!

DENNY O’NEIL and Justice League Unlimited voice actor PHIL LaMARR discuss GL JOHN STEWART, NEW X-MEN pencil art by NEAL ADAMS, ARTHUR ADAMS, DAVID MAZZUCCHELLI, ALAN DAVIS, JIM LEE, ADAM HUGHES, STORM’s 30-year history, animated TV’s black heroes (with TOTH art), ISABELLA and TREVOR VON EEDEN on BLACK LIGHTNING, and more! KYLE BAKER cover!

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BACK ISSUE #9

BACK ISSUE #10

BACK ISSUE #11

BACK ISSUE #12

BACK ISSUE #13

MIKE BARON and STEVE RUDE on NEXUS past and present, a colossal GIL KANE pencil art gallery, a look at Marvel’s STAR WARS comics, secrets of DC’s unseen CRISIS ON INFINITE EARTHS SEQUEL, TIM TRUMAN on his GRIMJACK SERIES, MIKE GOLD editorial, THANOS history, TIME WARP revisited, and more! All-new STEVE RUDE COVER!

NEAL ADAMS and DENNY O’NEIL on RA’S AL GHUL’s history (with Adams art), O’Neil and MICHAEL KALUTA on THE SHADOW, MIKE GRELL on JON SABLE FREELANCE, HOWIE CHAYKIN interview, DOC SAVAGE in comics, BATMAN ART GALLERY by PAUL SMITH, SIENKIEWICZ, SIMONSON, BOLLAND, HANNIGAN, MAZZUCCHELLI, and others! New cover by ADAMS!

ROY THOMAS, KURT BUSIEK, and JOE JUSKO on CONAN (with art by JOHN BUSCEMA, BARRY WINDSOR-SMITH, NEAL ADAMS, JUSKO, and others), SERGIO ARAGONÉS and MARK EVANIER on GROO, DC’s never-published KING ARTHUR, pencil art gallery by KIRBY, PÉREZ, MOEBIUS, GARCÍA-LÓPEZ, BOLLAND, and others, and a new BUSCEMA/JUSKO Conan cover!

‘70s and ‘80s character revamps with DAVE GIBBONS, ROY THOMAS and KURT BUSIEK, TOM DeFALCO and RON FRENZ on Spider-Man’s 1980s “black” costume change, DENNY O’NEIL on Superman’s 1970 revamp, JOHN BYRNE’s aborted SHAZAM! series detailed, pencil art gallery with FRANK MILLER, LEE WEEKS, DAVID MAZZUCCHELLI, CHARLES VESS, and more!

CARDY interview, ENGLEHART and MOENCH on kung-fu comics, “Pro2Pro” with STATON and CUTI on Charlton’s E-Man, pencil art gallery featuring MILLER, KUBERT, GIORDANO, SWAN, GIL KANE, COLAN, COCKRUM, and others, EISNER’s A Contract with God; “The Death of Romance (Comics)” (with art by ROMITA, SR. and TOTH), and more!

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BACK ISSUE #14

BACK ISSUE #15

BACK ISSUE #16

BACK ISSUE #17

BACK ISSUE #18

DAVE COCKRUM and MIKE GRELL go “Pro2Pro” on the Legion, pencil art gallery by BUSCEMA, BYRNE, MILLER, STARLIN, McFARLANE, ROMITA JR., SIENKIEWICZ, looks at Hercules Unbound, Hex, Killraven, Kamandi, MARS, Planet of the Apes, art and interviews with GARCÍA-LÓPEZ, KIRBY, WILLIAMSON, and more! New MIKE GRELL/BOB McLEOD cover!

“Weird Heroes” of the 1970s and ‘80s! MIKE PLOOG discusses Ghost Rider, MATT WAGNER revisits The Demon, JOE KUBERT dusts off Ragman, GENE COLAN “Rough Stuff” pencil gallery, GARCÍALÓPEZ recalls Deadman, DC’s unpublished Gorilla Grodd series, PERLIN, CONWAY, and MOENCH on Werewolf by Night, and more! New ARTHUR ADAMS cover!

“Toy Stories!” Behind the Scenes of Marvel’s G.I. JOE™ and TRANSFORMERS with PAUL LEVITZ and GEORGE TUSKA, “Rough Stuff” MIKE ZECK pencil gallery, ARTHUR ADAMS on Gumby, HE-MAN, ROM, MICRONAUTS, SUPER POWERS, SUPER-HERO CARS, art by HAMA, SAL BUSCEMA, GUICE, GOLDEN, KIRBY, TRIMPE, and new ZECK sketch cover!

“Super Girls!” Supergirl retrospective with art by STELFREEZE, HAMNER, SpiderWoman, Flare, Tigra, DC’s unused Double Comics with unseen BARRETTO and INFANTINO art, WOLFMAN and JIMENEZ on Donna Troy, female comics pros, art by SEKOWSKY, OKSNER, PÉREZ, HUGHES, GIORDANO, plus a COLOR GALLERY and COVER by BRUCE TIMM!

“Big, Green Issue!” Tour of NEAL ADAMS’ studio (with interview and art gallery), DAVE GIBBONS “Rough Stuff” pencil art spotlight, interviews with MIKE GRELL (on Green Arrow), PETER DAVID (on Incredible Hulk), a “Pro2Pro” chat between GERRY CONWAY and JOHN ROMITA, SR. (on the Green Goblin), and more. New cover by NEAL ADAMS!

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BACK ISSUE #19

BACK ISSUE #20

BACK ISSUE #21

BACK ISSUE #22

BACK ISSUE #23

“Unsung Heroes!” DON NEWTON spotlight, STEVE GERBER and GENE COLAN on Howard the Duck, MIKE CARLIN and DANNY FINGEROTH on Marvel’s Assistant Editors’ Month, the unrealized Unlimited Powers TV show, TONY ISABELLA’s aborted plans for The Champions, MARK GRUENWALD tribute, art by SAL BUSCEMA, JOHN BYRNE, and more! NEWTON/ RUBINSTEIN cover!

“Secret Identities!” Histories of characters with unusual alter egos: Firestorm, Moon Knight, the Question, and the “real-life” Human Fly! STEVE ENGLEHART and SAL BUSCEMA on Captain America, JERRY ORDWAY interview and cover, Superman roundtable with SIENKIEWICZ, NOWLAN, MOENCH, COWAN, MAGGIN, O’NEIL, MILGROM, CONWAY, ROBBINS, SWAN, plus FREE ALTER EGO #64 PREVIEW!

“The Devil You Say!” issue! A look at Daredevil in the 1980s and 1990s with interviews and art by KLAUS JANSON, JOHN ROMITA JR., and FRANK MILLER, MIKE MIGNOLA Hellboy interview, DAN MISHKIN and GARY COHN on Blue Devil, COLLEEN DORAN’s unpublished X-Men spin-off “Fallen Angels”, Son of Satan, Stig’s Inferno, DC’s Plop!, JACK KIRBY’s Devil Dinosaur, and cover by MIKE ZECK!

“Dynamic Duos!’ “Pro2Pro” interviews with Batman’s ALAN GRANT and NORM BREYFOGLE and the Legion’s PAUL LEVITZ and KEITH GIFFEN, a “Backstage Pass” to Dark Horse Comics, Robin’s history, EASTMAN and LAIRD’s Ninja Turtles, histories of duos Robin and Batgirl, Captain America and the Falcon, and Blue Beetle and Booster Gold, “Zot!” interview with SCOTT McCLOUD, and a new BREYFOGLE cover!

“Comics Go Hollywood!” Spider-Man roundtable with STAN LEE, JOHN ROMITA, SR., JIM SHOOTER, ERIK LARSEN, and others, STAR TREK comics writers’ roundtable Part 1, Gladstone’s Disney comics line, behindthe-scenes at TV’s ISIS and THE FLASH (plus an interview with Flash’s JOHN WESLEY SHIPP), TV tie-in comics, bonus 8-page color ADAM HUGHES ART GALLERY and cover, plus a FREE WRITE NOW #16 PREVIEW!

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BACK ISSUE #24

BACK ISSUE #25

BACK ISSUE #26

BACK ISSUE #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!

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THE

BATCAVE C O M P A N I O N NOW SHIPPING! Batman. Is he the campy Caped Crusader? Or the grim Gotham Guardian? Both, as The Batcave Companion reveals. On the brink of cancellation in 1963, Batman was rescued by DC Comics editor Julius Schwartz, who, abetted by several talented writers and artists, gave the hero a much-needed “New Look” which soon catapulted Batman to multimedia stardom. In the next decade, when Batman required another fresh start, Schwartz once again led a team of creators that returned the hero to his “creature of the night” roots. Writers Michael Eury (The Krypton Companion, The Justice League Companion) and Michael Kronenberg (Spies, Vixens, and Masters of Kung Fu: The Art of Paul Gulacy) unearth the stories behind the stories of both Batman’s “New Look” and Bronze Age (1970s) comic-book eras through incisive essays, invaluable issue-by-issue indexes, and insightful commentary from many of the visionaries responsible for and inspired by Batman’s 1960s and 1970s adventures: Neal Adams, Michael Allred, Terry Austin, Mike W. Barr, Steve Englehart, Mike Friedrich, Mike Grell, Carmine Infantino, Joe Giella, Adam Hughes, Sheldon Moldoff, Will Murray, Dennis O’Neil, Bob Rozakis, Mark Waid, Len Wein, and Bernie Wrightson. Featuring 240 art- and info-packed pages, The Batcave Companion is a must-have examination of two of the most influential periods in Batman’s 70-year history.

Written by Back Issue’s

MICHAEL EURY & MICHAEL KRONENBERG ISBN 978-1-893905-78-8 $26.95 in the U.S. plus shipping Batman, Robin, and all related characters and indicia are TM & © DC Comics. All Rights Reserved. Used with permission.

NEW STUFF FROM TWOMORROWS!

ALTER EGO #85

WRITE NOW! #20

ROUGH STUFF #12

DRAW! #17

BRICKJOURNAL #5

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!

(100-page magazine) $6.95 US (Digital Edition) $2.95 Diamond Order Code: MAR094514 Now shipping!

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KIRBY COLLECTOR #52

EXTRAORDINARY WORKS OF ALAN MOORE:

BATCAVE COMPANION

Spotlights Kirby’s most obscure work, like an UNUSED THOR STORY, BRUCE LEE comic, animation work, stage play, unaltered versions of pages from KAMANDI, DEMON, & DESTROYER DUCK, a feature examining the last page of his final issue of various series BEFORE EDITORIAL TAMPERING, unseen Kirby covers & more! (84-page tabloid magazine) $9.95 US Diamond Order Code: DEC084397 (Digital Edition) $3.95 • Now shipping!

COLLECTED KIRBY COLLECTOR VOL. 7 Reprints KIRBY COLLECTOR #27-30 plus over 30 pieces of Kirby art never published! (288-page trade paperback) $29.95 ISBN: 9781605490120 Now shipping!

GRAILPAGES

The definitive autobiographical book on ALAN MOORE in a NEW EXPANDED AND UPDATED VERSION! Includes new interviews covering his work since the original 2003 edition of the book. From SWAMP THING, V FOR VENDETTA, WATCHMEN, and LEAGUE OF EXTRAORDINARY GENTLEMEN and beyond – all are discussed by Alan. Plus, there’s RARE STRIPS, SCRIPTS, ARTWORK, and PHOTOGRAPHS, tribute comic strips by NEIL GAIMAN and other of Moore’s closest collaborators, a COLOR SECTION featuring the RARE MOORE STORY “The Riddle of the Recalcitrant Refuse” (newly remastered, and starring MR. MONSTER), and more! Edited by GEORGE KHOURY, with a cover by DAVE McKEAN!

Explore the Silver and Bronze Ages of Batman comic books in THE BATCAVE COMPANION! Two distinct sections of this book examine the Dark Knight’s progression from his campy “New Look” of the mid-1960s to his “creature of the night” reinvention of the 1970s. Features include issue-by-issue indexes, interviews with CARMINE INFANTINO, JOE GIELLA, DENNIS O’NEIL, and NEAL ADAMS, and guest essays by MIKE W. BARR and WILL MURRAY. Contributors include SHELDON MOLDOFF, LEN WEIN, STEVE ENGLEHART, and TERRY AUSTIN, with a special tribute to the late MARSHALL ROGERS. With its incisive introduction by DENNIS O’NEIL and its iconic cover painting by NEAL ADAMS, THE BATCAVE COMPANION is a must-have for every comics fan! By MICHAEL EURY and MICHAEL KRONENBERG.

(240-page trade paperback) $29.95 US ISBN: 9781605490090 Diamond Order Code: JAN088702 Now shipping!

(224-page trade paperback) $26.95 US ISBN: 9781893905788 Diamond Order Code: NOV068368 Now shipping!

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2009 SUBSCRIPTION RATES:

Media Mail

Original Comic Book Art & The Collectors Examines the hobby of collecting original comic book art, letting you meet collectors from around the globe as they detail collections ranging from a few key pages, to hundreds of pages of original comic art by JACK KIRBY, JOHN ROMITA SR., and others! Features interviews with industry pros, including writers GERRY CONWAY, STEVE ENGLEHART, and ROY THOMAS, and exclusive perspectives from Silver Age artists DICK GIORDANO, BOB McLEOD, ERNIE CHAN, TONY DeZUNIGA, and the unparalleled great, GENE COLAN! Completing the book is a diverse sampling of breathtakingly beautiful original comic art, some lavishly presented in full-page spreads, including pages not seen publicly for decades. Written by STEVEN ALAN PAYNE. (128-page trade paperback) $15.95 US ISBN: 9781605490151 Diamond Order Code: JAN094470 Now shipping!

VOLUME 20: KYLE BAKER

(120-page trade paperback with COLOR) $14.95 US • ISBN: 9781605490083 Now shipping!

VOLUME 21: CHRIS SPROUSE

(128-page trade paperback) $14.95 US • ISBN: 97801605490137 Ships May 2009 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!

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