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CHRISTMAS IN THE BRONZE AGE!

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UNWRAPPING YOUR FAVORITE HOLIDAY COMICS FROM THE ’70s, ’80s, AND EARLY ’90s!

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Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments 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!

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“Batman’s Partners!” MIKE W. BARR and ALAN DAVIS on their Detective Comics, Batman and the Outsiders, Nightwing flies solo, Man-Bat history, Commissioner Gordon, the last days of World’s Finest, Bat-Mite, the Batmobile, plus Dark Knight’s girl Robin! Featuring work by APARO, BUSIEK, DITKO, KRAFT, MILGROM, MILLER, PÉREZ, WOLFMAN, and more, with a cover by ALAN DAVIS and MARK FARMER.

“Bronze Age Fantastic Four!” The animated FF, the FF radio show of 1975, Human Torch goes solo, Galactus villain history, FF Mego figures… and the Impossible Man! Exploring work by RICH BUCKLER, JOHN BUSCEMA, JOHN BYRNE, GERRY CONWAY, STEVE ENGLEHART, GEORGE PÉREZ, KEITH POLLARD, ROY THOMAS, LEN WEIN, MARV WOLFMAN, and more! Cover by KEITH POLLARD and JOE RUBINSTEIN.

“‘80s Independents!” In-depth looks at PAUL CHADWICK’s Concrete, DAVE SIM’s Cerebus the Aardvark, and RICHARD AND WENDY PINI’s Elfquest! Plus see ‘80s independent comics go Hollywood, DAVID SCROGGY remembers Pacific Comics, TRINA ROBBINS’ California Girls, and DENIS KITCHEN’s star-studded horror/sci-fi anthology Death Rattle. Cover by PAUL CHADWICK!

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“Let’s Get Small!” Marvel’s Micronauts, The Atom in the Bronze Age, JAN STRNAD and GIL KANE’s Sword of the Atom, the rocky relationship of Ant-Man the Wasp, Gold Key’s Microbots, Super Jrs., DC Digests, and Marvel Value Stamps. Featuring the work of PAT BRODERICK, JACKSON GUICE, ELLIOT S! MAGGIN, BILL MANTLO, AL MILGROM, ALEX SAVIUK, ROGER STERN, LEN WEIN, & more. Cover by PAT BRODERICK!

“When Comics Were Fun!” HEMBECK cover and gallery, Plastic Man, Blue Devil, Marvel’s Star Comics imprint, VALENTINO’s normalman, Bronze Age’s goofiest Superman stories, and the Batman/Dick Tracy team-up you didn’t see! Featuring MAX ALLAN COLLINS, PARIS CULLINS, RAMONA FRADON, ALAN KUPPERBERG, MISHKIN & COHN, STEVE SKEATES, JOE STATON, CURT SWAN, and more!

“Weird Issue!” Batman’s Weirdest TeamUps, ORLANDO’s Weird Adventure Comics, Weird War Tales, Weird Mystery Tales, DITKO’s Shade the Changing Man and Stalker, CHAYKIN’s Iron Wolf, CRUMB’s Weirdo, and STARLIN and WRIGHTSON’s The Weird! Featuring JIM APARO, LUIS DOMINGUEZ, MICHAEL FLEISHER, BOB HANEY, PAUL LEVITZ, and more. Batman and Deadman cover by ALAN CRADDOCK.

“Charlton Action Heroes in the Bronze Age!” DAVE GIBBONS on Charlton’s WATCHMEN connection, LEN WEIN and PARIS CULLINS’ Blue Beetle, CARY BATES and PAT BRODERICK’s Captain Atom, Peacemaker, Peter Cannon: Thunderbolt, and a look at Blockbuster Weekly! Featuring MIKE COLLINS, GIORDANO, KUPPERBERG, ALAN MOORE, PAT MORISI, ALEX ROSS, and more. Cover by AL MILGROM.

“Flash and Green Lantern in the Bronze Age” (crossover with ALTER EGO #132)! In-depth spotlights of their 1970s and 1980s adventures, MARK WAID’s look at the Flash/GL team, and PAUL KUPPERBERG’s Lost GL Fillins. Bonus: DC’s New York Office Memories, and Green Lantern: Ganthet’s Tale by LARRY NIVEN and JOHN BYRNE. With BARR, BATES, GIBBONS, GRELL, INFANTINO, WEIN, and more. Cover by GEORGE PÉREZ.

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“DC Bronze Age Giants and Reprints!” An indepth exploration of DC’s 100-PAGE SUPER SPECTACULARS, plus: a history of comics giants, DC indexes galore, and a salute to “human encyclopedia” E. NELSON BRIDWELL. Featuring the work of PAT BRODERICK, RICH BUCKLER, FRANK FRAZETTA, JOE KUBERT, BOB ROZAKIS, BERNIE WRIGHTSON, and more. Super Spec tribute cover featuring classic art by NICK CARDY.

“Bronze Age Events!” With extensive coverage of the Avengers/Defenders War, JLA/JSA crossovers, Secret Wars, Crisis’ 30th anniversary, Legends, Millennium, Invasion, Infinity Gauntlet, and more! Featuring the work of SAL BUSCEMA, DICK DILLIN, TODD McFARLANE, GEORGE PÉREZ, JOE STATON, LEN WEIN, MARV WOLFMAN, MIKE ZECK, and more. Plus an Avengers vs. Defenders cover by JOHN BYRNE.

“International Heroes!” Alpha Flight, the New X-Men, Global Guardians, Captain Canuck, and Justice League International, plus SpiderMan in the UK and more. Also: exclusive interview with cover artists STEVE FASTNER and RICH LARSON. Featuring the work of JOHN BYRNE, CHRIS CLAREMONT, DAVE COCKRUM, RICHARD COMELY, KEITH GIFFEN, KEVIN MAGUIRE, and more! Alpha Flight vs. X-Men cover by FASTNER/LARSON.

“Supergirl in the Bronze Age!” Her 1970s and 1980s adventures, including her death in Crisis on Infinite Earths and her many rebirths. Plus: an ALAN BRENNERT interview, behind the scenes of the Supergirl movie starring HELEN SLATER, Who is Superwoman?, and a look at the DC Superheroes Water Ski Show. With PAUL KUPPERBERG, ELLIOT MAGGIN, MARV WOLFMAN, plus a jam cover recreation of ADVENTURE COMICS #397!

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Volume 1, Number 85 December 2015 EDITOR-IN-CHIEF Michael Eury Comics’ Bronze Age and Beyond!

PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTISTS Marie Severin and Mike Esposito (from the collection of John Bamber) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg

SPECIAL THANKS Arthur Adams Mark Arnold John Bamber Mike W. Barr Eliot R. Brown Jonathan R. Brown John Cimino Chris Claremont Mark Clegg Tom DeFalco J. M. DeMatteis Leonardo De Sà Chris Franklin Mike Friedrich Stephan Friedt Dave Gibbons Keith GIffen Grand Comics Database Jason Harris Karl Heitmueller, Jr. Heritage Comics Auctions Sid Jacobson Rob Kelly Barbara Kesel Kris Kringle Paul Kupperberg Christopher Larochelle

Chris Marshall Marvel Comics Steve Mitchell Ann Nocenti Luigi Novi Dennis O’Neil Jerry Ordway Tom Palmer Tom Powers Joe Pruett Steve Purcell Shannon E. Riley Bob Rozakis Bob Schreck Diana Schutz Mitchell Senft Eric Shanower Robin Snyder Roger Stern Romeo Tanghal Roy Thomas Steven Thompson Rick Veitch Mark Waid Greg Weisman Doug Wheeler Marv Wolfman Doug Wheeler Craig Yoe

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FLASHBACK: Merry Christmas from Gotham City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 It’s the most wonderful time of the year for Batman FLASHBACK: Christmas with the Superheroes…………..………………….. . . . . . . . . . . . . .13 A creator-crammed cascade of comments about DC Christmas classics PRO2PRO: A Christmas Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 DC writers and artists share holiday recollections PRINCE STREET NEWS: Four-Color Traditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Yuletide nostalgia courtesy of Karl Heitmueller, Jr. BACK IN PRINT: Christmas Re-Presents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Faithful tales that are dear to us gather near to us once more—in treasuries and other formats FLASHBACK: Marvel Holiday Grab-Bag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Sweet Christmas! From Luke Cage to She-Hulk, Season’s Greetings from Marvel FLASHBACK: Merry Christmas, X-Men . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 X-mas stories featuring Marvel’s mutants FLASHBACK: The Superhero Merchandise Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 The comic promos that drove fans wild THE TOY BOX: It’s a Power Records Christmas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Superheroes take a vinyl spin to the North Pole BEYOND CAPES: Archie Christmas Love-In and Harvey Holidays . . . . . . . . . . . . . . . . . . .57 Season’s greetings from Riverdale and the Harvey toons FLASHBACK: Santa Claus: The Movie Adaptation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 You’ll believe a jolly fat man can fly! BEYOND CAPES: Have Yourself a Comico Little Christmas . . . . . . . . . . . . . . . . . . . . . . . .65 Looking back at 1988’s Comico Christmas Special and Gumby’s Winter Fun Special FLASHBACK: The Giffen Who Stole Christmas! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 How Keith Giffen’s Ambush Bug and Lobo sabotaged the 25th of December BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Reader reactions

BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Six-issue subscriptions: $60 Standard US, $85 Canada, $107 Surface International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by Marie Severin and Mike Esposito. Spider-Man and Kingpin TM & © Marvel Characters, Inc. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2015 Michael Eury and TwoMorrows Publishing, except Prince Street News TM & © Karl Heitmueller, Jr. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in China. FIRST PRINTING. Christmas in the Bronze Age Issue

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In the background: From the 1975 Mighty Marvel Calendar. Art by Sal Buscema. TM & © Marvel Characters, Inc.

PROOFREADER Rob Smentek

“The day before Christmas, and a smooth, white sheet of snow blankets the rooftops and streets of Gotham City.” Under the pen of his uncredited co-creator, Bill Finger, so begins Batman’s first Christmas tale in Batman #9, cover-dated Feb.–Mar. 1942, and released around December 10th, 1941. This simple but evocative paragraph could be the opening for any Batman holiday story, and despite the character’s notoriously solemn nature, there have been many. They have spanned his storied career, appearing in not only comics, but in the other mediums he has conquered. Not surprisingly, they have also provided snapshots of the character’s evolution over his 76-year history.

HAPPY GOLDEN DAYS OF YORE The first Batman Christmas tales were of a kind … mostly the Dickensian variety. In that very first tale mentioned earlier, Batman and Robin reunite little Timmy Cratchit with his father Bob, who was wrongly framed for murder. Batman coerces a confession from the real killer by posing as the Ghost of Christmas Past, or, more correctly, the murder victim in question. In Batman #27 (Feb.–Mar. 1945), the Dynamic Duo teaches a familiar lesson concerning goodwill toward man to a young miser named Scranton in “A Christmas Peril.” These special stories were a nearly annual tradition, running in the Batman title (but surprisingly, not Detective Comics) through February–March 1948, only missing the 1944-dated issue. By the time these seasonal adventures began, Batman had, of course, acquired a crimefighting partner in Robin and had softened from the ruthless avenger of his earliest stories, even becoming an ally of the police. When the cycle finished, the status quo was relatively the same, although Batman stepped further and further from the shadows as those years progressed.

Chris Franklin

SILVER AND BRONZE, SILVER AND BRONZE Christmas snow finally fell once again in Gotham, when Batman #219 (Feb. 1970) hit the stands in late 1969. The Batman titles were in a state of flux, struggling in the fallout from the phenomenal (if short-lived) success of the 1966–1968 Batman television series. In one episode of that series, Adam West and Burt Ward’s Batman and Robin ran into Santa Claus himself (played by cowboy comedian Andy Devine) during one of their routine “Bat-Climb” segments, providing their only holiday encounter in decades. As he had done in 1964 when he inherited the titles, editor Julius Schwartz was once again shaking up the Batman comics to insure their survival. Just two issues earlier, Batman had sent Robin off to college and sealed up the Batcave, moving into downtown Gotham to keep his finger on the pulse of the city‘s crime. Batman #219’s hidden Christmas gift, “The Silent Night of the Batman,” was penciled in his revolutionary illustrative style by comics’ newest renaissance man, Neal Adams. Dick Giordano, who had earlier arrived at DC from Charlton, provided the inks. The story was conceived and written by young comic writer Mike Friedrich.

Caroling Caped Crusader Our hero and Gotham’s finest sing the night away in Batman #219 (Feb. 1970). (inset) 1945’s Batman #27, cover-featuring one of the hero’s Golden Age holiday tales. TM & © DC Comics.

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“In the late ’60s I had a near-complete collection of the Golden Age Batman comics and was a big fan of the early-’40s version of the character,” says Friedrich. “The roughness of the early stories had been filled in and fleshed out and the creative teams really hit their stride. It didn’t last long, maybe just a couple of years, before the war took its toll. So, I was totally aware of the Golden Age Christmas stories and considered them some of my favorites from that period. At that time, the Batman comic was big enough (64 pages) that each issue contained four rather packed stories (each story easily as dense as a single issue today). One of them would be a costumevillain story (Joker, Penguin, Scarecrow, etc.) with an outlandish fantastic crime scenario and one of them would be a ‘small,’ human-interest story. The Christmas stories fit into this latter category.” Friedrich continues, “When I got a chance to write for DC editor Julie Schwartz, a Batman Christmas story was one of the early ideas I pitched. He didn’t agree until I’d gotten a couple of years’ experience. We spent a full summer month going back and forth on the story. Financially, writing this story was a disaster (back then, as now, eight pages of script money does not pay the rent), but the final quality of the story has over time made up for it. I think it’s been reprinted more than any other story I’ve done.” In the tale, it’s Christmas Eve, and the Batman is ever-vigilant. He answers the Bat-Signal summons, but finds Commissioner Gordon has no crime or emergency for him to solve. Despite the Darknight Detective’s protests, Gordon is sure there will be no need for Batman this night. He even convinces the Masked Manhunter to join the boys in blue for a round of Christmas carols. A slightly embarrassed Batman agrees, but only until trouble rears its ugly head. As the police and their special guest sing the songs of the season, we see vignettes of life in Gotham City: lives all touched in some way by the Batman. A young group of thieves return a stolen package to a shopper when they unwrap a Batman action figure inside; across town a gunman throws away his pistol when he bumps into a blind man dressed in Santa beard and Batman costume, collecting money for charity; and a distraught woman sees the shadow of a bridge become the visage of a bat reflected on the waters below, as she throws a rose and a letter she received into the harbor. That letter told her that her solider husband was missing in action, or perhaps presumed deceased. As she turns around, her world, a fictional character) is a given returning husband leaps from a now, but it was new territory in 1969, personnel truck. one that for Friedrich was important After finishing up “Silent Night,” to explore. “As part of the first wave Batman realizes he has been singing of comics fans hired to write and draw all night long, and it is now 6 a.m., comics, I was aware of how important Christmas morning. Amazingly, a symbol my favorite characters were Gordon was right, and no calls for to developing my ethical and moral mike friedrich him have come in. As he wonders if life,” Friedrich explains. “For me, the Christmas Spirit really took hold of Batman was a great symbol for how the city, he seems to see that spirit, in a shimmering form light/goodness can exist (and actually thrive) in a world of Commissioner Gordon, who asks, “But what is the of shadow and gray. I was really glad to be able to show Christmas Spirit, Batman—might it not be you … or I?” this in ‘Silent Night of the Batman.’ ” After he comes back to his senses, the Caped Friedrich reveals that artist Adams contributed more Crusader swings off into the sunrise, pondering the than just his deft pencils: “Neal Adams was also involved connections between himself and that elusive in how that story evolved. He fed me scene ideas as I Christmas Spirit. submitted drafts to Julie and once the script was written Friedrich’s tale is a tour de force of good cheer. and approved, his interpretation took it to another level.” While Batman takes the night off, his image influences Amongst fans and scholars, the scene with the the people of Gotham in positive ways, helping to prevent soldier’s wife has been interpreted in various ways. crime and heartache. The notion of a superhero as a Friedrich reveals, “The script as written has the soldier’s symbol, something more than just a man (or in the real wife contemplating suicide. Today I think this a horrible Christmas in the Bronze Age Issue

Silent Night, Dark Night Title page to Batman #219’s holiday classic. Story by Mike Friedrich, art by Neal Adams and Dick Giordano. TM & © DC Comics.

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cliché and I’m so, SO grateful that Neal drew the scene in such a way that it’s much more ambiguous. We still have the cliché of her husband right then leaping out of the truck, but, hey, it’s Christmas Eve. And speaking of the soldier’s wife scene, did you notice that she’s pregnant? That wasn’t in the script, Neal added it. Probably the first pregnant woman in a DC comic.” Combine this truly touching story by Friedrich with the groundbreaking art of Adams and Giordano, and you have a story that has become a bona fide classic, no matter the season, and a touchstone in Batman’s history. The Batman seen here is by no means Adam West, but not quite the definitive Batman of the Bronze Age … just yet. While Batman doesn’t turn down Gordon’s offer to join in the festivities, he does question it, something he would not have done in the previous decade. Adams and writer Denny O’Neil had just begun their gamechanging Batman work the month before, in Detective Comics #395, “The Secret of the Waiting Graves.” It was under O’Neil’s watch that Batman would spend his next several holidays.

STAR OF WONDER, STAR OF NIGHT Batman #239 (Feb. 1972) features “Silent Night, Deadly Night!” by writer O’Neil, penciler Irv Novick, inker Giordano, and editor Schwartz. Batman tracks a criminal who is assaulting and robbing a series of sidewalk Santas on Christmas Eve. After apprehending him, Batman takes pity on this man named Tim, and follows him back to the apartment he shares with his young niece, Betsy. Tim relates how Betsy’s medical expenses and his lack of employment led to his criminal acts. Batman feels for Tim, but tells him he shouldn’t take his anger out on the world: It’s his employer who is to blame for his current woes. Unfortunately Tim takes this to heart, and knocking Batman unconscious, goes after his former employer, rich recluse Richard Lee Evans. Batman, with Betsy in tow, begins to track Tim to Evans’ mansion, but they are soon snowbound. A miracle appears in the form of a one-horse open sleigh, straight from a Currier and Ives print. They eventually arrive at the mansion, only to find Tim carrying the man’s limp body. Batman fears the worse, but the ill, yet still alive Evans stirs. Tim couldn’t finish his act of vengeance, but his threats startled the man into a heart attack. In the sleigh, they race Evans into Gotham, where he is treated at a local hospital. Batman tells Tim they’ll discuss his troubles with the law later, and hands him a stack of cash to give Betsy a nice Christmas. When Batman goes to see about the horse and sleigh, they have both vanished. He ponders to whom these miracle providers belonged. He then looks up to the sky, and seeing the Christmas star says, “No, on second thought … I do know whom it belongs to!” Clearly, the depiction of Batman has changed in the two years since Friedrich’s tale. While Batman is still compassionate, he openly questions that compassion, and seems to have a much harder stance on crime, and a shorter fuse when it comes to criminals. He snaps at Tim and threatens bodily harm to him several times in this story. Visually, Novick and Giordano follow the template set by Adams in making Batman’s ears and cape longer, for a fearsome image. This tougher, no-nonsense Batman would continue to evolve, as we shall see. The calendar rolls to another Christmas, and Batman #247 (Feb. 1973). The team of O’Neil, Novick, Giordano, and Schwartz reunite to tell a tale simply titled “Merry Christmas.” A stranded family of three seeks shelter in a secluded house in the woods outside of Gotham. The owner is less than welcoming, but his guest beckons them in. The homeowner is not pleased at the young boy playing with his expensive telescope, but the mother discovers they have bigger problems. She recognizes the unwelcome guest as Chimp Manners, wanted for stealing a vial of top-secret nerve gas from the Army. Manners threatens everyone in the house when Batman arrives, having tracked Manners’ crashed helicopter to the area. The Masked Manhunter disarms Manners, who then produces the deadly vial and forces Batman, the amateur astronomer, and the family into the cold so he can dispose of them. Suddenly, a blinding flash of light appears from nowhere, buying Batman the time he needs to kayo Manners. Batman believes what saved them to be a flare, but the would-be astronomer is certain it was a star. Given the evening and the miracle that just saved them, Batman is forced to agree.

The Brave and the Cold (top) Gotham’s Guardian spreads yuletide cheer on Neal Adams’ cover of Batman #239 (Feb. 1972). (bottom) From inside, Batman aids “Santa.” By Denny O’Neil, Irv Novick, and Dick Giordano. TM & © DC Comics.

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While O’Neil uses a “Christmas miracle” once again to This short, six-page story may be over, but the plot continues into the issue’s second tale, “…and a save the day in the first story, the situation is much grimmer Deadly New Year,” again written by O’Neil and edited than his previous Yuletide tale, with the lead characters by Schwartz, but this time with full art chores by having little time to concern themselves with festivities. Giordano. Manners is freed from Batman’s custody When Manners threatens the family with his gun, Batman by a group of accomplices, and the only clue they informs the criminal he’d better shoot him first, leave behind is a New Year’s Eve party invitation. “because if you don’t, I’ll waste you—.” Later, in the Later that Christmas evening, Batman confers with second story, when Manners strikes him, he quips, “Not a bad punch … for a girl scout!” Batman of the Commissioner Gordon, who tells Batman of a Golden Age was known to be rather chatty threat the police received: if Boss Halstrom and to make bad puns that would later isn’t sprung from prison by midnight on be attributed to Robin. Here we see New Year’s Eve, the vial of gas will be that institution has returned, along with released. The irony is, Halstrom died tough-guy talk that wouldn’t sound in prison the night before. Both wrong coming out of the mouths of Gordon and Batman know that the then-popular screen actors like Clint blackmailer won’t believe this, Eastwood and Charles Bronson. It is however, so they have a week to track refreshing to see Robin and Alfred down the terrorists. Batman learns participate, since Batman is being the gas emits an odor similar to that portrayed most often in solo cases at of violets, while Alfred and Robin this time. He has yet to become the help uncover likely suspects; three of loner he would later be known for. Bruce Wayne’s millionaire friends denny o’neil who narrowly escaped bankruptcy thanks to funds from Swiss bank Luigi Novi / accounts and were all invited to the Wikimedia Commons. party at the Gotham Citytop Room. On New Year’s Eve, Bruce Wayne arrives and runs into the three millionaires in question. Sitting with the three men, Bruce signals Alfred to drop a glass bottle, and suddenly, millionaire Van Dyne panics at the smell of violets. As he pulls a gas mask from his coat, Batman appears, and he and Robin take out the millionaire and his chauffer. The ever-alert Batman notices Van Dyne glancing out the window at the New Year’s ball, nearing its annual drop. The Caped Crusader finds the vial, along with a time bomb attached to the ball, and disarms it as he rides it to the street below. Gotham says goodbye to a year that was nearly its last.

Christmas in the Bronze Age Issue

Holiday Two-in-One (left) Dick Giordano’s cover to Batman #247 (Feb. 1973) spotlights New Year’s Eve, per its second story, while (bottom) its lead story is Christmasthemed. TM & © DC Comics.

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DO THEY KNOW IT’S CHRISTMAS?

Slay Ride Batgirl and Robin vs. sinister Santas on Ernie Chua’s cover to Batman Family #4 (Mar.–Apr. 1976). TM & © DC Comics.

Harriet (in a rare post-Silver Age appearance) arrive to spend Christmas with Dick and Lori’s family. After the heavier stories by Friedrich and O’Neil, this is a light romp through the snow. Was this an intentional change of pace by Rozakis? “I don’t think there was any conscious effort to get away from previous Batman Christmas tales,” Rozakis says. “I certainly was not about to pose a world-ending threat in a, what, ten-page story, set in New Carthage.” The writer did have some fun at Robin’s non-weather-ready costume, and the ’60s TV series, as the Teen Wonder quips, “I could give you some line about Bat Thermal Underwear … but yeah! I’m freezing!” Rozakis admits, “I had been wanting to use that line from the first Robin story I wrote and this was the ideal occasion. During my fanboy days, I always wondered why no one ever made a comment about Robin running around in snow and freezing weather with no pants on!” And what of Aunt Harriet, made famous by the TV show—why the brief reappearance here? Did Rozakis have any plans for her in his Robin series outside of her holiday visit? “Though Aunt Harriet had been written out of the series, there was no indication that bob rozakis she’d died, so why not have her show up for Christmas?” Rozakis says. “If not Luigi Novi / Wikimedia Commons. then, when would they see her? On the other hand, I saw no need or use for her on an ongoing basis, which is why I don't think I ever used her again.” Christmas skips another year for the Batman cast, but returns in Batman #285 (Mar. 1977). “The Mystery of Christmas Lost,” by writer David V. Reed, artists Romeo Tanghal and Frank Springer, and editor Schwartz, is without a doubt the weirdest Batman Christmas tale we’ve examined so far, and perhaps one of the weirdest Batman tales—period. Using his mystical powers, Dr. Tzin-Tzin summons a dragon demon, which brings forth a magic elixir. His plan is to rob Gotham of a most precious gift, “…something you can never recover— because it only exists in the mind.” But first Batman must encounter a giant, demonic bear, hiding in the large Christmas tree in Gotham plaza. The Darknight Detective soon discovers that only he and he alone remembers Christmas, with Robin forgetting why he came home in the first place, and Alfred equally forgetful, like all of Gotham. Batman eventually tracks Tzin-Tzin to the local city works, where he is releasing his magic elixir into the air via the steam system. Fighting off hordes of illusionary creatures, Batman manages to destroy the elixir and rather callously scalds his enemy in hot steam. With the elixir gone, Gotham remembers the reason for the season once more. David V. Reed was a veteran comic writer who wrote many classic Batman tales during the late Golden and early Silver Ages. To say his take on Batman’s world was unique in the Bronze Age is an understatement, and this story is a rather extreme example. The fantastical elements of this story are in stark contrast to the more realistic and urban tales spun by O’Neil and Friedrich.

Inside Batman Family #4 (Mar.–Apr. 1976) we find “Robin’s (Very) White Christmas,” written by Bob Rozakis, with art by Jose Delbo and Vince Colletta, and once again edited by Julius Schwartz. In the college town of New Carthage, student Dick Grayson and his steady girlfriend Lori Elton help the faculty raise money for charity, while a blizzard blows into the Northeast. Dick is worried he won’t be able to make his flight to Gotham for Christmas with his family. He should have been more worried about thieves, who knock him cold and take off with his Santa sled and the loot. As Robin, he tracks the evil Kris Kringle to the Hudson University Student Center, where the criminals attempt to rob all of the charity money. The Teen Wonder arrives and makes short work of them, but the blizzard has closed all roads and airports, so Dick is unable to make it home. Luckily, home has come to him, as Bruce, Alfred, and even Dick’s Aunt

CITY SIDEWALKS, BUSY SIDEWALKS… Christmas of 1978 proved to be a hectic time for Batman, with holiday stories appearing in two of his regular titles. In Batman #309 (Mar. 1979), writer Len Wein and artists John Calnan and Frank McLaughlin spin a tale called “Have Yourself a Deadly Little Christmas” for departing editor Schwartz. On Christmas Eve, the man-monster Blockbuster witnesses a group of young punks robbing a woman. The woman, Kathy, returns to her ramshackle apartment

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and, despondent over her impoverished existence, grabs a bottle of sleeping pills. Wanting to talk to someone, she calls the Gotham P.D., where a visiting Batman gets wind of the trouble. He keeps her on the line long enough to trace her call and heads off before it’s too late. In the meantime, Blockbuster has retrieved Kathy’s purse and tracked her home. He finds her having already succumbed to her overdose, and, sensing she needs help, carries her off. Batman arrives and finds a destroyed door, an empty apartment … and a bottle of sleeping pills. He follows the monster’s rather obvious trail. The Caped Crusader eventually catches up to his old foe, but when he suggests taking Kathy to a hospital the creature goes berserk, remembering the painful experiments conducted on him in a similar locale. Their rather onesided battle leads them to a pier and the frozen Gotham River. Blockbuster leaps onto the ice but Batman tackles him, forcing him to drop Kathy. Their tussle cracks the icy surface, and soon the girl is floating away in the frigid waters. Ignoring his own safety, Blockbuster leaps to the ice floe Kathy is stranded on. Despite her initial repulsion, she sees the kindness in his eyes and goes to him. He throws her into Batman’s arms just as the ice floe cracks, and he crashes into the frigid waters below. Later Kathy assures Batman she’ll try to find in herself what Blockbuster saw—something worth saving. Writer Wein had recently come off a long run on Marvel’s Hulk, and that much is obvious here. Blockbuster was obviously an analog for the Jade Giant, and this story in particular evokes the small human-interest stories portrayed weekly on the live-action Incredible Hulk TV series starring Bill Bixby and Lou Ferrigno, which had begun its regular run the spring before. Once again, Batman is very friendly with the Gotham P.D., and Wein establishes that Gordon and Batman exchange the same Christmas gifts every year: pipe tobacco for Gordon, and charitable donation for Batman. Over in The Brave and the Bold #148 (Mar. 1979), Batman had Plastic Man over for the holidays. “The Night

the Mob Stole Xmas!” is your typical, atypical Bob Haney yarn. The longtime writer of B&B had previously portrayed Plastic Man as a down-on-his-luck has-been, and continues that trend here. With art by Joe Staton and inks by Jim Aparo, we join Batman in trying to expose a “buttlegging” ring (an illegal cigarette-smuggling operation). While on patrol, Batman bumps into Plastic Man, who is playing a sidewalk Santa in front of the famed Lacey’s Department Store Christmas display. Later, that display is robbed, and Plas is gone with it. The mayor fears Christmas in Gotham is ruined, and calls for a state of emergency (!), while Gordon puts the police on “Condition Red.” The ever-alert Batman spots a clue scribbled in the snow, reading “90S Acme Movers.” He tracks a convoy of trucks down the freeway, hauling the Christmas display, and his captured elastic friend. Their destination: Conch Key, Florida. There, mobster Big Jake Doyle has planned a huge Christmas party, inviting rivals in the cigarette-smuggling business in an effort to bury the hatchet before he passes on due to a terminal illness. But the whole thing is a scam to eliminate the competition, and soon Batman and Plas are in the thick of it. The Man of a Thousand

Tzin the Christmas Spirit (above) Original art to the splash page of Batman #285 (Mar. 1977), courtesy of its penciler, Romeo Tanghal, who discusses this story later in this issue. Special thanks to Shannon E. Riley. (left) The issue’s cover, by Jim Aparo. TM & © DC Comics.

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Blue Christmas (left) Blockbuster grinches up the holiday on Aparo’s cover to Batman #309 (Mar. 1979). (right) From the Wein/Calnan/ McLaughlin tale inside, poor Kathy Crawford is crushed by holiday loneliness. TM & © DC Comics.

Shapes manages to bury the entire mob contingent in mounds of fake snow, and then forces them—at gunpoint (!!)—to reload the trucks and drive the boosted display back to Gotham. On Christmas Eve, Batman, the mayor, and Gordon look in awe at the returned display, while Plastic Man, still in his Santa suit, writes “Merry Xmas” out with his outstretched arm. Fun but head-scratchingly odd stories like this give credence to the long-held notion of Haney’s stories taking place on “Earth-B.” Even though Paul Levitz had taken over as editor from Murray Boltinoff by this point, this feels like Haney’s earlier efforts with Plastic Man [see BI #78]. Clearly, Haney is channeling the ’70s interest in trucking and the CB radio craze, as seen in films like Smokey and the Bandit and in songs like “Convoy.” Disregarding the treatment of the character elsewhere in the decade, Haney’s Batman cracks a joke about a dead criminal truck driver, ribs Gordon for his ineffectiveness, gets buffered clean by a set of large carwash brushes, and grins from ear to ear while his partner holds a machine gun on criminals. This is not quite the same Batman seen in O’Neil’s holiday tales. Speaking of O’Neil, he would sneak in one final Christmas miracle for the ’70s in DC Special Series #21 (Apr. 1980), ably covered by Shannon Riley elsewhere in this issue. Some familiar themes repeat in that story, with a side character finding redemption thanks to the help of some divine intervention and Batman, of course. Frank Miller’s art is quite Adams-like here, but, of course, he would add his own distinct touch to the character in the decade to come.

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THE WEATHER OUTSIDE IS FRIGHTFUL… The remainder of Batman’s holiday adventures in the Bronze Age would come from the typewriter and pencil of one creative team: writer Mike W. Barr and artist Jim Aparo. Their collaboration began as Barr became the semiregular writer of The Brave and the Bold. In issue #184 (Mar. 1982), the two chronicled “Batman’s Last Christmas” for editor Dick Giordano. Batman is visited by the Huntress, a.k.a. Helena Wayne, the daughter of his deceased doppelganger on the parallel world of Earth-Two. She is hoping to spend Christmas with her “uncle” Bruce, but her timing couldn’t be worse. Batman has just uncovered evidence that his father, Thomas Wayne, helped fund the criminal empire of mob boss “Spurs” Sanders. Following the case, Bruce and Helena visit the Waynes’ old family accountant, Amos Randolph, who, although stricken with a nerve disorder, has kept the Wayne family records intact for years. They learn that Thomas made substantial withdrawals from his accounts, without Randolph’s knowledge. Their worst fears are confirmed when Spurs Sanders himself produces an audiotape conversation where Thomas Wayne seems to cut a deal with Sanders. Now regarding his life’s work a lie, the disillusioned Darknight Detective visits his parents’ grave and rips off his cape and cowl, disavowing his life as Batman. Helena flashes back to the tragic death of her mother, the Catwoman of Earth-Two, and how her father also turned his back on his alter ego. She eventually motivates Bruce to investigate further, and a distant memory comes to the fore, a memory of a young Amos Randolph and his

nervous tapping … the same kind of tapping heard on Sanders’ audiotape. His father cleared, Batman returns, and he and the Huntress wrap up the case, delivering the evidence on Randolph’s impersonation and Sanders to Commissioner Gordon. Later, the Dark Knight reaffirms his vow to fight crime, and wishes his parents a Merry Christmas. This issue perfectly reflects the maturity of the storytelling seen at DC in the early ’80s. Young writers were fully embracing the continuity they grew up loving, and exploring the rather complex relationships such concepts as parallel Earths can create. In the B&B letters columns of the time, the Huntress topped the list of fan-requested guests. Did Barr have the story in mind before picking the Huntress as his co-star? “I don’t recall which came first,” Barr says. “The idea of a Christmas story with the sometimes-dour Batman seemed to call for a more personal touch, which may have been where the idea of using the Huntress, a character I had liked since her inception (as long as she was the Earth-Two Batman’s daughter), came from. I had her refer to Batman insouciantly as ‘Uncle Bruce,’ which always gave me a grin.” Barr further explored the dynamics between the Earth-One Batman and his older, deceased counterpart in B&B #200, the series’ final issue. Was he sorry to see the parallel worlds concept swept under the rug a few years later in Crisis on Infinite Earths? “Immensely. DC took the single idea that most differentiated their shared universe from Marvel’s and eliminated it in an attempt to become more like Marvel, feeling such details were what drew fans, rather than good stories. It’s always easier to imitate than to create and, as Spock said in Star Trek II, ‘As a matter of cosmic history, it has always been easier to destroy than to create.’ ” In addition to the usual tough-guy routine, Barr shows Batman’s compassionate side as the story begins by having him anonymously donate a large bag of toys to a local orphanage. He also brings Bruce Wayne so low, his very reason for being is put into question. Barr explains, “The idea of Batman as the ‘real’ identity and Bruce Wayne the ‘shell’ was gaining popularity by that time. But since the same concept was becoming popular with Superman as well—Clark Kent as the pose, Kal-El as the true personality— I thought it was important to show that the Bruce Wayne identity still was important to Batman, which is why he’s so affected by the possibility of his father having been corrupt.” The success of their B&B collaborations afforded Barr and Aparo the chance to launch a new Batman book. Out of the ashes of the old team-up title came Batman and the Outsiders, debuting in 1983 under editor Len Wein, and featuring a team consisting of Batman and old B&B allies Metamorpho and Black Lightning, along with new heroes Geo-Force, Katana, and Halo [see BI #73]. BATO issue #8 (Mar. 1984) featured a holiday tale titled “The Hand That Rocks the Cradle.” Batman investigates the kidnapping of a baby, while the Outsiders all deal with various forms of loneliness and regret over the holidays. When Batman matches the fingerprints of the kidnapper to the baby himself, and an incoherent old man found wandering the streets, he knows something strange is afoot. A preschool full of children aged into senility adds to the mystery, and, as if in

answer, Batman’s old ally, the Phantom Stranger, appears. Both he and Batman fear the next target will be Gotham’s Children’s Hospital, and they are right. On Christmas Day, a routine birth for expectant mother Carol Dennison becomes far more than that when the newborn mystically changes into the Stranger’s old foe, Tannarak, whose essence has been entering the bodies of children and aging them as he rebuilds enough power to truly be “reborn.” As the two sorcerers battle, Batman and his team intercede to help. The evil mystic takes control of the babies in the nearby nursery, who then attack the heroes. As the Outsiders struggle with stopping the children without hurting them, the Phantom Stranger makes the difficult decision to destroy Tannarak’s physical form, even at the cost of the newborn child. As his enemy disintegrates, the aged children return to normal. Miraculously, Carol Dennison has an unexpected twin to deliver, and the troubled Outsiders receive a welcome Christmas gift in a job well done. Despite the presence of the Outsiders, this issue reads like a B&B tale. Barr briefly touches on the other characters’ subplots, but it is Batman and the Phantom Stranger who carry the story. The Phantom Stranger was no … stranger to Wein and Aparo, who collaborated on his title in the ’70s. Did Barr craft this as a gift to his collaborators? “Heh. If anything it was a gift to myself, as I had long wanted to write a Phantom Stranger story drawn by Jim. But Jim had no problems with the temporary addition of the Stranger, and Len liked the fact that I used Tannarak, whom I believe he created.” Barr continues to portray a nuanced Caped Crusader. His Batman is both an advocate for victims of crime and a harsh tactician, treating his teammates more like soldiers than peers, and refusing to trust them with his secret identity. “Like a lot of writers of superhero teams, I used the real-life parallel of Batman as a combat officer,” notes Barr. “He liked each one of the Outsiders—a fact that would become more apparent as the series progressed—but his first task was to teach them how to stay alive in combat. It was a fine challenge to show both of these aspects of Batman’s character, sometimes in the same panel.” This iteration of Batman would take hold as the version of choice in the late ’80s and beyond. The following year, in BATO #19 (Mar. 1985), another ally of Batman’s stops by for the holidays, but it isn’t exactly a team-up for all involved. In “Who’s Afraid of the Big Red S?”, Brion (Geo-Force) Markov’s friend Denise Howard nearly overdoses on sleeping pills. Geo-Force arrives in time to get her medical attention, but he knows what drove Denise to this desperate act. When she refused the sexual advances of her college dean

Christmas on Earth-B Bob Haney reunites Batman and Plastic Man at Christmas in Brave and Bold #148 (Mar. 1979). Pencils by Joe Staton, inks by Jim Aparo. TM & © DC Comics.

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I’ll Be Home for Christmas (right) Aparo cover to The Brave and the Bold #184 (Mar. 1982), teaming Batman and EarthTwo’s Huntress, who (left) has a “family” moment with Bruce Wayne in Mike W. Barr’s story. TM & © DC Comics.

harassment, a topic not often seen in mainstream comics of the time. Was this a subject the writer felt strongly about exploring? “Any abuse of power is great story material, and there’s always plenty of that in the business of comics,” Barr says. “It’s not always sexual harassment, but there’s lots of that, too.” Barr and Aparo dedicate this story to Superman creators Jerry Siegel and Joe Shuster. This tale does evoke the social injustices the Man of Steel tackled in his early days, in the context of a superheroic throwdown. Barr admits, “I have never denied that Geo-Force was based on Siegel and Shuster’s Superman, and in one of the early S&S Superman stories Superman slaps around a wife-beater. The character had moved far beyond his populist roots by BATO #19, so it was great fun to position Superman against his earlier ‘self.’ I was delighted to learn that Jerry and Joe (if I may) liked the story. Batman’s role in the story is essentially that of chess master, something he doesn’t do enough of nowadays.” By this time Batman has shared his secret identity with the team, showing some level of growth mike w. barr in regard to his allies. Unfortunately, that level of understanding didn’t last. Batman split from the team, as they forged a new life in a new town, Hollywood, and a new deluxe title of their own, The Outsiders, once again launched by Barr and Aparo. By issue #5 (Mar. 1986), Christmas had rolled around again, and so had the annual holiday tale, “A Christmas Carol—1985.” The title says it all, as the Outsiders literally scare the Dickens out of mob accountant Eben Mudge. They pry evidence from his mind while playing the various ghosts who haunt him, thanks in part to the illusionary powers of their new member,

Doug Raeburn, he withheld her scholarship. In a murderous rage, Geo-Force flies off to find Raeburn, and a worried Halo runs to Batman. Knowing that the no one on the team can counter Geo-Force’s awesome Earth-based powers, he calls in some heavy-duty help. Superman arrives just in time to stop Geo-Force from killing Raeburn and an all-out battle ensues, with Geo-Force using his powers to cancel out the Earth’s gravitational effects on the Man of Steel, making it an even physical brawl. But the Last Son of Krypton has experience on his side, and creates an avalanche of snow to subdue the hot-headed hero. Later, at Raeburn’s home, Batman provides evidence that will put an end to the dean’s predatory practices and his career. A now-wiser Geo-Force knows the system can work, and visits a recovering Denise in her hospital room on Christmas Day. With this issue, Barr (who was also now the editor of the series) and Aparo tackle the subject of sexual

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Looker. But Mudge takes things into his own hands, and turns state’s evidence on his longtime employer, sending mobster Tommy Sinclair to prison. In the untitled backup story by Barr and original Black Lightning artist Trevor von Eeden that follows, Black Lightning and Katana’s Christmas shopping is interrupted by crooks that take over a mall, thanks to the help of a former criminal-turned-store Santa. Santa Bernie has returned to his lawless ways to save his son Gary, who is being held hostage by the mob boss in charge of the operation. The two Outsiders make quick work of the criminals inside and help Bernie nab the bad guy and save his son. But Black Lightning still didn’t get a present for his ex-wife…. The opening story is an unapologetic adaptation of the classic book in the Outsiders format, plain and simple. Even without the presence of the Dark Knight, Barr and Aparo have brought these Christmas tales full circle, back to their Dickensian roots. Was this on the creators’ minds, or was it just a chance to have fun with a holiday classic? “A little of both, I think,” says the writer. “I have always loved Christmas—both as a religious and a secular holiday—and I have a soft spot for holidaythemed stories. To some extent I regarded the Outsiders not so much as a superhero team as a sort of repertory company, so it was fun to use them in a somewhat offbeat story like this.” The backup has a similar hook to the O’Neil/Miller tale, but with a down-on-his-luck ex-con forced back into a life of crime, but now with the added twist of child endangerment. Did O’Neil’s Christmas yarns inspire Barr? “The history of comic-book Christmas stories certainly played a part in the development of that story, not just Denny’s scripts but those written by Bill Finger and other such legends over the years. Such stories nearly always involve justice being done to the abused, which is, after all, the story of Christmas itself. Will Eisner’s Christmas Spirit stories were a major influence. Such tales used to be an industry staple. But no one else is doing anything like them nowadays, and comic-book publishers wonder why their books don’t sell. I also did several Christmas stories in my creator-owned book The Maze Agency, to the readers’ great delight.”

Barr and Aparo had spun three Christmas yarns in as many years. Was it a conscious effort on the writer’s part to return to this annual tradition? “Very much so,” Barr states. “Many at DC derided this tradition, calling such stories ‘old-fashioned’ and ‘corny.’ I readily pled guilty then took great delight in pointing to The Outsiders’ sales figures as proof I was on the right track. In many ways the comic-book business has gotten far too ‘sophisticated’—in the same sense that the Clampetts became sophisticated when they moved to Beverly Hills—for its own good. But the staples last. Christmas stories will return someday—if there are still comic books for them to return to.”

Barr … Humbug! Mike W. Barr and Jim Aparo’s three Christmas issues of Batman and the Outsiders/ The Outsiders. TM & © DC Comics.

IT DOESN’T SHOW SIGNS OF STOPPING… In the years that have followed, Christmas has come to Gotham many times, mostly in holiday specials rather than regular issues of the ongoing titles. Yuletide tales haven’t just been limited to DC’s comics, with holidaythemed episodes of Batman: The Animated Series and Batman: The Brave and the Bold providing us different takes on Batman and crew at the happiest time of the year. Even 1992’s big-budget film Batman Returns was set during the Christmas season. As they have for over 75 years, Batman’s world—his very character—continues to evolve and change. During the holidays, we often reflect on who we are, and the events that have shaped us. The stories covered in this article remind us of the Batman we knew, and have influenced the Batman of today, and perhaps the one yet to come … ghosts of past, present, and future. Special thanks to Mike Friedrich, Bob Rozakis, and Mike W. Barr for sharing their memories regarding these stories. CHRIS FRANKLIN hosts the Super Mates podcast with his wife Cindy, at www.supermatescomic.blogspot.com. He would like to thank his friend, Power Records Podcast co-host Rob Kelly, for his help in gathering materials for this article.

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Gaudy colors. Outlandish costumes and regalia. Joyful and inspiring adventures. Christmas and superheroes have always been a natural fit for each other. At this special time of year, let’s take a moment to look at tales of Christmases Past from the hallowed halls of DC Comics.

UNITED FOR JUSTICE AND PEACE

Shannon E. Riley

“The Year Without a Christmas!” from Shazam #11 (Mar. 1974) kicks off our survey of superhero holiday tales, as the Marvel Family (Billy, Freddy, and Mary) attempts to stop the Sivanas from trying to shorten Christmas Day so it would be only ten minutes long. The breezy seven-page story, written by Elliot S! Maggin and illustrated by Kurt Schaffenberger, would later be reprinted in the squarebound Showcase Presents: Shazam! (2006) collection. Long before he became a fan-favorite in the animated Justice League series, Green Lantern John Stewart made his first appearance with the team in Justice League of America #110 (Mar.–Apr. 1974). Written by Len Wein and illustrated by Dick Dillin and Dick Giordano, “The Man Who Murdered Santa Claus!” saw the heroes face off with the Key after the murder of a department store Santa. A few years later, Gerry Conway’s “2,000 Light-Years to Christmas!” in JLA #152 (Mar. 1978) introduced Red Tornado’s adopted daughter Traya in a holiday tale about three galactic travelers (the Three Kings, anyone?). The next holiday season brought an injured Hal Jordan struggling to prevent a volcano from wiping out fellow Justice Leaguers Black Canary and Green Arrow, as well as a young woman about to give birth on Christmas Eve in Green Lantern #113 (Feb. 1979). [Author’s note: For an in-depth look at the JLA’s “Satellite Years,” check out my article in BACK ISSUE #58.] Uncle Sam and team face off against the evil villain Elf and his deadly toys, as well as miniature replicas of the Justice League, in Freedom Fighters #7 (Apr. 1977). Speaking of replicas, “The Emperor of the North Pole” also introduces the Crusaders—Barracuda, Americommando, Rusty, Fireball, and Sparky—all obvious homages to Marvel’s Invaders. Writer Bob Rozakis recalls, “We’d had some readers asking why the FFers didn’t battle the JLA, so this story, with the JLA ‘action figures,’ was a fun way to deal with it. The appearance of the Crusaders was an inside joke that Roy Thomas and I shared; at the same time, he had pastiches of the Freedom Fighters— also named the Crusaders—in The Invaders. I came up with the idea and either Tony Isabella or Jack Harris broached it to Roy.” The book was ably penciled by Dick Ayers, of whom Rozakis notes, “No matter how many characters I put into the stories—and there were plenty— he did a great job.” While outside of regular DC continuity, Super Friends #42 (Mar. 1981) features a six-page Wonder Twins backup story entitled “A Christmas with Everything.” In the Romeo Tanghal-penciled tale, the alien siblings learn the true meaning of Christmas as they witness a man performing multiple good deeds for those in need, with no expectation of receiving anything in return.

Stars of Wonder The star-studded DC Special Series #21 (Apr. 1980). Cover by José Luis García-López. TM & © DC Comics.

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Super-Team Family Christmas (right) St. Nick no more. Splash page to Justice League of America #110’s lead story, which also includes Green Lantern John Stewart’s first JLA appearance. (left) DC’s FF vs. action figures on the Rich Buckler/Jack Abel cover of Freedom Fighters #7 (Mar.–Apr. 1977). TM & © DC Comics.

Sometime-Justice Leaguer and former Charlton hero Captain Atom has his own Christmas-themed storyline in Captain Atom #13 (Mar. 1988). Written by Cary Bates and Greg Weisman, “We Three Kings…” sees Captain Atom lamenting his troubles, feeling completely alone and disconnected. However, at tale’s end Nathaniel Adam rediscovers his inner strength and passion for helping others (much in the same way that George Bailey does in It’s a Wonderful Life). There’s also a great subplot involving Wade Eiling, which introduces his father Harris and supporting character Chester King, the introduction of Eve Eden (Nightshade), and a cameo by Enemy Ace. While many holiday tales tend to be self-contained, oneand-done stories, “We Three Kings…” is essential to the series and really moves things forward. Weisman and I connected via email, and he offers his take on the tale’s objective: “The point was to contrast Cap’s story with General Wade Eiling’s and with the story of Chester King, a normal, average guy. All three were men with compromised morals, but the holidays can be a time of self-reflection and reevaluation. Cap reevaluates and likes what he sees, so he walks off happy. Chester reevaluates and doesn’t like what he sees, so he walks off quite unhappy but on a better path. Wade refuses to reevaluate and thus can’t even see what

he’s missing.” Of the story’s various players, Weisman recalls, “[Nightshade] and Captain Atom had been partners in the old Charlton days, so she was a good fit, particularly since—like Cap—she had a government affiliation in her DC incarnation, thanks to the Suicide Squad. But I believe using Enemy Ace was Cary’s idea. Initially, I wasn’t that familiar with the character, but I quickly did my research. It’s odd, I know, throwing a World War I story into the middle of a modern-day Christmas story, but it allowed us to introduce Harris Eiling (a character I liked so much I put a version of him as a cameo in my first novel, Rain of the Ghosts) with a pretty dynamic story of his own—one that set an example for Wade that Wade rejects.”

Gift of the Magi(c Word) (opposite page) Original art page by Kurt Schaffenberger from Shazam! #11 (Mar. 1974). Courtesy of Heritage Comics Auctions (www.ha.com).

ANOTHER LONELY CHRISTMAS The Man of Steel has had a long history with Christmas, going all the way back to Superman’s Christmas Adventure in 1940 and “The Man Who Hated Christmas” from 1946’s Action Comics #105. In the Bronze Age, we’d see DC’s first costumed hero travel to “A World Without Christmas” in The New Adventures of Superboy #39 (Mar. 1983) and then team up with Santa Claus to battle the Toyman in DC Comics Presents #67 (Mar. 1984). Christmas in the Bronze Age Issue

TM & © DC Comics.

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Holiday Cheer (top) Adventures of Superman #487. (bottom left) Sometimes you wanna go where everybody knows your name: Pat Broderick’s Captain Atom #13 (Mar. 1988) cover. (bottom right) Superman and Santa vs. the Toyman, in DC Comics Presents #67 (Mar. 1984). Cover by José Luis García-López. TM & © DC Comics.

“Christmas in Suicide Slumberland” from The Adventures of Superman #487 (Feb. 1992) is a nice focus on some of the secondary and tertiary players in the Superman cast. Though it’s a holiday story, “Christmas in Suicide Slumberland” serves to actually move the storylines of Jimmy Olsen, Pete Ross, Bo “Bibbo” Bibbowski, and Agent Liberty forward. Bibbo, in particular, gets a fair amount of the spotlight: half in the bag, he dresses up as Santa to visit an orphanage with Superman and Jimmy, and ends up being the driving force behind reconnecting Jimmy with his mother after Jimmy had fallen on hard times. Writer Jerry Ordway recalls to BACK ISSUE the roots of this Bibbo story: “What I can add is that since the comics didn’t progress in real time, we tried to avoid doing any kind of Christmas or specific holiday in any of the titles more than once every few years. Otherwise fans would argue that, for example, a year had passed in continuity over the 12 published comics that year. I believe Dan Jurgens had done a Christmas story at some point, so I guess it was my turn! My inspiration was from my own childhood, as my mom ran a tavern, which we lived over. At Christmas, she would have one of the regular customers dress as Santa Claus and pass out a little gift for every customer, since most of her regulars were older, retired folk with no local family. On a few occasions, I dressed as Santa, to perform the duty, despite being 10, 12 years old. My work on Superman, over the years, had a special focus on Bibbo and the Ace O’ Clubs because of my life experiences.” Out of all the holiday-themed Superman tales, none are quite as affecting as “Clark Kent’s Lonely Christmas,” a tearjerker of a backup story from Action Comics #469 (Mar. 1977).

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Written by Bob Rozakis with art by John Calnan and Tex Blaisdell, we’re reminded that Clark Kent is truly an orphan with no family to speak of (this is, of course, years before the 1986 reboot that would bring back Ma and Pa Kent and finally get him together with Lois). We see Clark leave the WGBS-TV holiday party alone and return Smallville to wander around his boyhood home, now dark and empty. Clark then heads out for a solitary walk and encounters orphans looking skyward for signs of Santa. Inspired by their innocence and seeing a bit of himself in them, Clark decides to secretly plays Santa, bringing gifts and joy to their orphanage. Of the Action Comics backup feature, and this story specifically, Rozakis remembers that “ ‘The Private Life of Clark Kent’ was another of my regular assignments and I tried to come up with everyday events and how they would be different for Clark. Since pretty much everyone else he knew had family to share the holidays with, I said to Julie [Schwartz], ‘Well, what does Clark do? Maybe he spends Christmas Eve as Superman, flying around the world, doing good deeds.’ As we talked through it, I said that Clark would have had happier Christmases when the Kents were alive, so what if he spends the holiday in Smallville, alone in the house? And that’s how the story evolved.” Rozakis concludes, “It was, indeed, a very melancholy tale, but I think it struck a chord with readers who never thought about this side of the Man of Steel. I’ve heard from fans over the years who tell me this is their favorite Clark Kent story ever.”

CRUEL YULE As joyous as Christmas can be, there’s always been something of a dark undercurrent to the holiday—look no further than Dickens’ classic ghost story “A Christmas Carol” or Krampus, the mythic horned demon who terrorizes naughty children. Even my favorite Christmas song, “Carol of the Bells,” has dark, gothic overtones and appears in the Batman: Arkham Origins video game as somewhat of a theme for the Joker. It’s quite fitting then that DC Comics would choose to publish macabre Yuletide tales in some of its longest-running mystery and horror titles. The beginning of the Bronze Age saw a three-page gem in the form of “Night Prowler!” by the uncredited team of Len Wein and Bernie Wrightson, published in House of Mystery #191 (Mar.–Apr. 1971).

A young couple watches late night television in their snow-covered home, hearing their local news anchor warn the public of a prowler on the loose. Fred, the husband, has clearly had enough of terrible news and grumbles, “…wars in the Middle East—racial strife at home—murders— muggings—strikes … there are times when I wish they’d drop the bomb and end it all!” The wife gently admonishes Fred for his negative outlook and the pair retire to bed, only to be awakened several hours later by a noise coming from downstairs. Fred grabs his shotgun and fearfully heads down to investigate, ready to “shoot first and ask questions later!” Fred stumbles across the intruder (who appears off-panel only) and a smile slowly crawls across his face. Fred returns to his wife, peers out the window, and tells her that “there may be hope for us yet!” As the pair return to their slumber, Wein ends the tale thusly: “Quiet hoofbeats rose from the roof, carrying the sound of jingle bells out over the city towards the coming dawn.” There would be no prowler terrorizing the populace this evening. “Night Prowler!” was the only holiday-themed story in House of Mystery #191, though the Neal Adams-illustrated cover did feature a trio of children happening upon the body of a man who’d presumably just been murdered by a gang of malicious toys. How’s that for festive? [Author’s note: At the time that this article was being prepared, both Len Wein and Bernie Wrightson were recuperating from health issues. We wish them a speedy recovery and look forward to hearing from them in future installments of BACK ISSUE.] A gorgeous Nick Cardy cover for The Witching Hour #28 (Feb. 1973) depicts a skeletal St. Nick and warns the reader to “Never Kill a Santa Claus!” The interior nine-page story, similarly titled “Never Kill Santa Claus,” is penciled and inked by Gerry Talaoc. While the issue was edited by Murray Boltinoff, there’s no indication as to who actually wrote the tale. It’s a fun and sinister story: Micah, a department store Santa, is stabbed by his boss Mr. Cranston after

Christmas in Smallville From “Clark Kent’s Lonely Christmas,” in Action Comics #469 (Mar. 1977). By Rozakis/Calnan/Blaisdell. TM & © DC Comics.

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Candy Cain Holiday horrors from The House of Mystery: (left) from 1971’s “Night Prowler!” in issue #191, and (right) 1978’s impalement scene, from HOM #257. TM & © DC Comics.

Micah witnesses him stealing money from the safe qualities and certainly had it coming. I emailed Kupperberg in an effort to pull off an insurance scam. Much to Mr. to see if he recalled having had any trouble getting it past editor Paul Levitz. Says the writer, “I probably didn’t give Cranston’s horror and consternation, a stranger appears to resume Micah’s role as Santa. Strange happenings it a second thought. We were used to nudging the edge abound after the “new” Santa appears, and Mr. Cranston of the Comics Code with our toes with some of the stories ultimately ends up being electrocuted while trying to in the horror books … well, we called them ‘mystery’ books in those days because we still weren’t allowed to abscond with the rest of the store’s money. Five years later, another night prowler appeared in publish horror with any teeth. For all I know, Paul might a House of Mystery holiday tale. This untitled Paul even have suggested the antler bit. In spite of the more serious business image Paul later developed in the Kupperberg-penned and Ric Estrada-penciled yarn industry, he could still be a little editorially from issue #257 (Mar.–Apr. 1978) sees the subversive back in the day. But I don’t recall House of Mystery invaded by a Kentucky any reaction to the ending whatsoever.” state asylum escapee dressed up as Santa Lavishly illustrated by Ernie Colón, Claus. “Killer” Cowan seeks refuge from “Santa Claus is a Killer!” is a truly the police, forcing brothers Cain and creepy tale from The Unexpected #220 Abel to tell him some stories until (Mar. 1982). In it, a mental-asylum the cops are off his trail. There are escapee named William Barker some nice, macabre little touches— assumes the guise of Santa and Kupperberg’s use of the ’Twas the terrorizes the town of Fairhaven (are Night before Christmas poem as a story you sensing a theme yet?). Writers element, the “real” St. Nicholas and Robin Snyder and Sarah Gregory his sleigh on the rooftop of the House ratchet up the tension as a mother is of Mystery, and “Killer” Cowan being left alone with her young daughter impaled by reindeer antlers (!) at the paul kupperberg on Christmas Eve after her husband conclusion. While it’s certainly creepy, is called into work. Colón masterfully it’s far more tongue-in-cheek thanks Luigi Novi / to the inclusion of the ineffectual Abel and his long- Wikimedia Commons. intersects scenes of the crazed killer stalking the streets with the mother trying to soothe her suffering brother Cain. I’ll admit I was a bit surprised by the antler-impaling daughter, reassuring the young girl that her father will scene—even though “Killer” Cowan has no redeeming be home before too long.

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Scary Christmas (top left) Joe Kubert cover to The Unexpected #220 (Mar. 1982). (top right) Santa … oh, behave! García-López cover (designed by Ed Hannigan) for 1987’s Elvira’s House of Mystery Special #1. (bottom) Original Nick Cardy cover art to The Witching Hour #28 (Feb. 1973), courtesy of Heritage. TM & © DC Comics.

I had a chance to connect with writer Robin Snyder via email and inquired about his collaboration with the legendary Colón and how he came to be assigned the art duties for the story: “Ernie Colón may have asked for this assignment or Dave [Manak] may have given it to him. He did an outstanding job illustrating the routine script. We worked together on a few projects…” Adds Snyder, “He was so enthusiastic about this story he asked to be allowed to letter and color the work. I was so pleased with the result I asked for the originals and have them still. They give me great enjoyment as I look at them. And some heartburn. The story was chosen for the lead but was too tall for that spot. So … some ham-fisted fellow in production solved the problem by cutting several inches off the top of the splash page.” My favorite story from Elvira’s House of Mystery Special #1 (1987) is Barbara Randall Kesel’s “O, Christmas Tree…,” in which mid-’80s ennui and greed are on full display. Faye and Steve are a self-centered, insufferable affluent couple, disliked by their neighbors and even by their Christmas Eve party guests. They are, however, given their just desserts when they are eaten by their Christmas tree at the story’s conclusion. Illustrated by Stephen DeStefano, it’s a sharp and concise tale that rounds out an enjoyable issue featuring other holiday contributions from such creators as Paul Gulacy, Bob Lappan, José Luis García-López, Frank Springer, Michael Fleisher, and Joey Cavalieri. The cover features the ever-voluptuous Elvira sitting on Santa’s lap reading off her wish list as an elf stares in shock at the scene unfolding before him. I asked Kesel if “O, Christmas Tree…” was her commentary on the “Me” generation. She confirms, “Yep, a highly subtle snide commentary on the pre-Internet mail-order-catalog Yuppie lifestyle. I moved to New York during the height of the clonezone-yellow-power-tie movement and the Yuppie invasion of selfobsessed materialists. I played ‘dodge the self-obsessed power climber’ on the way to the subway and rolled my eyes at all the bobbing ‘Child on Board’ stickers on minivans (because people will automatically drive better because you’ve bred?). New York at the time (Starbucks hadn’t invaded Manhattan) was all about business people in the same tan trench coats and the same plaid scarves and the same shellacked hair racing to earn enough to buy themselves happiness. It felt like I was living in Metropolis (the 1927 film, not Superman’s city). I enjoy the heck out of NYC now, but I hated it in the ’80s.” Christmas in the Bronze Age Issue

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WORLD’S GREATEST HOLIDAY SPECIALS

TM & © DC Comics.

During the Bronze Age it was not uncommon for DC Comics to run reprints as backup material for its monthlies—or compile a collection of stories and package them as special editions. Certainly, reprints were a cost-effective way to fill the publishing schedule and put the spotlight on characters that otherwise couldn’t support a regular monthly feature. Such was the case with The Best of DC #22 (Mar. 1982), a Christmas with the Super-Heroes digest examined elsewhere in this issue. It featured new front and back cover art from Rich Buckler and George Pérez, respectively. A new cover on a collection of reprints was a great marketing strategy on DC’s part: It could make a collection of old stories feel new, while also targeting those longtime collectors who probably had the original comics but couldn’t resist new art from superstars like Buckler and Pérez. Similarly, 1988’s reprint collection Christmas with the Super-Heroes #1 sports a gorgeous wraparound John Byrne cover depicting Black Canary, Green Arrow, Batman, Superman, Wildfire, Robin, and

Wonder Girl gathered around a Christmas tree, while their boots are hung by the chimney with care. This squarebound reprint special is also discussed later in this issue. Published in the Dollar Comic format, DC Special Series #21: Super-Star Holiday Special (Apr. 1980) was a veritable treasure trove of all-new holiday goodness under a fantastic José Luis García-López cover. Contained within: • “The Fawn and the Star,” a Jonah Hex tale written by Michael Fleisher and illustrated by Dick Ayers and Romeo Tanghal; • an untitled House of Mystery story by Bob Rozakis, penciled by Romeo Tanghal, and inked by Dan Adkins; and • the Sgt. Rock and Easy Company tale “The Longest Night!” by Bob Kanigher, featuring pencils by Dick Ayers and inks by Romeo Tanghal. Writer Paul Levitz offered a new 12-page Legion of Super-Heroes story in the form of “Star Light, Star Bright … Farthest Star I See Tonight!” It’s Christmas Eve 2979, and Superboy breaks the time barrier to visit his teammates at Legion HQ. Upon arriving, he’s greeted by Phantom Girl and Saturn Girl, and the trio begin

While this article’s main focus is on the holiday happenings of DC’s mainstream superheroes and mystery stars, there are a number of other DC Bronze Age publications that featured Christmas-themed stories. Here’s a brief rundown of comics spanning the war, Western, action, and humor genres. • Hot Wheels #6 (Feb. 1971) raced onto the spinner racks with “The Humbug Run,” written by Len Wein with tricked-out interiors by Neal Adams and Dick Giordano. The Adams cover sports a souped-up Santa sleigh racing straight toward the title’s protagonists. While this was the final issue in the series, the Mattel toy line is still going strong after almost 50 years. • “You go spread some holiday cheer amongst the kiddies—or there’ll be another dead Santa ‘round here!” So says our titular bounty hunter to his abusive dad, Pappy Hex, in Jonah Hex #34 (Mar. 1980). With story and art by Michael Fleisher and Dan Spiegle, “Christmas in an Outlaw Town!” sees Hex track down a band of crooks who have shot a wealthy philanthropist who was preparing to dress up as Santa at a mission orphanage. Jonah Hex shoots the Boley Boys and forces Pappy to play Santa for the orphans. • ’Mazing Man Special #2 (1988) featured four new holiday stories, including “Minute Mystery,” “Work/Out,” “Strangers on a Train,” and “Christmas Open House.” Regular creators Bob Rozakis and Stephen DeStefano were joined by an all-star team of guest inkers: Trina Robbins, Craig Boldman, Karl Kesel, and Steve Leialoha. One final Special followed in 1990. As to any future plans for ’Mazing Man, Rozakis says, “DC owns the character, but no one there seems interested in bringing him back. I’d love to revisit him and I think Stephen would as well.” • Sgt. Rock and Easy Company stand down Nazi combatants on Christmas Eve in Sgt. Rock #414 (Feb. 1987). “The Shining Star” finds two wayward French villagers, Giuseppe and Maria, given shelter in a cave by Rock and his battalion during a brief cease fire between the Allies and the Germans. Maria gives birth—and for the moment there is no war, only peace. The issue features a brilliant cover by Joe Kubert, with story by Bob Kanigher and art by Andy Kubert. • Two more gorgeous Joe Kubert covers grace (Son of) Tomahawk #138 (Feb. 1972) and Unknown Soldier #237 (Mar. 1980); Bob Kanigher and Frank Thorne give us “Christmas” in the former and the latter features “No God in St. Just!” with story by Bob Haney and art by Dick Ayers and Gerry Talaoc, as well as “Christmas Dinner,” a six-page story with script by Janus Mitchell and art by Tenny Henson.

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TM & © DC Comics, except Hot Wheels © Mattel.

STOCKING STUFFERS

to monitor their fellow Legionnaires celebrating their respective holiday traditions across the galaxy. (Of note is a scene of Colossal Boy celebrating Hanukkah with his family—DC’s first openly Jewish superhero?) The crux of the story revolves around Superboy and the Legion going off in search of the Star of Bethlehem; while on their journey the team provides aid to three alien races in distress. With the aliens safe and successfully communicating with each other via the Legion’s universal telepathic ear plugs, Phantom Girl remarks, “Kinda warms your heart, doesn’t it?” Superboy responds that Christmas is “caring … helping … and maybe a brightly shining star in the sky that science says is impossible.” García-López and Dick Giordano’s lavishly illustrated sci-fi scenes would certainly have benefited from the tabloid format of DC’s All-New Collectors’ Editions. This is the only full Legion story that José Luis García-López has penciled to date, and one can’t help but wonder what the García-López and Giordano team would have brought to the Legion of Super-Heroes monthly. None other than Frank Miller, one of the most acclaimed creators to ever leave their mark on the Darknight Detective, had his very first Batman story published in DC Special Series #21: Super-Star Holiday Special. The Denny O’Neil-penned “Wanted: Santa Claus—Dead or Alive!” is a ten-page tale in which Batman takes down an organized crime caper on Christmas Eve. He’s assisted by Boomer Katz, an ex-con now working as a department store Santa, and the light from a Nativity star. Of the assignment’s origins, O’Neil remembers, “[Editor] Len [Wein] must have asked me to do a story. I might have spoken with him about the plot. By then, Frank and I were friendly and maybe wanted to work together. We knew Frank was talented, and an easy collaborator, but I doubt that anybody realized how important he’d become.” Miller’s pencils appear to be strongly influenced by Neal Adams and Marshall Rogers; he had yet to arrive at the signature style he would employ on Ronin, The Dark Knight Returns, Sin City, and 300. Admittedly, Miller did not ink his own pencils on “Wanted: Santa Claus—Dead or Alive!” as he would later in his career. That task went to Steve Mitchell. Mitchell tells BACK ISSUE, “Paul Levitz gave me the assignment. He was the editorial coordinator, and he liked to keep me busy. He also knew that I loved inking anything with Batman, and I was always up for anything that featured the Dark Knight. Little did I know that Frank would reinvent the character a few years later. I got the job one Friday—the day I usually visited the office, probably to deliver some work and get a check— and Paul offered me the job. I had never heard of Frank Miller, but his stuff was right in my wheelhouse, and I thought that I could have some fun and do justice to his work.” Of Miller’s work, Mitchell notes, “Back in those days most artists who worked on Batman were influenced by Neal Adams, and to a lesser degree, Marshall Rogers. My inking style was influenced by Dick Giordano, and to some degree, Neal. I used the same pen nibs as Neal. Dick was my mentor, and I also assisted him before I became a solo [artist]. He always chided me about using a brush, which I did on some stories, but I had, I thought, better control using the pen. Anyway, I had no idea what Frank was influenced by when he drew this story. He and I became chums after I did this job, but we never really talked about it. We usually spent more time talking about movies. As far

as inking the story goes, I had fun and I recall turning it around quickly. Like I said, it was in my wheelhouse: lots of black and the drawing was solid, and worked with my style. I remember that I would have enjoyed inking more of Frank’s stuff if there was a chance, and I mentioned that to Paul. Unfortunately, other than a job for Marvel Fanfare, which was an early tryout job of Frank’s for Marvel, I never inked anything else penciled by Frank. At least I was able to do his first Batman job. I had a feeling that Frank was going to be an artist to watch, and it was not long before he began his historic run on Daredevil.” In this writer’s humble opinion, the crown jewel in the pantheon of DC holiday collections is Christmas with the Super-Heroes #2 (1989). The issue’s cover, affectionately rendered by Stephen DeStefano and Larry Mahlstedt, depicts Superman, Batman, Wonder Woman, Flash, Green Lantern, Aquaman, Hawkman, Nightwing, Atom, and Plastic Man building toys in Santa’s workshop alongside an army of elves and fairies. Inside is a selection of all new stories by some of the top creators in comics: Christmas in the Bronze Age Issue

Christmas Future Page from the Levitz/García-López/ Giordano Legion of Super-Heroes tale in DC Special Series #21: Super-Star Holiday Special. Thanks to Shannon Riley for the scan. TM & © DC Comics.

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From the SuperStar Holiday Special (left) Frank Miller’s first Batman story! Written by Denny O’Neil and inked by Steve Mitchell. (right) A House of Mystery page, by Rozakis/Tanghal/ Adkins. TM & © DC Comics.

• “Ex-Machina,” with story and pencils by Paul Chadwick: Superman prevents a despondent stranded motorist from committing suicide and invites him to spend Christmas with the Kents in Smallville; • “And In the Depths” by Dave Gibbons and Gray Morrow: a solemn tale with a message of finding hope and light within the darkness, as seen by Robin entering Batman’s life and then in a literal robin driving away bats in the Batcave; • “Gifts” by Eric Shanower: Wonder Woman and a Christian pastor help each other restore their faith and rededicate themselves to their life’s work; • the wordless “Silent Night” by John Byrne and Andy Kubert: a tribute to the Enemy Ace and the work of Joe Kubert and Bob Kanigher; • an untitled story by William Messner-Loebs and Colleen Doran, in which Hal Jordan and Barry Allen spend Christmas Eve with a millionaire and help to restore his faith in humanity by helping those far less fortunate; and • Alan Brennert and Dick Giordano’s Deadman tale “Should Auld Acquaintance Be Forgot,” featuring a surprise post-Crisis appearance by Supergirl. I presumed that the all-reprint first issue of Christmas with the Super-Heroes sold well enough to warrant a second installment, and I connected with series editor Mark Waid to confirm. “The first issue did sell pretty well for a book of that size and price as I recall,” Waid says, “though the bar was low—the cost of producing a reprint special was far lower than a book of all-new material, which is why I was cut back to 64 pages from 96 when I proposed a follow-up. Publisher Paul Levitz decided it was worth doing…”

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With not a bum story in the bunch, I asked if he was assigned a roster of talent to coordinate or if creators had an opportunity to pitch their ideas. Waid remembers, “It was my book to assemble; at the time, I was also editing our only ongoing anthology book, Secret Origins, so I was already in the anthology business and was always excited to be able to pull in talent that wasn’t a ‘DC regular.’ Paul Chadwick is a great example—I was (and am) such a fan of his Concrete series that I was probably a little overenthusiastic when I approached him. By and large, the character assignments were a mix of ‘whatever you want to pitch’ and ‘I have a suggestion for you’; Paul pitched a Superman story, Alan Brennert pitched a Deadman tale, and John Byrne asked for Enemy Ace. I no longer remember whether Wonder Woman was my idea or Eric’s, but I do recall that the Flash/Green Lantern team was something I wanted Bill Loebs to write and that asking Dave Gibbons to do a Batman tale was straight off a conversation he and I had where he expressed an itch to do more writing.” I’ve been a fan of Dave Gibbons’ work for years, and so it was a joy to revisit his contribution to Christmas with the Super-Heroes #2, “And in the Depths.” As I mention above, it’s a solemn tale, and though it has a holiday bent it fits nicely into the Batman mythos. As Gibbons tells BI, “I don’t often get asked about this story and it’s one of my favorites so I really appreciate your interest in it.” “And in the Depths” goes back in time and charts the history of what would become the Batcave. Over millennia, we see the arrival of native warriors, early explorers, and ultimately a young Bruce Wayne. Gibbons then shows how the arrival of Dick Grayson brings light and

joy into Batman’s life. Complemented by the beautiful art of Gray Morrow, Gibbons writes, “Where once he sought revenge, now they find adventure. Where once he sowed terror, now they harvest trophies. In peril and in triumph, they sustain each other.” As all good things do, these brighter times come to an end as Grayson heads off to college and Batman descends into darkness once more. The tale ends with a robin driving away the cave’s bats, as the Robin costume can be seen encased in glass in the background. “And long though the night has been … it cannot last forever.” Gibbons speaks of the story’s origins: “I wrote a World’s Finest story which was about Superman and Batman and in that I kind of contrasted their different personae. You know, Superman is a creature of the light and, in kind of Chinese cosmology, he’s very yang, whereas Batman is a creature of darkness, so he’s very yin, and I tried to play up this kind of yin-yang relationship between them. It always seemed to me that Superman had hope because he only intellectually knew that his parents were dead. Obviously, to be orphaned is a core fear of many young people. He only intellectually knew that his parents were dead. He knew that Krypton had exploded, but there always seemed to be hope that maybe they hadn’t perished. There would even be stories where he’d see a fragment of his father’s laboratory. I remember there’s a Superboy story where this fragment came to Earth and he explored it at the risk of poisoning himself from the kryptonite. But there was always hope there for Superman, whereas for Batman, he’d seen his family gunned down. He’d seen the bullets hit their bodies. He’d seen them bleed out. He knew, for a fact, to the depth of his soul, that they were dead. So he was without hope. Everything was very bleak and dark and almost the only thing he had left was revenge … or to prevent it happening to somebody else. So he seemed to me to be a creature of … I don’t know … despair, almost.” Dave continues, “That theme sort of played into this story. Perhaps I thought I hadn’t explored it enough, but I do seem to remember that it struck me, ‘Oh! I’m gonna do a Christmas story. What is there about Christmas and heroes that occurs to me?’ And I thought, ‘Ahhh! Robin! Yeah! The Christmas robin. Batman and Robin. I wonder how I could work that in?’ Then it occurred to me, even as you say ‘Batman and Robin’ you think of this very gray, dark character and then this very bright, red and green and yellow character. I said, ‘Maybe I could do the same thing—show how Batman was originally without Robin and then, for a long time, Robin was in his adventures and he was a much lighter kind of Batman, sometimes a ridiculously frivolous kind of Batman while Robin was around.’ Then, in recent years, Robin had disappeared and Batman had entered this new, kind of bleak, area, so I thought there was probably something there that I could play upon. Then I guess I must have imagined this big, dark cave that Batman lives in as being a setting for it and a robin—

the bird—seeking shelter from a storm, then the darkness attacking it and it managing to break free of the dark bat and the general darkness of the cave.” Gray Morrow’s moody art is a fantastic fit for Gibbons’ script. I asked Dave what he could recall about collaborating with Gray. He says, “Well, actually, when I wrote it I had no idea that Gray Morrow would be illustrating it and I was actually thrilled that he was because, you know, he is a favorite illustrator. He worked on such a variety of things, from comic books early on through Creepy and Eerie … always bringing a great believability and humanity to his figures and to the kind of scenes that he illustrated. He was able to give it that almost kind of documentary feel and that feeling of light and dark and very empathic characters, that I think it really needed.” George Pérez’s successful post-Crisis relaunch of Wonder Woman provided the foundation for Eric Shanower’s “Gifts” in the form of supporting characters Julia and Vanessa Kapatelis. The Kapatelises welcome their longtime friend Sharon, a Christian pastor, to their home for the holidays. Sharon reveals that her husband

TM & © DC Comics.

The Workshop of Justice A gaggle of do-gooders assist Santa and his elves on this cover to Christmas with the SuperHeroes #2. Original art courtesy of Heritage. Signed at top by penciler Stephen DeStefano (inked by Larry Mahlstedt). Note the Bob Kane and Julie Schwartz signatures at the bottom. TM & © DC Comics.

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“And in the Depths” A nostalgic Christmas with the Super-Heroes #2 page from its Dave Gibbons/Gray Morrow Batman tale. TM & © DC Comics.

had established, because I don’t like reading one-shot stories that seem completely detached from the main storyline in an ongoing comic book.” Eric continues, “I asked the person beforehand whether it was okay to use some information from the person’s life and got the okay. After the story came out, the person read it and sent me an appreciative note.” I queried Shanower about his working relationship with editor Waid and how he came to be assigned to the book. “I can’t recall exactly how much I’d worked with Mark Waid before this story,” says Eric. “I’d inked a cover or two for him previously. Mark phoned me and asked whether I’d like to contribute a story to the comic book. He asked whether I had any preferences for characters. I’m sure I suggested a Marvel Family Christmas story first, but I think there were some legal hurdles to using those characters at the time that just weren’t worth dealing with for this project. In any case, Wonder Woman was probably my second choice, and I think Mark was pleased with that one since the character is one of DC’s more well-known. I submitted a plot and after it was approved moved on to the script. The script had a couple drafts.” Shanower remembers that working with Waid on “Gifts” was a good experience. “I was impressed with Mark’s editorial skills concerning the script. Although I’ve worked on scripts with other editors in comics, Mark was probably the most careful, respectful, and demanding-ofquality editor I’ve worked with on a comics script, and I found that a pleasure.” Waid responds, “Eric’s words are very kind. I remember a couple of long phone conversations where I was doing what an editor should be doing; not dictating his story to him, but talking it out at great length to help him find the story he was trying to tell. Eric was and is one of my all-time favorite comics artists and his work on this story was so appropriate and so gentle and yet so demonstrative. My one regret is that I lost my only editorial battle with this story. Eric turned in his pages without spotting any blacks in Wonder Woman’s hair because he’d talked me through how to get it colored so that it would still have weight and not look like something out of a coloring dave gibbons book, and he was right—but the Photo by Julia Tysoe. Wonder Woman editor, for whatever reason, woke up on the wrong side of bed that day and demanded Eric re-ink all the Wonder Woman figures because his coloring method ‘wouldn’t work.’ It was humiliating to go back and ask Eric to do that, but he came through and accepted my apologies, God bless him. It’s still a stunning story.” Alan Brennert and Dick Giordano’s “Should Auld Acquaintance Be Forgot” is an all-time favorite of mine. Not only does it serve to bring empathy to the plight of Deadman as an incorporeal spirit longing for true connection, but it also features a then-shocking appearance by Kara Zor-El—just a few short years after she had been erased from DC continuity by way of Crisis on Infinite Earths. “Should Auld Acquaintance Be Forgot” is listed at #1 on Comic Book Resources’ “Greatest Supergirl Stories Ever Told!” There’s even a nice nod to Otto Binder and Jim Mooney at tale’s end: “We still remember.” I’ve had so many questions about this story running through my head since it was first published: How did this story come about? Of all characters, why include Kara Zor-El—especially in a post-Crisis DC comic? Mark Waid was kind enough to answer my queries: “Trust me, her presence was as much of a surprise to me as it was to you,” Waid says. “I knew Alan to be a terrific talent who’d

is having an affair with a woman on the church council and has asked for a divorce. Distraught, Sharon is considering quitting the ministry. Meanwhile, Princess Diana is struggling with her faith and what she’s accomplished since coming to man’s world. Says Diana, “Though my gods have helped me in the past, sometimes they have been cruel. Now I feel abandoned by them. I don’t understand anymore. I don’t know who or what to believe…” Through celebrating the traditions of Christmas with the Kapatelis family, the two help each other through their darkest hour and recommit to their respective missions in life. “Gifts” is a touching story about questioning one’s faith, recovering it, and ultimately recognizing one’s inner strength. I reached out to Eric Shanower on Facebook and we corresponded about the story. I asked him if he recalled how the tale came about and if there was a personal experience behind it. “The minister’s story is based on a real person’s experiences,” Shanower says. “I changed names and details. I wasn’t familiar at the time with George Pérez’s reboot of the Wonder Woman character, so I had to go out and buy a bunch of back issues. I tried to make sure my story was within the world that George

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written some of my favorite DC stories, so I didn’t ask many questions when he picked Deadman as an assignment. I just let the script come in so I could read it and enjoy it like everyone else. And when I got to the end, I was brought to tears … but I also knew I was in deep trouble, because I didn’t think for one second that the Superman editorial office would let that go through. At the time, that soon post-Crisis, there was little if any grace extended to anyone who might wish to suggest that DC had a history that went back further than 18 months. Me, I honestly didn’t think the unnamed Supergirl’s appearance was subversive or disrespectful or a big deal at all; it was meta enough where no one in his or her right mind could come away from reading that story thinking we’d ‘broken continuity’ or spit in the face of the Superman camp. It was a sweet tale, nothing petulant, just something appropriate for the season. At least, that’s what I thought. But I wasn’t the final authority. And this is one of the many reasons I loved Dick Giordano so much. “At the time, Dick was the executive editor of the line and also a big fan of Alan’s writing. To shield the story from being bounced, I asked Dick eric shanower himself to read it and bless it—and not only did he give it the thumbs-up, Photo by Georges Seguin. he volunteered to draw it himself to make sure it saw print and to protect me politically from the Superman camp. (Which, again, sounds absurd and very junior-highschoolish to say 25 years later, but back then, no one dared tug on Superman’s cape.)” Waid concludes, “So not only did Dick bring his magic to the story and make it easily one of the best stories (if not the best) I ever edited, but he also took the hits for me when (as predicted) some of the Superman writers and artists literally demanded I be fired for publishing it. I’m not kidding. I’m not going to say who was the angriest—though you’d honestly never guess—but Dick had my back, knowing how silly the arguments were.” My friend and fellow BI contributor Rob Kelly interviewed Alan Brennert last issue, in BACK ISSUE #84. In the interview, Brennert corroborates Waid’s account of the behind-the-scenes editorial brouhaha around “Should Auld Acquaintance Be Forgot” and adds, “Where the trouble came in was when the freelancers working for the Superman books saw [Kara’s appearance in the story] and said, ‘Well, wait a minute. We’ve been saying all along that she never existed and now you say you have this!’ They were really quite distressed about them is cynical. None of them is bleak or without hope. Those are the kinds of stories I like, and those are the this, and I can understand it; they felt sandbagged, which was not our intent. Some even went—I was told—to see kinds of stories I write, and it was nice to know I wasn’t Dick and said, ‘Okay, we have a way to make this part of alone.” Christmas with the Super-Heroes #2 is a fine continuity. Over in Justice League Europe, Power Girl is in reminder of what the holiday season is all about, and thus a coma right now, so how about if we say that this was a fitting bookend to this article. her astral self that was projecting itself to Deadman and Special thanks to all the creators who generously offered their time that’s who he meets.’ And Dick—God bless him—said, and memories for this article. Thanks also to Steven Thompson ‘Guys! It’s just a nice little Christmas story. End of story.’ for his speedy transcription services. Again, it was just intended to be a nice grace note for the Finally, this article is dedicated to the character.” Brennert continues, “Her death in Crisis was memory of my maternal grandfather, fine, but what was done to her later, just unmaking her? Robert E. Latham, who instilled in me I thought she deserved better than that, and happily a lifelong love of reading, Christmas music, and collecting. that eventually became part of DC continuity: the story is cited by John Wells in his ‘Post-Crisis Events’ done for SHANNON E. RILEY has been the Absolute Crisis hardcover edition. And years later, reading and collecting comics Peter David did the same thing—he brought back the since 1978, when his dad bought spirit of Kara Zor-El in one of his Supergirl-Matrix stories.” him his first book, Detective For me, the primary takeaway from this collection Comics #475. Find him on Twitter of Christmas tales is that all the stories contain messages @ShannonERiley and on Facebook of faith, hope, and humanity. Waid concurs: “None of at facebook.com/shannoneriley. Christmas in the Bronze Age Issue

“Gifts” The lyrical illustrations of Eric Shanower, as seen in the Wonder Woman tale from Christmas with the Super-Heroes #2. TM & © DC Comics.

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DC Sampler Four pages from the Mark Waid-edited Christmas with the Super-Heroes #2: (top left) Paul Chadwick’s Superman, (top right) John Byrne and Andy Kubert’s Enemy Ace, (bottom left) Bill Loebs and Colleen Doran’s Flash/Green Lantern, and (right) Alan Brennert and Dick Giordano’s Deadman. TM & © DC Comics.

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THESE ARE A FEW OF MY FAVORITE THINGS I’ve loved Christmas since I was a kid. Sitting down to write this article brought back fond memories of holiday gatherings with family and friends, as well as those Christmas mornings when I’d race out of bed to see which comics-related goodies Santa had brought me. Here are a few Bronze Age photos I unearthed (with help from Mom). If only I had these toys now… – Shannon E. Riley

Christmas Day (1978): (top) Your author opening the Mego Batcycle from the World’s Greatest Super Heroes line of 8-inch action figures. Behind me sits the Wayne Foundation playset. Both go for hefty sums on eBay these days. Christmas Eve (1979): (center left) Holding a 12-inch Boba Fett action figure from the Kenner Star Wars series. Just to my right is my cousin with the Mego Elastic Incredible Hulk. This toy is incredibly rare, with fewer than 20 left in existence. An Elastic Hulk can sell for upwards of $15,000 MIB (just ask fellow BI contributor John Cimino). Christmas Day (1979): (center right) Mego Pocket Heroes were some of my favorites. Here I am with Jor-El, Spider-Man, and Lex Luthor. Christmas Day (1982): (bottom left) I had just unwrapped Mattel’s Castle Grayskull and was clearly a happy kid. The Masters of the Universe first appeared in a special insert in several DC series cover-dated November 1982. A month later, Superman traveled to Eternia where he met He-Man and his supporting cast in DC Comics Presents #47. Christmas Season (Year Unknown): (bottom right) Sitting on Santa’s lap, probably wondering if I’d be getting coal in my stocking that year.

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Shannon E. Riley

While interviewing writers and artists for the preceding article, I had the chance to ask, “What is your favorite comics-related holiday memory?” From stories of a $4 Charlie Brown Christmas tree to office pranks and first published scripts, their responses truly capture the fun and magic of the holiday season.

riter/editor/ BOB ROZAKIS, wdirector production y ristmas memor

mics-related Ch oks. When I was “My favorite co rather than the bo s we dealt with ff sta DC e th es olv nd inv ber of the ve or ERIC SHA living on the East Bay Area her things n director, a num tio uc od pr as o w of goodies, and ot sc I ci ndy, wine, baskets ther all the ca “In 1990, mily in the San Fran ge nd to se ing uld br , I wo y fa gather them all ile there h uld w wo I giveaway. d ts. nt gif gia an I visited m a ay as holid ents, and have mastime, at rtm st pa o ri h de h t of y w C m , in g d er n wi duri Brubak e bottle of ne ou folks who worke er with Ed of d. t short so I took th ns gif e ca on of s le wa up I co ar, got togeth li v e d in O a kl a n a One ye placed it with re e d e th an x m on ed bo ti en ss cy m th a t ad discu this really fan One of the wo Ed and I h o different gifts. tually ac tw g e d m n an t ri ing gif u giv st d , Although be soda d the p re vi o u sl y, with the fancy box ha PAUL KUPPERBERG, cks so she th e id e a staff figured that e up in the order of pi m t lis ca e th e up w t de write ened it tra a r/ed op itor d e o te sh d tia en that visi go wh to ne k on her face ete plan loo cr e “My was n favor Th ke ite Chris it. co Co tmast relate et ge e n d th could two cans of Di s st o ry ‘A memories go back a ways, to the but red she’d gotten ar, ve ye co dis ing th e co m ic d ,’ low an th fol a e De l e same thing th early 1960s and DC’s Rudolph the A cc id e n ta priceless. I did th fancy box. When ains one m re one avoided the Red ery h Nose ev d ic Reind e h eer tim Annu w is als th and te ne way down ri eo o m fa v n by so the giant -sized Denn is the Mena ce of my ere it was finally take thrilled to find th Chris tmas and Holid ay Speci als from projects.” the list, he was ” it! in ate fic rti Fawcett. And I have a bit of sentimental was a $25 gift ce attac hmen t to one of my own very few Christmas stories, ‘The Stranger’—it’s kind of a ‘Christmas on Krypton’ tale—which appe ared in Superman Family #182 in 1975. It’s not that it’s very good or very notable, other than that it was an early pencil job by Marshall Rogers … and the first story I sold to DC as a newbie writer.”

riter/artisCt oast. NOWER, w

ROMEO TA

riter CARY BATES, wto be Christmas

would have “One of them llege. When I shman year of co fre y m k g rin du k ea br letter and a chec rents gave me a went home my pa who informed me he was buying er, veral weeks from Mort Weising sent in on spec se d ha I t rip sc book t es a World’s Fin g of my comiced the beginnin ark m is Th . re fo be writing career.” 28 • BACK ISSUE • Christmas in the Bronze Age Issue

NGHAL, artist “M y fir st Ba tm an as sig nm en t Mystery of Chris wa s ‘T he tmas Lost’ by David V. Reed. Joe Orlando wa nted me to try doing superheroe and he suggeste s d to Julie Schwar tz [that he] give that Christmas me issue. Julie was so was doing Super hesitant becaus e I Friends, which wa s a little cartoon like this Batman y (not ). But Joe persu ad how I got my fir ed him and th at’s st break on Batm an—and very tim for Christmas.” ely

JERRY ORDWAY, artist/writer e to

s relat “My favorite comic-book memorie ancer and freel r thei d sore spon ics Com DC when great fun, ys alwa were They ies. staff Christmas part t other creators who mee to nity ortu opp the ed offer and nd. One year the party also came into New York to atte nt; another time, at a was held at the Automat Restaura ths were like car seats. boo the re whe t uran car-themed resta e things, but it was thes at be You never knew who would season. I met Don the g ratin celeb ent, pres be to always fun tion immensely, ersa conv that yed Heck one year, and enjo n DC stopped Whe t. as he was a childhood favorite artis . That was time sad a was it ies, the freelancer part rman Supe the ng also the biggest downside to leavi the with had I erie arad cam the ed titles, as I miss king Wor rs. edito other writers, artists, and n, alone at home, without that interactio ” fun. h is not so muc

DAVE GIBBO

BARBARA

RANDALL “Getting an KESE $4 and was actual Charlie Brow L, writer/editor n Christmas g en u in ely tilted!). to get me tree (it cost The year a an Aquam frie present, w an sketch ho wrote b from Jim A nd of mine tried ack that h paro as a sent three ew pri Christmas ‘The Silent me original art pages as too busy for sket ches … an Night of th from Adven d now, but ture Comic e Batman.’ s, which I g I st It’s a little ot. cheesy aro Bringing B ill like it. Heading home to und the ed rad Meltze Ca r’s Book of g on a flight Lies (comic lifornia to see my fa es home and s feature in mily. having the saw the bo it—check fli ok) carefu it out) lly advise m ght attendant (his ey ma’am.’ I es lit up w e that ‘that finished it hen he while we w book can’t we left. B leave this ere taxiing est surprise plane, in an gif Tone Rodri guez do a t ever. Giving a frie d handed it to him as nd a certif sketch turn (He takes ic ing you in commissi to a Simpso ate to have ons. You swirl outs n c s characte ou ide the D r. C office w ld do this.) Watch afternoon ing snow indows. S s at a M p e n ding ‘sno exican re Manhatta w staurant n with som (Acapulco day’ e of my D the world ?) in C peeps a headed h s the rest ome e of the couch to read co arly. Curling up on m ic s while ho tunes play. liday ”

NS, artist/writer “You know, I alw ays used to love it at Christmas, particularly with English comics, th ey would always snow on the logo! put It would be like th but they’d put sn ow on top of all th e regular comic cover, e display lettering lettering! I always , the title used to love that because it was a thing to do and, sort of playful indeed, with my litt le Twitter avatar no version of that wh w, I’ve got a ich has got snow on it which I put the holidays. I su up weeks before ppose as far as Ch ris tmas memories we the other thing we re concerned, used to have here special Christmas in England was we Annuals of Superm would have an and Batman. hardcover books, They would be maybe 180 pages. I always looked for my Superman Annu ward to getting al at Christmas an d, indeed, at one and dad, to pacif point, my mom y me and get me to actually go to sleep on Christmas MARK WAID, writer/editor bed and go to Eve, would let me ctors’ have one Christm before I went to “So many. Finding Limited Colle as present bed. I quite often would choose the ery store on the groc a Annual and manag at 4 #C-3 on Editi Superman ed to eke out a few reading it extra hours or minu of staying up by drive to my grandparents’ and tes reading a coup her got me mot my le of stories in So superheroes until it fell apart. Or the year it. have always had rom the g—f ythin ever for— d th aske at I’d connection with Christmas fo everything r me, and I reall [Heroes e stor o rher y enjoyed being part of th New Jersey mail-order supe e Christmas with Olshevsky’s rge Geo of dful han a ding the World], inclu Super-Heroes spec ial.” father sneaked around Marvel Indexes. Or the year my I bought back issues re whe store the at back behind my comics to put r-me e-fo nsiv and pulled three too-expe Flash Annual #1 of es copi t -min near tree— the under 6. (Imagine being and Superman Annuals #5 and stmas!) To this Chri 13 and getting old comics for s for me stma Chri ect perf a y reall day, it’s not more once pore if I can’t find time to they if as ks boo e thos ugh thro were new to me.” STEVE MITCHELL, artist

s memory “My favorite comics-related Christma s party, stma Chri DC al annu the would have to be I got to that e ther especially back in the ’70s. It was to chat get and es, hero r write and t artis meet a lot of my y of man So . nces msta circu with them in jovial and relaxed it was nice and , guys ming char and g estin them were inter them, and talk shop. to share some holiday cheer with Good times!” Christmas in the Bronze Age Issue

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DC Comics got into the treasury-sized comics business during the Christmas season of 1972 with its publication of its first Limited Collectors’ Edition, #C-20, starring Rudolph the Red-Nosed Reindeer. That now-rare super-sized comic and its follow-ups were explored in BACK ISSUE #61, our “Tabloids and Treasuries” edition, so we invite you to unstuff that stocking to learn more about the Red-Nosed Reindeer (as well as the other great tabloids of the 1970s, 1980s, and beyond). Two years after Rudolph #C-20, the tabloid format was proving popular for superhero reprints, and both DC and Marvel celebrated the yuletide season with Christmas collections featuring some of their most colorful costumed crimefighters.

THE FIRST CHRISTMAS TABLOIDS DC’s Limited Collectors’ Edition #C-34 (Feb.–Mar. 1975), Christmas with the Super-Heroes, was first to slide down the chimney, arriving on November 7, 1974. Following shortly thereafter, going on sale November 26, 1974, was the House of Ideas’ Marvel Treasury Special (cover-dated simply “1974”), Giant Superhero Holiday Grab-Bag (#nn). These may seem like compatible volumes, but they’re very different in editorial tone, as evidenced by their titles. DC’s Christmas with the Super-Heroes is just that: a collection of Christmas-themed stories starring the superheroic Batman, Captain Marvel, Teen Titans, and Superman (with the curious, but appreciated, inclusion of Angel and the Ape, appearing in a previously unpublished story). Marvel’s Giant Superhero Holiday Grab-Bag also delivers what its title promises: a random selection of superhero stories, from holiday-themed adventures (a Spider-Man/Human Torch team-up and a Black Widow solo tale) to superhero conflicts headlined by Daredevil and the Fantastic Four. For those wishing to curl up by a warm fire with a cup of eggnog and the

Deck the Hall of Justice Nick Cardy’s charming cover to Limited Collectors’ Edition #C-34 (Feb.–Mar. 1975), better known as Christmas with the Super-Heroes. Notice how three of these characters are wearing shorts at the North Pole? (opposite page) Put on a happy face! (top left) John Buscema’s Giant Superhero Holiday Grab-Bag cover featured a mostly scowling cast. (top right) John Romita cheered ’em up with minor art alterations. (bottom left) The Grab-Bags’ back covers viewed their cover scenes from behind, like this one by Buscema from 1974. (bottom right) Inside back cover to the first Grab-Bag. TM & © DC Comics. TM & © Marvel Characters, Inc.

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Michael Eury

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Swingin’ Season (top) DC house ad for its second Christmas with the Super-Heroes tabloid, as well as another Rudolph edition. (bottom right) The second Holiday GrabBag, as promoted in a Marvel UK advert. (bottom left) The back cover to the 1975 Holiday Grab-Bag. DC ad TM & © DC Comics. Marvel ad and art TM & © Marvel Characters, Inc.

the Grinch assisted Big John Buscema when he drew the cover joyful refrains of Nat King Cole, tales like DC’s Teen Titans in “A Swingin’ Christmas Carol!” in Christmas with the Super-Heroes feel more art for Giant Superhero Holiday Grab-Bag—its characters’ facial appropriate to the spirit of the season than non-yuletide classics like expressions mirrored their personalities, particularly the snarling Incredible Hulk. Conversely, DC’s Christmas with the Super-Heroes Giant Superhero Holiday Grab-Bag’s Daredevil reprint, “In Mortal Combat cover by Nick Cardy featured its stars smiling ear to ear with … Sub-Mariner!” Yet this in itself offers a subtle lesson in (even the Darknight Detective himself, Batman), comic-book history: DC’s catalog of characters was at the flanking an unusually elfin Santa Claus. Jazzy Johnny time larger than Marvel’s, by this point also including Romita softened Buscema’s meaner depictions by characters acquired from other companies, such as redrawing the faces of most of the Marvel heroes Fawcett’s Captain Marvel (packaged for DC readers on the Grab-Bag cover, turning their frowns as Shazam!). Also, a handful of DC stalwarts upside-down and allowing them to express remained in continuous publication during the the expected holiday cheer … even the everbleak transitional years between the Golden and grinnin’ Hulk. Silver Ages of Comics, giving DC a deeper inventory of Christmas stories from which selections could be THE MOST WONDERFUL TIME OF made. Another difference between these volumes is THE YEAR DC’s inclusion of activity pages (see index). The following year, both DC and Marvel released One thing these volumes do share in common, another pair of yuletide specials. Once again DC’s however, is artistic alterations. Christmas with the Christmas with the Super-Heroes was released first, e. nelson bridwell Super-Heroes’ “Christmastown, U.S.A.!”, a Golden on November 6, 1975, in the form of Limited Age Superman story written by Alvin Schwartz © DC Comics. Collectors’ Edition #C-43. Santa Claus returned on and drawn by Win Mortimer, featured Vince Colletta’s heavy alterations to some of the figures, particularly its cover—and returned to his normal height—with a Curt Swan/Bob Superman, to contemporize its look. While this was characteristic Oksner-drawn illo of Superman hoisting a sleigh packed with the of early- to mid-1970s DC, where Superman art by artists from Jack issue’s stars (including another non-superhero, Cain, caretaker of The Kirby to Alex Toth was altered to adhere to the house style, the House of Mystery, representing the HOM reprint included therein). result here is uneven. Across town at Marvel, some surmised that This edition was edited by DC’s “walking encyclopedia” E. Nelson 34 • BACK ISSUE • Christmas in the Bronze Age Issue

Bridwell, who also wrote the comic’s “Season’s half-dozen such stories, and they had all been reprinted Greetings from the DC Editors” text page, which in the first two holiday treasuries. In fact, the first included this rhyme about his own gift to DC readers: Holiday Grab-Bag had been filled out with the FF/ Hulk/Avengers story [from Fantastic Four #25–26] and “And last we find E. Nelson Bridwell; the Daredevil/Sub-Mariner battle [from Daredevil #7] … His presents to you he kept hid well great stories, but if either of them had anything to do Till they hit the newsstand with the yuletide, I couldn’t see it.” Like the one in your hand— When asked if he had a hand in selecting the And he hopes you’ll think that he did well!” On November 25, 1975, Marvel countered with reprints around which he wrote the framing the second Giant Superhero Holiday Grab-Bag—actually sequence, Stern remarks, “In those days, I was the Marvel Treasury Edition #8. John Romita, Sr. provided assistant editor tasked with picking stories for Marvel’s its delightful cover depicting a tree-trimming party with reprint titles. So, yes, I picked all of those stories … interior stars Spider-Man; Dr. Strange; Luke Cage, Hero and believe me, it wasn’t easy.” The assignment to write the bridging for Hire; Nick Fury, Agent of S.H.I.E.L.D.; and the pages came as a surprise to the fledgling comics Incredible Hulk. scribe. “I still have trouble believing that It’s definitely all peace on Earth for this I got that assignment,” Stern admits. normally rough-edged and danger“At the time, I had been working at loving assemblage, as chain-belted Marvel for maybe six months. I must Luke Cage is draping a paper-link have been the least-experienced chain around the tree and an uncharwriter on staff. At the time, I figured acteristically docile Hulk is acting as a that those pages would be the only stand-in for St. Nick, holding a young opportunity I’d ever have to write boy in his palm (instead of on his lap) Spider-Man or the Avengers or the as he listens to the kid read his Fantastic Four or the Hulk. Turns out I Christmas wish list. (In case there is was wrong about that.” any confusion that this jade-hued behemoth is not actually Santa, Hulk’s white beard is askew to reveal his roger stern green face and his trademark tattered purple trousers are clearly visible underneath his fur-trimmed red coat.) Marvel Treasury Edition #8 reprinted another hodgepodge collection, with Nick Fury and Luke Cage starring in Christmascentric adventures accompanied by Spidey, Hulk, and Dr. Strange stories (with pages edited out), loosely connected by their characters’ respective dream-states.

Snowball Fight! The FF vs. the Avengers! Splash to the Stern/Tuska/ Perlin framing pages from Marvel Treasury Edition #13, a.k.a. Giant Superhero Holiday Grab-Bag (#3). TM & © Marvel Characters, Inc.

A BICENTENNIAL YEAR GRAB-BAG By Christmas of 1976, DC’s Limited Collectors’ Editions were trickling toward extinction, having been replaced by All-New Collectors’ Editions highlighted by original material, but the publisher did manage another Rudolph tabloid that year—but no Christmas with the Super-Heroes. Marvel, however, released its third and final Giant Superhero Holiday Grab-Bag on November 16, 1976, published as Marvel Treasury Edition #13, this time with a happy Gil Kane/Joe Sinnott cover featuring Santa Thing in a sleigh pulled by Thor and Hulk, with Spidey and Iron Man zipping alongside. Business as usual for the “Mighty Marvel Yuletide Greeting”? Yes and no. As with its predecessors, this third Grab-Bag’s reprints had little, if anything, to do with Christmas—but this edition’s classic material was anchored by new bridging material written by Roger Stern, penciled by George Tuska, and inked by Don Perlin, working under Archie Goodwin’s editorial watch. As Stern tells BACK ISSUE, “The new material was created to link the stories together in some way that would—we hoped—make the readers think ‘Christmas.’ You see, the stories in the third Grab-Bag did not actually have anything to do with any holidays. In fact, about the only things that they had in common was that 1) they had previously appeared in Marvel Comics, and 2) they all had touching endings.” Stern confirms that DC’s rich vault of Christmas stories gave the Distinguished Competition a holiday advantage over Marvel: “The basic problem was that Marvel had used up all of their Christmas-and/orNew-Year’s-oriented stories in the first two Holiday GrabBag treasuries. Unlike DC, which had been publishing Christmas stories for decades, Marvel had fewer than a

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I’m Dreaming of a White Christmas The story intended for the canceled The Sandman #7 found a home in The Best of DC Digest #22 (Mar. 1982), Christmas with the Super-Heroes. TM & © DC Comics.

Despite his lack of experience, it was his familiarity with Marvel’s history that tipped a domino effect of circumstances allowing this writing gig. “I can still remember [editor Archie Goodwin] telling me that Marvel’s marketing department wanted another holiday treasury to go on sale by the end of 1976. I must have given him the world’s dumbest look, because he looked at me with some concern and asked what was wrong. That’s when I told him what I just told you—that there were no more holiday stories in the vault, that Marvel had reprinted all of them in the previous two treasuries. And Archie, God bless him, nodded thoughtfully and said— this is pretty much a direct quote—‘See what you can think of.’ “Not too much pressure there, huh? [laughs] But I couldn’t let Archie down, so I got to work. Luckily, I had a fairly good knowledge of the Marvel canon up to that point. I eventually came to the conclusion that if I could find enough heartwarming stories that hadn’t already been reprinted, we could maybe, possibly, justify their constituting a holiday collection.

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“The very first Holiday Grab-Bag had used a story from Marvel Team-Up, so I looked there first and decided that the Spider-Man/Thing story from MTU #6 might work … it had a great, tear-jerker ending,” Stern says. “And in flipping through my back issues of Avengers, I remembered that the Wasp was wearing a Christmasy sort of outfit in the Vision story. The Hulk/Silver Surfer story from Tales to Astonish seemed to fit. And I chose the Daredevil story because it ended with a scene of Matt and Natasha walking off together in the snow. “But after coming up with those stories, I was still ten pages short. “And that’s when I hit on the idea of a new framing sequence to tie those stories together. There wasn’t much of a budget for new material in the Treasury Editions, beyond the covers. But I figured it was worth a try. After all, this was marketing’s bright idea. If the holiday treasuries sold so well that marketing wanted another one, maybe they’d be willing to cough up enough money to make it work. “So I presented the idea to Archie. He considered it for maybe ten seconds, nodded, and told me to write it up. That's when I gave him my second dumb look of the project and asked him, ‘You want me to write it?’ He nodded again, said it was my idea and that I should get to work. “When I came up with framing-sequence idea, I never expected that I’d be the one to write it. I thought the assignment would go to Bill [Mantlo] or Chris [Claremont] or one of the other assistants, any one of whom had more comics-writing experience than I. “Now, granted, I had solved a similar, albeit smaller problem for Archie a few months before when I had to find a story to reprint in an issue of Marvel Presents. That book was going to miss shipping if we didn’t come up with something to put it there. In that case, I combined a partial reprint of Silver Surfer #2 with two or three new pages to tie it in with the ongoing Guardians of the Galaxy series [see BI #65 for more details.—ed.]. But that was just a couple of pages in a little-known title that had, at best, a cult following. The Holiday Grab-Bag was a big, oversized Marvel Treasury that could potentially be displayed on newsstands through the end of the year. “Still, Archie said get to work, so I got to work.” Stern shares with BACK ISSUE his recollections of the artists of his Holiday Grab-Bag framing sequence, penciler George Tuska and inker Don Perlin. “I never really met Mr. Tuska, though I saw him once or twice across the editorial offices,” Stern says. “He was pretty seriously deaf, so it wouldn’t have been easy to carry on a conversation with him. “I don’t remember if I’d met Don at the time, but I got to know him later, when I became his editor on Ghost Rider and Captain America. Don is such a great guy, and was vastly underrated as an artist. He always threw himself into his work with such enthusiasm, always went the extra nine yards. Don probably saved my butt on deadlines, well, more times than I’d care to think.” Those who haven’t read this third Holiday Grab-Bag might regard ten framing pages to be an artistic breeze, but as their writer reveals, that certainly was not the case. “In retrospect, I should probably be apologizing to George and Don for what I asked them to draw,” Stern says. “I mean, the FF and Spider-Man and the Avengers … and the Defenders and Daredevil … and even the Champions, for cryin’ out loud. They had to draw a couple-dozen characters over the course of

LIMITED COLLECTORS’ EDITION #C-34 “Christmas with the Super-Heroes” Feb.–Mar. 1975 Cover artist: Nick Cardy Editor: Paul Levitz Special features: 5 “Christmas Quiz” partial-page fillers; 2-page 1975 SuperHero Calendar; “Write Your Own Comic Page” 1-page filler; Super-Hero Christmas Cards 2-page filler; “Santa’s Guessing Game” activity page; “The Super-Villains Speak Out on Christmas” 1-page filler Reprints: • Batman in “Silent Night, Deadly Night!” from Batman #239 (Feb. 1972) • Shazam! (Captain Marvel) in “Billy Batson’s Xmas” from Captain Marvel Adventures #69 (Feb. 1947) • Angel and the Ape in “The $500,000 Doll Caper!” (previously unpublished) • Teen Titans in “A Swingin’ Christmas Carol!” from Teen Titans #13 (Jan.–Feb. 1968) • Superman in “Christmastown, U.S.A.!” from Action Comics #117 (Feb. 1948) MARVEL TREASURY SPECIAL, GIANT SUPERHERO HOLIDAY GRAB-BAG #nn 1974 Cover artists: John Buscema, with John Romita, Sr. alterations Editor: Len Wein Reprints: • Spider-Man and the Human Torch in “Have Yourself a Sandman Little Christmas!” from Marvel Team-Up #1 (Mar. 1972) • Daredevil in “In Mortal Combat with … Sub-Mariner!” from Daredevil #7 (Apr. 1965) • Black Widow in “…And to All a Good Night” from Amazing Adventures #5 (Mar. 1971)

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Fantastic Four in “The Hulk vs. the Thing!” from Fantastic Four #25 (Apr. 1964) Fantastic Four in “The Avengers Take Over!” from Fantastic Four #26 (May 1964)

LIMITED COLLECTORS’ EDITION #C-43 “Christmas with the Super-Heroes” Feb.–Mar. 1976 Cover artists: Curt Swan and Bob Oksner Editor: E. Nelson Bridwell Special features: “Christmas Greetings with the Super-Heroes!” 2-page filler; “Santa’s Scrambled Super-List” activity page; “Sing Along with the Super-Heroes” 2-page filler; “Santa’s Super-Deliveries” activity page; “Season’s Greetings from the DC Editors” text page Reprints: • Superman in “[untitled]” from Superman’s Christmas Adventure (Macy’s giveaway) #1 (1940) • Batman in “The Silent Night of the Batman” from Batman #219 (Feb. 1970) • “Night Prowler!” from House of Mystery #191 (Mar.–Apr. 1971) • Wonder Woman in “[untitled]” from Sensation Comics #14 (Feb. 1943) • Golden Age Sandman in “Santa Fronts for the Mob” from Adventure Comics #82 (Jan. 1943) MARVEL TREASURY EDITION #8 “Giant Superhero Holiday Grab-Bag” 1975 Cover artists: John Romita, Sr. (front), Rich Buckler and Romita (back) Editor: Marv Wolfman Special feature: “Merry Christmas, Marvelite!” 1-page cover gallery Reprints: • Nick Fury, Agent of S.H.I.E.L.D. in “’Twas the Night Before Christmas”

from Nick Fury, Agent of S.H.I.E.L.D. #10 (Mar. 1969) Spider-Man in “Spider-Man Goes Mad!” from Amazing Spider-Man #24 (May 1965) Luke Cage, Hero for Hire in “Jingle Bombs” from Hero for Hire #7 (Mar. 1973) The Hulk in “Heaven is a Very Small Place” from The Incredible Hulk #147 (Jan. 1972) Dr. Strange in “Eternity, Eternity” from Dr. Strange #180 (May 1969)

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MARVEL TREASURY EDITION #13 “Giant Superhero Holiday Grab-Bag” 1976 Cover artists: Gil Kane and Joe Sinnott Editor: Archie Goodwin Special feature: “’Tis the Season,” all-new 10-page bookend and bridging sequences; “Merry Christmas, Marvelite!” 1-page cover gallery Reprints: • Spider-Man and the Thing in “…As Those Who Will Not See!” from Marvel Team-Up #6 (Jan. 1973) • The Avengers in “Even an Android Can Cry!” from The Avengers #58 (Nov. 1968) • The Hulk in “He Who Strikes the Silver Surfer” from Tales to Astonish #7 (Mar. 1973) • Daredevil in “Once Upon a Time— the Ox!” from Daredevil #86 (Apr. 1972)

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THE BEST OF DC DIGEST #22 “Christmas with the Super-Heroes” Mar. 1982 Cover artists: Rich Buckler and Dick Giordano (front), George Pérez (back) Editor: Julius Schwartz; E. Nelson Bridwell, consulting editor Reprints: • Teen Titans in “A Swingin’ Christmas Carol!” from Teen Titans #13 (Jan.–Feb. 1968)

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Batman in “Merry Christmas” from Batman #247 (Feb. 1973) Captain Marvel, Jr. in “Freddy Freeman’s Christmas” from Captain Marvel, Jr. #46 (Feb. 1947) Batman in “A Christmas Peril!” from Batman #27 (Feb.–Mar. 1945) Sandman in “The Seal Men’s War on Santa Claus” (previously unpublished story originally produced for Sandman #7) Robin in “Robin’s (Very) White Christmas!” from Batman Family #4 (Mar.–Apr. 1976) Justice League of America in “The Man Who Murdered Santa Claus!” from Justice League of America #110 (Mar.–Apr. 1974)

CHRISTMAS WITH THE SUPERHEROES #1 1988 Cover artist: John Byrne Editor: Mark Waid Special features: “Cap’s Hobby Hints” 1/2-page filler; text page personal Christmas story by editor Waid Reprints: • Batman in “Wanted: Santa Claus— Dead or Alive” from DC Special Series #21 (Spring 1980) • Justice League of America in “The Man Who Murdered Santa Claus!” from Justice League of America #110 (Mar.–Apr. 1974) • Teen Titans in “A Swingin’ Christmas Carol!” from Teen Titans #13 (Jan.–Feb. 1968) • Legion of Super-Heroes in “Star Light, Star Bright … Farthest Star I See Tonight!” from DC Special Series #21 (Spring 1980) • Superman and Santa Claus in “’Twas the Fright Before Christmas!” from DC Comics Presents #67 (Mar. 1984) • Batman in “The Silent Night of the Batman” from Batman #219 (Feb. 1970)

TM & © DC Comics. TM & © Marvel Characters, Inc.

The Sandman #7, an aborted issue of Jack Kirby’s mid-’70s reinvention (originally with Joe Simon) of the “Master of Nightmares,” a casualty of the infamous DC Implosion. Seven years later, DC dusted off Christmas with the Super-Heroes, thanks to an editor who, as a kid, was fascinated by DC’s holiday collections. “One of my fondest memories is of finding that first Limited Collectors’ Edition Christmas with the Super-Heroes (#C-34!) in a grocery store when I was 12 and reading it nearly to pieces,” says Mark Waid. “When I TRADITIONS EVERLASTING landed on staff at DC in 1987, once I’d proven myself The tabloid format became extinct (at least temporarily) as a reasonably responsible editor, I campaigned for a by the early 1980s, supplanted by digests as the Christmas reprint one-shot in that vein (actually, I’d format in which to present reprints to a wider pitched it as a 144-page comic so that it could be audience via their mass-market distribution. As the biggest one-shot DC had ever published— chronicled and indexed in BACK ISSUE #76, DC remember, this was long before trade paperback mark waid published many digest editions from the late 1970s collections were routine!), and Paul Levitz scaled me through the mid-1980s, including a one-time Photo by Luigi Novi. back to 100 pages (96 with covers).” revival of Christmas with the Super-Heroes, published in late 1981 as And thus, editor Mark Waid rolled out 1988’s Christmas with The Best of DC Digest #22. This holiday collection is best known the Super-Heroes #1, packed with mostly Bronze Age classics. among fandom for its publication of a story that was intended to be Waid reveals to BACK ISSUE, “Picking the stories wasn’t hard. I no ten pages, and as far as I know, they never complained once. But, of course, they were professionals.” Roger Stern also toasts his editor on the project: “And Archie—wow, I learned so much in the brief time I got to work for Archie. For some reason, he was willing to take a chance on the new kid. Sometimes, I feel as though I’ve spent my career trying to live up that trust. You always wanted to do your best for Archie, because he was the best.”

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The Joy of Giving John Byrne’s cover to 1988’s Christmas with the Super-Heroes #1, from a cover sketch by Mike Carlin. TM & © DC Comics.

MORE CHRISTMAS WITH THE SUPER-HEROES In the early- to mid-Bronze Age, a Christmasthemed adventure would occasionally be reprinted in a DC title with little or no fanfare or thematic branding. For example, the 1943 Batman tale “The Loneliest Man in the World” was reprinted in Batman #239 (Feb. 1972), which also cover-featured a new Batman Christmas story, and the 100-Page Super Spectacular Justice League of America #111 (May–June 1974) reprinted a Seven Soldiers of Victory serial, which was not holiday-themed, but instead featured the Santa Claus Pirate (!) as the villain in its “Star-Spangled Kid” chapter. Even Santa (the real one, not the brigand) made a cover appearance in a blurb on Super Spec Batman #261’s (Mar.–Apr. 1975), announcing the issue’s reprinting of the 1945 Batman classic “A Christmas Peril!”

TM & © DC Comics.

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longer have any memory or records of what my original 144-page lineup was, but both because it was a neat story and because Paul had to sign off on the project’s approval, incorporating the Legion story was (I thought) a wise move. The Frank Miller Batman story was an obvious selling point given that DC and Frank were fresh off the recent Dark Knight Returns publicity, and I know the inclusion of that tale was a part of my pitch. ‘The Silent Night of the Batman’ was always a personal favorite, as well—two Batman stories, yes, but I was trying to be as commercial as possible since DC wasn’t known for doing reprint books at the time.” The project was not without its editorial challenges, as Waid explains: “The Teen Titans story was a nobrainer, as it’s one of the single best-looking comics stories DC ever published. Unfortunately, in those days, you had to send a request slip to the off-premises film library asking for negatives, which took a few days to arrive; I didn’t realize until too late that I’d been sent the version of the story that had been used in that LCE rather than the original Titans story, so it’s missing page two! This still bothers me. “And there was some subtle editing done to the Justice League story, as well. Because we were ordered to reflect the post-Crisis DCU as much as possible (even in reprints!), I was asked to lop out the Batman line ‘My best friend is—dead!’ from ‘The Man Who Murdered Santa Claus!’ (‘Batman and Superman are no longer friends,’ as it was barked to me). Yet in ‘The Fright Before Christmas,’ I somehow skated past on the pre-Crisis Fortress of Solitude, which couldn’t have been edited out. I don’t remember how that survived.” The comic’s cover, by John Byrne, depicted a gathering of DC heroes exchanging gifts around a Christmas tree, “a cute, great idea,” according to Waid. “Mike Carlin did the cover sketch for John Byrne to execute.” Decades later, the editorial he wrote for Christmas with the Super-Heroes #1 gives Waid pause: “Juggling the available reprints to come to exactly 96 pages proved difficult, and I ended up with 95—so I quickly put together the quite personal editorial, every word of which is true. In retrospect, I regret it; it’s a nice piece, but it’s way more about me than it is about DC Comics and its characters, and that was a poor call on my end— who the hell was I? Just some associate editor. Too personal. If I had it to do all over again, I’d write up a piece about the Christmas stories we didn’t have room to run.” The following winter, editor Waid and DC released Christmas with the Super-Heroes #2 (1989), whose original stories are discussed elsewhere in this issue. The holiday-themed reprint editions had come to an end. Yet the honored ritual persisted, with both DC and Marvel publishing holiday specials with all-new material for years to come. Special thanks to Roger Stern and Mark Waid, and a tip of Santa’s cap to Chris Marshall and Marv Wolfman.

Christmas came to the Marvel Universe in the Bronze Age, and with it came thoughtful commentary on the meaning of the season. In these works we saw villains regain their humanity, heroes lost and alone, imagery from famous Christmas stories, and so much more. In this article we will look at how the Marvel Universe celebrated the holidays in the Bronze Age. We will also check in with a few creators to see how they crafted these holiday tales.

SPIDEY AND TORCH TEAM UP

Jonathan Rikard Brown

The holidays roared into the Marvel Universe during the Bronze Age with the first issue of the legendary series Marvel Team-Up. Issue #1 (Mar. 1972) starred Spider-Man teaming up with Fantastic Four’s Human Torch in “Have Yourself a Sandman Little Christmas,” written by Roy Thomas, penciled by Ross Andru, and inked by Mike Esposito. Our tale opens with Peter Parker snapping photos of the Polar Bear Clan’s plunge into frosty waters off the Jersey boardwalk. All of sudden one of the swimmers is frightened by something brushing her leg. It is revealed to be the Sandman, making his return! After a scuffle with Spider-Man and the authorities, the Sandman escapes, noting that it is Christmas Eve, and he has somewhere he needs to be. After Sandman’s escape, Peter decides his date with Gwen Stacy is what is really important, and that the Sandman is more of a Fantastic Four problem anyway. He decides to alert them before he heads out for his evening with his beloved. It is here we find Johnny Storm, saddened by a breakup, deciding to spend the holidays in misery and let the other FF members go about their merry way. Web-Head and Flame-Head debate whose problem the Sandman really is before they realize they each have a piece of the puzzle and reluctantly team up. After assisting with some good deeds, they find the Sandman. A battle occurs, and Sandman wins, locking them up and tying them in a water tower, but not without giving them a clue for their escape. After making it out of the water tower, they catch up to the Sandman breaking into a house and switching into civilian garb. He makes a deal to come along with them peacefully if they will let him see his elderly mother, who doesn’t know he is a supervillain. They agree, and Spider-Man even hands over the present he got for Gwen Stacy so Sandy can give his mom a gift. However, after giving the Sandman time with his mother, the duo return to find that Sandman has left them high and dry by escaping down a drain. It is here we share a holiday spoiler: Spider-Man and Human Torch decide to let him go. It is Christmas, after all. The episode has brightened the spirits of both, and they part as friends. The Human Torch lights the sky with flame letters that read, “Peace on Earth, Goodwill to men.” Roy Thomas tells BACK ISSUE about this first issue and about how he came to be involved with the series: “I had always liked Christmas stories in comics, including Batman and the like. So when Stan [Lee] ‘asked’ me to write at least

Sweet Christmas! Trouble for Luke Cage—and the Marvel Universe—on the Billy Graham-drawn cover of Hero for Hire #7 (Mar. 1973). TM & © Marvel Characters, Inc.

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Sandman is Coming to Town (top) Spidey and the Torch pair off in the Christmas-set Marvel Team-Up #1 (Mar. 1972). Cover by Gil Kane and Frank Giacoia. (bottom) Courtesy of Heritage Comics Auctions (www.ha.com), original Ross Andru/Mike Esposito art to page 9 of MTU #1. TM & © Marvel Characters, Inc.

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the first issue of Marvel Team-Up to get it started, and I realized the issue would be out around December, I used that as an excuse to humanize Sandman, one of my favorite Spidey villains. And since Ross Andru was the penciler, I think it came off fairly well.”

MY FAVORITE THINGS The Human Torch was not the only Fantastic Four member to celebrate the holidays with a team-up. In the Bronze Age, the Thing’s series Marvel Two-in-One hosted two holiday-themed stories. The first of these paired the Thing with a different flame-head, Ghost Rider, in a story entitled “Silent Night … Deadly Night,” appearing in MTIO #8 (Mar. 1975). It was written by Steve Gerber, with artistic duties handled by Sal Buscema and Mike Esposito. The cover boasted that it was “Easily the most off-beat holiday extravaganza of all!” The story begins with Ghost Rider cruising down a long stretch of highway and encountering three travelers atop camels, eerily reminding the dark hero of a certain yuletide tale. He meets with the travelers, who seem to be only a little alarmed by the individual with a flaming skull head. They tell him they are following yonder star, bringing gifts for a newborn baby. Meanwhile, Reed Richards and the Thing are arguing about how proper it is to work during a Christmas party. Reed is amazed by a new star appearing in the sky and is convinced he must study it no matter the cost. The Thing thinks it would be fantastic for Reed to be with his family, who are downstairs, during the holidays. This back and forth leads to Mr. Fantastic going to the party and the Thing jetting off to the Konohoti Indian Reservation where the star appeared. There is a theme here of European religious roy thomas heritage trampling Native-American culture. (We will see this theme progress even further Luigi Novi / when we discuss Captain America #292.) Wikimedia Commons. In the meantime, Ghost Rider has arrived in what appears to be an ancient near-east city where he has found a local inn with a grumpy innkeeper and a family with a newborn baby lying in a manager. His investigation is cut short by a mysterious figure throwing him out of the town in a tornado. After he has recovered from the fall he meets the Thing, who has just landed. They decide to team up to learn more. They learn that the town is a part of a plot by the villainous Miracle Man, seeking to take his revenge on the Native-American spiritual elders who trained him but later imprisoned him after he turned to misdeeds. He has converted the town in a new Bethlehem, and created a child through immaculate means. This was done so that he will be heralded as a new god, and his spiritual captors’ ways would be destroyed. It is interesting to note that this story is the only comic surveyed that engages the religious story of Christmas. In issue #74 (Apr. 1981), Christmas returned to Marvel Two-inOne. This time the Thing was paired with the villain the Puppet Master in a story entitled “A Christmas Peril,” written by Mark Gruenwald, penciled by Frank Springer, and inked by Chic Stone. In a nod to the holiday theme, Jim Shooter is credited as “Santa.” In Marvel Team-Up #6 we had learned that the Thing’s love interest, Alicia Masters, was the stepdaughter of the Puppet Master. MTIO #74 opens with Ben Grimm complaining about last-minute Christmas shopping and the addressing of Christmas cards. Alicia convinces him to send a card to her stepfather as a nicety due to the season. We flash forward to find out the Puppet Master is being released from prison. He returns to his lair to realize he no longer has any of his special radioactive clay that he uses to control people’s minds. His timely receipt of the Thing’s Christmas card spurs him to come up with a plan to use the Fantastic Four to obtain new clay from the mountains in a corner of the Balkans. Puppet Master shows up at the Fantastic Four’s Christmas party and uses young Franklin Richards as a patsy to persuade the Thing and Alicia to fly him to what he claims to be the land of his birth. The next

Star Bright, Toys Fight The Thing’s holiday team-ups: (left) Marvel Two-in-One #8 (Mar. 1975), with Ghost Rider. Cover by Gil Kane and Joe Sinnott. (right) MTIO #74 (Apr. 1981), with Puppet Master. Cover by Frank Springer. TM & © Marvel Characters, Inc.

morning, Alicia and the Thing realize the Puppet Master has sneaked off. Their search for him leads them to Madam Bova, a cow that the Lord High Evolutionary has transformed, and Modred, a powerful magician who has been lobotomized and left with the mind of a child. It is Modred who, perceiving Puppet Master’s evil intentions, has captured the villain. Hijinks ensue but eventually the Thing, Alicia, and the Puppet Master prepare to return to America, but not before the Puppet Master instructs Modred on how to create friends out of his toys, because he senses how lonely the magician is. This is something Puppet Master relates to, and due to the season he does not want to see anyone alone.

WORLD’S GREATEST CHRISTMAS MAGAZINE If you look at the material we have already covered, it would be easy to think that Marvel’s First Family was always separated at Christmas. That is simply not true. During the Bronze Age “the World’s Greatest Comic Magazine” contained at least two stories that showcased the holidays within its pages. The first of these was Fantastic Four #242 (May 1982), entitled “Terrax the Untamed,” with story and art by John Byrne. At the start we find that Christmas has come and gone. Reed has angered Sue by revealing their Christmas tree was a fake. While H.E.R.B.I.E. the Robot watches, Reed is playing with a rocket toy he has turned into a real rocket. In a park nearby, the Thing is almost mugged but he turns the tables on his attackers. He uses a snowball to take down the criminals in a merry fashion. Johnny Storm and his current love interest, Frankie Raye, are enjoying the remainder of their holidays by visiting friends in a local play. It is here that things take a turn toward the cosmic as the sky morphs into what looks like a crossword puzzle. Johnny and Frankie flame on and fly home. The group is then taken aback by the returning Terrax. While a fight ensues, the two parties come to a truce, and Terrax reveals he has a plan the kill Galactus. This is where the issue ends, and thus sets up a larger story to unfold in future issues of Fantastic Four. The next time the holidays reared their head in Fantastic Four was issue #325 (Apr. 1989), in a story entitled “A Christmas Tale.” The story was crafted by Steve Englehart, Rich Buckler, and Romeo Tanghal. The issue begins with Johnny Storm being rescued from the middle of space by the Silver Surfer. The issue deals with the fallout from a battle with Kang the Conqueror. The holiday theme is minimal other than

Christmas time being noted once, and the presence of snow when we return to Earth. The bulk of the issue deals with the reunion of Silver Surfer and Mantis, who are lovers. At the end of the issue we learn that Mantis must shed her physical form to find her lost son, and by doing so once again loses the Silver Surfer. While the issue is light on overt holiday tones, the presence of this sacrifice for loved ones appeals to deeper meanings of the season.

A PETER PARKER CHRISTMAS The Fantastic Four were not the only ones in the Marvel Universe to take part in the merriment of the holidays. Spider-Man also had more yuletide adventures outside of Marvel Team-Up #1, including Amazing Spider-Man #166 (Mar. 1977). In “War of the Reptile-Men!” by Len Wein, Ross Andru, and Mike Esposito, a gift-giving Spidey spends his Christmas trying to keep young Billy Connors, son of Dr. Curt (the Lizard) Connors, safe from Stegron the Dinosaur Man, with the scaly Lizard also rearing his head. Marvel Team-Up #127 (Mar. 1983) is billed “Special Christmas Issue!” on its cover. It is a team-up of Spider-Man and the Watcher in a story entitled “Small Miracles,” written by J. M. DeMatteis, penciled by Kerry Gammill, and inked by Mike Esposito. The story features a scene with Peter Parker at a Christmas party hosted by Aunt May and attended by her house boarders. One of them, Mr. Chekov, is worried about his absent granddaughter, Bette, inspiring Peter to investigate her whereabouts as Spider-Man—with the Watcher pointing the way. This work takes a dark turn involving mobsters and drug dealers, and has an appearance by Captain America, but ends on a promising note, as you would expect from a Christmas story. Next we turn to The Spectacular Spider-Man #112 (Mar. 1986), written by Peter David, penciled by Mark Beachum, and inked by Pat Redding. We also see special help from the North Pole came in the form of Donner and Blitzen acting as “creative consultants.” In this issue we find Peter Parker and company dealing with some holiday depression. After letting a crook go as a Christmas favor, Peter takes off his black costume to return to a trashed apartment so he can work on cleaning up his original red-and-blue gear. Throughout this tale we see Peter struggling to find a place to fit in for the holidays. He believes Aunt May is too busy and does not want his company. Christmas in the Bronze Age Issue

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“You’d better watch out…” Look out, Web-Head! You’re facing (top right) Reptile-Men in Amazing Spider-Man #166 (Mar. 1977) and (middle right) a heat-packing Santa in Spectacular Spider-Man #112 (Mar. 1986). Covers by John Romita, Sr. and Frank Giacoia, and Kyle Baker, respectively. (bottom right) Marvel Team-Up #127 (Mar. 1983) cover by Ed Hannigan and Al Milgrom. (left) Peter Parker learns of a lost soul on this beautiful MTU #127 page by writer J. M. DeMatteis, penciler Kerry Gammill, and inker Mike Esposito. Courtesy of Heritage. TM & © Marvel Characters, Inc.

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j.m. dematteis

Culture Clash The Ed Hannigan/Klaus Janson cover of Captain America #292 (Apr. 1984), featuring J. M. DeMatteis’ “An American Christmas.” TM & © Marvel Characters, Inc.

His friends at work are too focused on their own families for him. He also discovers that the toys for his office’s toy drive have been stolen. This adds an even stronger hint that this will be a very black Christmas. Felicia Hardy, the Black Cat, tries to reach out to Spider-Man to see if they can rekindle their romance, but she caves before Peter can pick up the phone. However, this leads her to break up some thugs who stole some fur coats. The giving spirit of the holidays overtakes the Black Cat and she does not return the coats but delivers them to some homeless women. It is here she considers going into the Robin Hood game. Meanwhile, Peter Parker has decided to spend Christmas at home, alone, but is interrupted by his spider-sense. In the next apartment, a single mother, her son, and their roommates are being robbed by an impostor Santa. Spider-Man steps in, but the crook gets away and escapes to the roof. It is here he meets up with a mysterious character who is angry with the impostor’s use of the Christmas icon. While we don’t know who this mysterious person is, he is wearing black boots and we see a familiar red sleeve. The next day, Christmas, Peter is called to work. The impostor Santa has turned himself in, returned the items he has stolen, and is giving out handmade toys that did not come from a shop. He then tells Peter he has a note for him. Peter is perplexed because he has never met this man in his life. The note points Peter to the grandest gift of all.

Christmas would return to The Spectacular Spider-Man in issue #173 (Feb. 1991) with a story entitled “Creatures Stirring.” Its plot and partial scripting was by Gerry Conway. David Michelinie handled the rest of the script, and Sal Buscema was credited with the art. The story focuses on Dr. Octopus returning for the holidays. He is on the verge of making his return to the criminal world, but first he just wants to find someone to spend the holidays with. He decides that Peter’s aunt, May Parker, is this person, as she is the only one who has shown him any kindness. However, when Octavius shows up at the Parker clan’s Christmas party, Spider-Man intervenes and they begin to fight. The clatter summons the attention of all those in attendance at the Parkers. Dr. Octopus concedes the confrontation as May enters the picture. He says, “Dear lady, forgive me! The last thing in the world I wanted was to disrupt your merriment. Please carry on.” He leaves, and May chastises Spider-Man for being so rude to her friend. Spider-Man ponders a simple notion as the book draws to a close: “Maybe on Christmas Eve no one’s a hero or villain.”

Christmas in the Bronze Age Issue

Unhappy Holidays Doc Ock, you’re unwelcome! Page from Spectacular Spider-Man #173 (Feb. 1991). Art by Sal Buscema. TM & © Marvel Characters, Inc.

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ASSEMBLING AROUND THE CHRISTMAS TREE The Avengers had holiday exploits in their solo titles during the Bronze Age as well. The first of these was “An American Christmas” in Captain America #292 (Apr. 1984), written by J. M. DeMatteis, penciled by Paul Neary, and inked by Ed Baretto. The story opens with Captain America and Nomad being attacked by a giant crow, who we later learn is a Native-American man by the name of Jesse Black Crow. He was paralyzed while working as a construction worker on “monuments to the white world that overthrew his own.” He has been infused with the Great Spirits and becomes the embodiment of the country that once stood on this land. He seeks out Captain America and engages him in combat. It is clear that these men embody the spirits of the nations that have been on the same land. Finally, Cap realizes the only way to win this battle is to admit defeat and kneel to the spirit of those wronged by his own people, thus giving Black Crow and his people a much-belated Christmas present—an apology. J. M. DeMatteis spoke with BACK ISSUE about crafting the Captain America and Marvel Team-Up comics and his love for the Holiday season. “I’m a Christmas junkie,” DeMatteis reveals. “It’s my favorite holiday: a time of hope and magic when—for a moment, at least—it seems as if the world really can be healed, as if compassion, kindness, and simple human decency will win the day. I’m also inordinately fond of Christmas stories, none more so than A Christmas Carol. You can see why I couldn’t resist bringing just a little of that to the comic-book world and to Captain America—who, in his own, deeply human, way, embodies the virtues of Christmas. Seemed like a good idea at the time.” This brings us now to good, ol’ Shell-Head. Iron Man #254 (Mar. 1990) was written and drawn by Bob Layton. The issue is entitled “Graduation Day,” but the cover reads “Ho-Ho-Homicide.” This comic shifts focus between Tony Stark and Taskmaster’s new Spymaster. The Taskmaster has awarded one of Justin Hammer’s recruits the costume and legacy of the Spymaster. However, to complete his training, the Taskmaster assigns Spymaster a target that is kept secret to the reader. Meanwhile, Tony Stark prepares for a Stark Industries’ Christmas party for charity, a mega event with a real winter wonderland, in the heart of California. No expense has been spared. The new Spymaster infiltrates the event dressed as Santa (a similar tactic as an aforementioned Spider-Man foe), then begins to wreck the party, forcing Tony to “bring out” Iron Man. The two duke it out to a standstill. Iron Man questions Spymaster’s motives. We learn that Spymaster is after Iron Man’s tree topper—this is what he was tasked to steal. Iron Man lets him have it. He then checks on the downtrodden children invited to the party. Before the issue closes, Iron Man explains why he let the criminal claim his prize: “It’s about peace on Earth and good will … even to a psycho like him!” To complete our look at the Avengers’ Holy Trinity we come now to The Mighty Thor #444 (Feb. 1992). Tom DeFalco and Ron Frenz plot, pencil, and script the tale. Al Milgrom was tapped to finish the art. This comic is also dedicated to Dr. Seuss, and is entitled “How the Groonk Stole Christmas!” This book focuses on the Eric Masterson incarnation of Thor. We find Eric down on his tom defalco luck at Christmas. He has been evicted from his apartment that a villain destroyed. His ex-wife and son are spending Christmas Luigi Novi / with her new professional football-playing husband, and the city Wikimedia Commons. has a bandit that accosts people and steals one present at a time. The culprit is a character named for the one word he can say: “Groonk.” Groonk is green, furry, and wears a Santa suit. The title and dedication point to a memory this character is supposed to invoke for the reader. Groonk and Thor fight through a shopping mall of shoppers but are interrupted first by a dog with a single antler and then by a little girl named Cindy Lou. She introduces herself and the dog, Max, then begs Thor to leave the Groonk alone. As you continue to read this issue it might be said that “Thor’s heart grew three sizes that day.” Tom DeFalco shares with BACK ISSUE a little secret about crafting holiday stories: “A writer is always scrambling for story ideas. Holiday stories are easy pickings. Everyone has special memories attached to certain holidays. Some are remembered for their emotional highs. Others for their lows. I like to use those emotions to craft stories that resonate with my readers and haunt them in the years to come.”

Bad Santas (top) Bob Layton’s Armored Avenger vs. St. No-Good-Nick cover of Iron Man #254 (Mar. 1990). (bottom) You’re a mean one, Mr. Groonk. Ron Frenz/Al Milgrom cover to Thor #444 (Feb. 1992). TM & © Marvel Characters, Inc.

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TO GAMMA’S HOUSE WE GO There is nothing that screams Christmas like the Hulk fighting Santa. I mean, it is green and red all over (to be fair, it’s a greenish-gray)! That is exactly what we find in the pages of The Incredible Hulk #378 (Feb. 1991), written by Peter David, penciled by Bill Jaaska, and inked by Jeff Albrecht. The story is entitled “Rhino Plastered.” The story does not include the Hulk fighting the “real” Santa. What we have in this comic is a battle with a down-on-his-luck Rhino, who has accepted a gig as a mall Santa. The job starts off nicely and Rhino states when enters the mall, “This is … this is the first time I’ve ever been greeted with joy and happiness … instead of screams.” The Rhino eventually revolts from the job after taking abuse from several fussy children. This leads to a fight with the Hulk, who appears after Bruce Banner bolts into a bathroom with “stomach cramps.” They banter as they fight all across the mall, finally coming to stop when a little girl approaches them and assures everyone that they won’t hurt anyone because it’s Santa and his helper. The duo do not wish to break the girl’s holiday cheer and put their grievance aside. The issue closes with Santa Rhino and Hulk passing out candy canes. The Jade Giant’s cousin, She-Hulk, got into some holiday hijinks during the Big ’80s. The first of these tales appeared in Marvel Comics Presents #18 (early May 1989). “Xmas Tease,” an eightpage prologue to set up the character’s new series, was written and drawn by John Byrne and inked by Bob Wiacek. It centers on a phone conversation with the Thing. In the end it breaks the fourth wall as She-Hulk is presented with copies of her own first issue for Christmas. The first Christmas story in her own series was The Sensational She-Hulk #8 (mid-Nov. 1989), “The World’s Greatest Detective.” John Byrne wrote and drew this story, with Bob Wiacek inks. In between day tripping to Jupiter and day dreaming about Hercules, Jennifer Walters is brought in to prosecute an Australian slime ball responsible for seven murders. The only problem is that there is a lack of concrete evidence. However, fate intervenes and She-Hulk bumps into Nick St. Christopher (or should we say he bumps into her). He claims to be the world’s greatest detective, and says, “I always know who’s been naughty … and nice…” Nick St. Christopher appears to be a short version of Santa, and claims to be the real thing. At one point he teleports She-Hulk and himself to Australia to find the star witness that closes the case. The story closes with Nick being hauled off by his wife, who is not too pleased with his flirtation

with the Jade Amazon. It is important to note that our detective also presents Jen with a gift and instructs her to keep it until she needs it. The Sensational She-Hulk #36 (Feb. 1992) is touted as a special holiday issue. John Byrne remains the writer and artist, now inked by Keith Williams. By this time the Jade Giant’s solo title had turned into a meta comic with little in terms of superheroing. Jen and others talk to the reader and use the terminology of issues to denote time. In the end of this book we find Jen at home with her father for Christmas. She has brought along her best friend, Weezi. She-Hulk learns that her father misses the normal, pre-She-Hulk Jen. Weezi confronts her about this, and they remember the present that Nick St. Christopher gave her “twenty eight issues ago.” She opens it. Then she is transformed back into Jen Walters (just for Christmas) and is able to give her dad the present he has been dreaming of. She-Hulk was not the only to bring yuletide greetings in Marvel Comics Presents #18. The final story of the anthology was about Willie Lumpkin, the friendly neighborhood mailman of the Marvel Universe. The story, “A Christmas Card,” was written by Glenn Herdling with pencils and color by Richard Howell and inks by Joe Sinnott. Our story begins with our upbeat postal carrier delivering mail to the Fantastic Four. After inviting the Thing over to meet his family for Christmas, Willie heads off to finish up his deliveries before settling in for a long winter’s nap. Lumpkin is then visited by the Ghost of Christmas Past, who got lost on her way to J. Jonah Jameson’s. She then whisks Willie off on an excursion of Dickensian proportions. At the end of the journey he is returned home, a little worse for the wear. He is awoken by gathering of his Fantastic friends to wish him Merry Christmas. Unlike Ebenezer, however, the night’s journey has tired him and turned him into a scrooge. This story ends with a “Bah-Humbug.”

Mall Brawl Courtesy of Heritage, Bill Jaaska and Bob McLeod’s original cover art to Incredible Hulk #378 (Feb. 1991), featuring Ol’ Jade (make that Gray) Jaws mixing it up with “Santa” (the Rhino). TM & © Marvel Characters, Inc.

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The Bright Knight and the Jolly Fat Man (left) And you thought Batman was the “World’s Greatest Detective”… John Byrne’s cover to Sensational She-Hulk #8 (mid-Nov. 1989). (right) One of our cover stars, the Kingpin, horns in on DD’s territory. Cover to Daredevil #253 (Apr. 1988) by John Romita, Jr. and Al Williamson. TM & © Marvel Characters, Inc.

HOLIDAY FOR HIRE

THE HOUSE OF HOLIDAY IDEAS Marvel’s superheroes were not the only genre to enjoy the holiday treatment during the Bronze Age: • Bizarre Adventures #34 (Feb. 1983): “Special Hate-the-Holidays” issue of Marvel’s offbeat magazine. • Crazy Magazine #16 (Mar. 1976): “Special Xmas-Rated Issue” of Marvel’s humor magazine. • Crazy Magazine #59 (Feb. 1980): Another Christmas-themed issue of Marvel’s humor mag. • Howard the Duck #3 (Feb. 1980): “A Christmas for Carol!”, by Bill Mantlo, Gene Colan, and Dave Simons. Black-andwhite magazine incarnation of Howard’s title. • The ’Nam #11 (Oct. 1987): “’Tis the Season,” by Doug Murray, Michael Golden, and John Beatty. • The ’Nam #23 (Oct. 1988): “Blue Christmas,” by Doug Murray, Wayne Vansant, and Frank Springer. • The ’Nam #35 (Oct. 1989): “Sounds of Silence,” by Doug Murray, Wayne Vansant, and Geof Isherwood. • Tomb of Dracula #54 (Mar. 1976): “Twas the Night Before Christmas,” by Marv Wolfman, Gene Colan, and Tom Palmer. • What The--?! #10 (Jan. 1991): Marvel’s humor magazine featured this special “X-Mas Special” issue with Christmas parodies of its characters, including “Santa Doom.”

Charles Dickens’ influence was also felt in Luke Cage, Hero for Hire #7 (Mar. 1973). Steve Englehart authored the story called “Jingle Bombs!” George Tuska drew the yarn. The story begins with Luke confronting a man who is physically assaulting a boy over the price of a newspaper. Luke looks into the incident, and finds a man who deals in chains to be at the center of it. His name is Marley. Luke stops the beating and gets the child to medical attention. He then turns his attention to his lady friend, Claire. The two frolic in the snow before being accosted by a character out George Orwell’s 1984. The two fight before the Luke Cage banishes the latter. Luke drops Claire off so he can investigate the mysterious happenings throughout the day. Luke is later kidnapped by a madman with a plan to wipe out New York for Christmas. This is the same man who has been troubling Luke all day, as different characters. In the end Luke breaks free and is able to save Christmas. This finally brings us to Luke Cage’s good friend, Matt Murdock, Daredevil. The Man without Fear had four holiday issues during the Bronze Age, Daredevil #108 (Mar. 1974), 206 (May 1984), 241 (Apr. 1987), and 253 (Apr. 1988). We see a common theme of how even those surrounded by their loved ones are often alone during the holidays. In these issues we see Matt and Karen Page’s relationship fall apart, Matt and the Black Widow’s love come to an end, Matt and Moondragon come to grips with the fact their love can never come to fruition, and Foggy’s wife Deb contemplate cheating on her district attorney-husband with a savage caveman named Micha Synn. The fragile nature of relationships is often a part of the Daredevil mythos. The creators on these works have used Daredevil and his companions to show how hard the holidays can be. Ann Nocenti, the writer of #241 and 253, shares these thoughts with BACK ISSUE: “I relate to those who find themselves at loose ends on holidays. With the Daredevil Christmas stories, I put him at odds with his own life. So even if it were just for that one day, he would find himself in the company of outsiders, be it in a bar or on the street with kids from broken homes. He was outside normal community, but found community with others who had lost their way but were making the best of it. And perhaps, for Daredevil, it was a place he felt most comfortable.” This concludes our look at Marvel’s Bronze Age Holiday Grab-Bag. These issues made us laugh, cry, roll our eyes, call our parents, and so much more. These issues are a testament to the complexity of the holidays and to the medium of comics. JONATHAN BROWN attended Young Harris College and Brevard College for his undergrad. He completed his B.A.in 2007. He finished his Master of Arts in Religion with an emphasis on New Testament and a minor in Religion in Literature at the University of Georgia. He has published work in The Jack Kirby Collector and International Journal of Comic Art.

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When Professor Charles Xavier put together the first team of X-Men, he forged a group of teenagers into something much greater than merely the latest squad of superheroes. The X-Men were, from the beginning, a family of young people with extraordinary powers striving to make a better world not only for mutants like themselves but oftentimes the humans who hated and feared them. It should come as no surprise that the X-Men have had quite a few adventures framed around the “most wonderful time of the year,” when people around the world celebrate the company of family and friends.

“MERRY CHRISTMAS, X-MEN…” TM

Christopher Larochelle

The first of these adventures takes place in X-Men #98 (Apr. 1976), before the famous “Uncanny” descriptor was attached to the series title. This comic features a group of X-Men who are still just barely getting to know each other. Everyone begins the snowy evening at Rockefeller Center in New York City, but it is not long before different groups of mutants split off to have their own fun. “For the first time in years, New York’s got itself a real honest-togoodness white Christmas!” says Jean Grey. “Isn’t the snow beautiful, Ororo?” Ororo (better known as Storm), who has only recently relocated to New York from her home country of Kenya, is unimpressed by what she sees: “In its way, Jean … but I can’t help remembering that on the slopes of Kilimanjaro, the snow is … white.” Nightcrawler and Colossus try to get the attention of a couple of women while Banshee and Moira MacTaggert head out to see the sights of the city. Cyclops and Jean Grey get ready for a quiet date at a restaurant, and one mutant in the bunch just doesn’t fit into any of the plans. “What about you, Wolverine?” asks Jean Grey. “What about me, Miss Grey—? I got no use for Christmas,” replies the loner. As Cyclops and Jean Grey walk down the streets of New York, they pass a couple of strangers who should look quite familiar to fans of Marvel history: Stan Lee and Jack Kirby themselves get the chance to brush shoulders with their creations in this story. Writer Chris Claremont took the chance to include this moment in the holiday happiness of X-Men #98’s beginning section. Speaking of the importance of Lee and Kirby, Claremont tells BACK ISSUE that “without them, neither the X-Men—or me writing them—would be here. If anyone deserved to have a scene in our first Christmas issue, it’s the ‘Man’ and the ‘King.’ ” The peaceful moments only last so long before Sentinels show up and the “All-New, All-Different” X-Men are launched into their first adventure in space. By the end of this tale readers would be introduced to a key part of the X-Men mythos in the Phoenix. Chris Claremont has the following to say about this timeframe in the development of the X-Men saga and his collaboration with artist Dave Cockrum: “At that point, the series had been around for all of four issues. We were coming out every other month, remember; we had to let the readers know right from the start that big things were coming. Otherwise, they might wander away to a more enticing title. As well, we had our hundredth looming three issues down the road. That had to be a really big deal, which meant Dave and I had to come up with a seminal story while we were still getting to know our cast. The result was Phoenix—which is still resonating throughout the X-universe today, some 40 years later. That story would have meant nothing if the readers didn’t care about the characters—which meant the issues leading up to it had to use every opportunity to introduce the readers to our characters in terms they could readily relate to and which would help set up a bond between the characters and their audience. Fortunately, with an artist as gifted as Dave Cockrum—both in his ability to tell a superb visual story and

Home Alone It’s a scary Christmas for Kitty Pryde in X-Men #143 (Mar. 1981). Cover by Terry Austin. TM & © Marvel Characters, Inc.

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Cockrum laid the foundation of the characters and the series; John took it to the next visual and storytelling level. Sadly, this was his last issue on the book, and our last true collaboration, but it was a great one.” “DEMON” X-Men #143 (Mar. 1981) gave fans another A few years later, Chris Claremont had about chance to see how the X-Men celebrated the 40 issues worth of X-Men adventures under holiday season. With everyone leaving his belt and the writer saw fit to revisit Xavier’s mansion for various Christmasthe mutants’ year-end celebrations. related reasons, Kitty, the lone Jewish The status quo of the team had member of the team, stays behind to changed greatly since their journey watch over the property. What begins into space in X-Men #98. The X-Men as a boring and quiet night ends in a had lost one of their founding members, moment of bravery and triumph for the Jean Grey, to the power of the newest X-Man. While it does still feature Phoenix. Not long after that, Kitty the excitement of a ghastly demon in the Pryde became a brand-new member of X-Mansion that Kitty needs to vanquish, the team. Beyond the years’ worth of the issue serves as a much needed character development and shocking change of pace after the events that story twists, one big “under the pushed the X-Men to their limits in the chris claremont hood” change that had occurred previous storylines. “Over the previous since the beginning of the “All-New, half-dozen issues, we’d presented the All-Different” X-Men was the man at end of the Phoenix/Dark Phoenix saga, culminating in the art board. When asked about what important the death of Jean Grey, and then gone on to top it with changes had occurred in the book between these two ‘Days of Future Past,’” says Claremont. “Where does one Christmas-related X-tales, Claremont is quick to point go from there? To something completely different … out the contributions of artist John Byrne: “Dave Kitty Pryde standing alone against another of the demons that attacked the X-Men back in issue #96. She’d already been through a lot since joining the team just five issues previously; here was where we showed her at her nascent best.” Between the span of the two Christmas issues, there was not a single member of the team who did not grow or change in some way. Perhaps the clearest example of how the individual X-Men developed as characters between these two Christmas stories is that of Wolverine. At the time of X-Men #98, Wolverine was a disgruntled loner who proclaimed to have “no use for Christmas.” X-Men #143, published five years later, shows Wolverine as a very different person, and indeed he seems characters for the readers to embrace—that proved to be the least of our worries. The way he presented the X-Men, it was natural to fall in love with them.”

White Christmas (inset) Dave Cockrum’s cover to X-Men #98. (left) The issue’s splash— hey, do we see a couple of S.H.I.E.L.D. agents there?? (right) Stan Lee and Jack Kirby cameos. TM & © Marvel Characters, Inc.

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to be the X-Man in the biggest hurry to get out the door. As he gets ready to leave, Wolverine turns to Xavier, saying, “Prof, I’d like to introduce my, um, lady. Charles Xavier—Mariko Yashida.” Wolverine’s words seem to indicate that even he is having a hard time believing the changes that he has gone through. Nevertheless, the change is real. Mariko and Xavier exchange kind words, Nightcrawler steals a kiss from the woman that he too met during the X-Men’s trip to Japan (in a story told over the course of X-Men #118–119), and Wolverine is sent over the edge. Defused by a combination of Colossus’ strength and a telepathic shout from Xavier, Wolverine makes his way out the door with his Christmas date. Sensing the tension rising in the room, Kitty Pryde makes her first bold move of several in issue #143. “Merry Christmas, sexy,” says the youngest of the X-Men as she holds up a sprig of mistletoe and gives Colossus a quick peck on the cheek. “Kitty!” shouts the mortified Colossus. Kitty gazes at him with a playful face of false innocence: “Peter, you’re blushing!” Nightcrawler, still ever the trickster (whose impropriety with Mariko indirectly led to this incident in the first place), chimes in with a commentary of his own: “Good thing you only kissed him on the cheek, Kitten. Anywhere else and he’d have probably dropped dead from shock.” Shortly after this, the remaining X-Men file out of the mansion and Kitty is left to her “boring night alone” at the mansion. When the X-Men return to the mansion, they notice that considerable damage has been done to various parts of the building. Everyone is happy that Kitty is safe but confused about what exactly took place. Kitty’s battle against the demon turned her into a full-fledged member of the team. As the narration reads in the issue’s final panels, “alone on Christmas Eve, Kitty Pryde underwent a rite of passage—a supreme test of her abilities, her intellect, her courage, her … self.” The final panel’s image of the ashes in the shape of the demon’s grasping fingers are accompanied by two words only: “She passed.” With the “Dark Phoenix Saga” and the “Days of Future Past” storylines under their belts, one has to wonder if Claremont and Byrne might have wanted to keep the intensity rising rather than letting the pace slow down for a Christmas-centric issue. Could such a story have come about only because somebody in the Marvel offices told them that they needed to settle down? Once again, Chris Claremont is effusive about his collaborators: “It was John’s and my story. One of the things that made Louise Simonson such an exceptional editor was that she knew when to get involved and when to let the creative team do what they did best. This was the latter.”

“‘TWAS THE NIGHT…” In 1988, over 200 issues of X-Men had been published and again much change had occurred both within the stories themselves and behind the scenes in the making of the comic. The popularity of the series led to a proliferation of spin-off titles and miniseries dedicated to specific characters. One thing that had not changed in all of this time, however, was Chris Claremont’s involvement as writer of the series. In the comics, the X-Men’s roster had fluctuated and the status quo had been shaken several times. On the business side of things, a few different artists had come and gone on the series since John Byrne ended his run, with Dave Cockrum returning before handing the reins over to a young John Romita, Jr. Issue #230 of the series (now formally referred to by Marvel as The Uncanny X-Men) shows Claremont returning to a Christmas theme in a collaboration with then-series regular artist Marc Silvestri. Uncanny X-Men #230 came hot on the heels of the “Fall of the Mutants” storyline. In the aftermath of that

tale the X-Men were believed to be dead, though they secretly resurfaced in Australia. Issue #230, as Claremont reports, “is how we started the newest chapter in their lives. Technically, they’re all dead—albeit resurrected. So they’re very much on the outside of their friends’ lives, looking in—as Ororo’s scene soaring over the mansion illustrates. They’re part of the world, charged with defending it—and yet they’re also very much apart from it, living in the middle of nowhere, Australia. Even so, despite this separation, they still find ways to right wrongs and restore what’s lost to the victims of earlier crimes. Here we see them combining their talents and using the abilities—and impulses—of their newest members to bring joy to the world, as best they can.” How exactly do the X-Men manage to bring joy throughout the world? It starts when Longshot discovers a treasure trove of stolen items kept in storage by the villainous Reavers. Longshot is overwhelmed by psychic visions of the “stories” of each piece of stolen treasure. He sees whom the pieces belong to and how they were taken from them. Armed with this knowledge, Longshot Christmas in the Bronze Age Issue

The Demon Within Courtesy of Heritage Comics Auctions (www.ha.com), a gripping original art page from X-Men #143. By Claremont/ Byrne/Austin. TM & © Marvel Characters, Inc.

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Yes, Virginia, There is a Dazzler… (inset) The Uncanny X-Men #230 (June 1988). Cover by Marc Silvestri and Joe Rubinstein. (left) Prying eyes spot a Merry Mutant in #230’s tale. TM & © Marvel Characters, Inc.

X-MEN X-MAS: BEYOND BRONZE X-Men Christmas stories were not just limited to the era of the Bronze Age, or the pen of Chris Claremont. Two tales from the late 1990s admirably carried on the X-Men Christmas tradition: • Uncanny X-Men #341 (Feb. 1997), by Scott Lobdell and Joe Madureira, splits its focus largely between the development of the love story between Rogue and Joseph (a clone of Magneto) and a battle royale between Cannonball and Gladiator. The issue makes no qualms about paying homage to the past moments in X-Men Christmas story history, as the opening splash page features the team walking in front of the tree at Rockefeller Center, just like in X-Men #98. Beast even uses his typical science-speak to describe the current weather conditions, which Cannonball translates for everyone else as a nearly exact quote of Jean Grey’s line from page 1 of issue #98: “It looks like we’re havin’ a white Christmas!” • Uncanny X-Men #365 (Mar. 1999) takes inspiration from Charles Dickens’ A Christmas Carol as Colossus is visited by his own “Spirit of Christmas Past.” As Colossus struggles to find out by whom he is being confronted, he learns that at this time of year Charles Xavier always does his best to remember the X-Men who have died.

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tries to convince the team that they should try their best to right the wrongs of the Reavers. “This is nuts, even by our standards!” says Wolverine. “Longshot, you can’t be serious! You want us to return all that loot?” Despite Wolverine’s complaints, the X-Men decide to put the plan into action. Gateway, a mutant teleporter the X-Men allied themselves with shortly after finding themselves in Australia, helps them to get where they need to be so that in a single Christmas Eve they can deliver the goods back to their rightful owners. Claremont’s narration reads like a poem: “Southern hemisphere to northern, east to west—dawn to midnight—summer to winter … the X-Men’s madcap task begins. Quiet as elves—stealthy as angels—they make their appointed rounds.” When the night’s work is done the X-Men gather to celebrate the holiday together. One mutant seems to speak for everyone present. “Y’Know, I’ve felt pretty lousy at times…’cause when I joined the X-Men, it was because I didn’t really have a choice,” says Dazzler toward the end of the issue. “But what we did just now, the joy we brought to people … I’m glad I was a part of it. And proud to be an X-Man.” Ann Nocenti worked as editor of Uncanny X-Men during this time. “That X-mas tale was a ‘breather’… something fun and light to do between bigger, more complex story arcs,” Nocenti says. “ ‘Breather’ issues were always fun and necessary to give our minds (and the fans!) a break between the more breathless epic stories.” After what the X-Men had been through in the “Fall of the Mutants” storyline, a “breather” issue was certainly in order. According to Chris Claremont, having X-Men stories set during the holidays serves several valuable purposes. “It provides a benchmark indication of the passage of ‘real’ time—three Christmas issues indicate three years in the lives of the characters,” Claremont says. “Secondly, it’s a way of establishing the X-Men living their lives in terms that are more ann nocenti relatable to those of the readers. This is a time of year for thinking of others and doing what one can to help them. Fundamentally, though, it’s my way as a writer to provide moments and scenes where the X-Men can act like normal folks, having emotions and activities that hopefully resonate with the readers and their lives and which add depth to their characters.” Each year as December rolls around, most people join with friends and family and celebrate the chance to spend time together. Why should it be any different for the X-Men? “My take is that the X-Men are a tight-knit family, with all that entails, for better and for worse,” says Claremont. “That’s the bedrock of my vision of the team from the start.” At age five, CHRISTOPHER LAROCHELLE discovered superheroes on the small screen in cartoons like Batman: The Animated Series and X-Men … a lifelong collection was born. Take a look at his comics-related scrawlings over at http://clarocomics.blogspot.com.

A CATALOG THAT CAME STRAIGHT OUT OF COMIC-BOOK HEAVEN

John “THE MEGO STRETCH HULK” Cimino by

Although I was a “freak” for comics and cartoons back in the mid-’70s when I was a wee young lad, nothing had captured my imagination with as much power-cosmicfueled intensity as The Superhero Merchandise Catalogs. While comics stimulated my dreams with superheroic tales starring my favorite caped crimefighters, these catalogs (if I was lucky enough to find one) made it possible for me to put those dreams into the palm of my hand in the form of a toy. Yup, these catalogs showcased the perfect Christmas wish list for not only me, but for every comic-reading boy and girl across the USA. And with enough begging, maybe Mom could even order a few Hulk toys for me before Christmas and I’d receive them in the mail. Could anything in life be greater than that??? It seemed to me that Santa’s real workshop was a place where all these catalogs originated, where all those beloved toys, games, and puzzles that I drooled over were stored … a place not located in the North Pole, but in New Jersey—and from there you took a yellow brick road to a magical store called Heroes World. Anyone who was a superhero fan growing up during this time can understand what I’m rambling on about. Today, it’s fairly common for kids to easily access upcoming toys and games that would be coming out by simply clicking onto the Internet and searching the Web. Back in the ’60s and early ’70s, superhero fans only had their random comic-book ads, occasional TV commercials, and trips to the toy aisle with Mom and Dad to know what were the “hip” new superhero toys on the market (it was a horrible feeling when you would find a toy at your friend’s house that you never knew even existed). Yeah, so you could say compared to today, things were pretty primitive. But that all came to a screeching halt in 1975 when the Superhero Merchandise Catalog debuted on the scene and became our personal 24-hour infomercial for marvelously magnificent “Supa Dupa” merchandise anytime we pulled it out from under our pillows. These catalogs were really a big deal back then because they were perfectly designed to capture all our childhood delusions of grandeur. Each item on every fun-filled page was drawn with comic goodness that made us wonder what they looked like in reality (which made me beg my mom more feverishly for them). These catalogs were my personal love letters from Heaven, so I was always on the hunt for more. Sadly, I could never locate them anywhere. Who made them? How many were made? And most importantly, how could I get more? Well, after all the crazed praising and nostalgic banter I’m spewing out stops, we can all gather around and thank a guy by the name of Ivan Snyder. That name might not ring a bell to most, but he’ll go down in comicbook history as a true pioneer of the direct market.

“Does Whatever a Snyder Can” Snyderman and two happy kids hog the cover of 1977’s The Superhero Book of Goodies. Main figures by Joe Kubert. Marvel characters TM & © Marvel Characters, Inc. DC characters TM & © DC Comics.

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JUST WHO IS THIS IVAN SNYDER GUY?

was on display, pointed to what they wanted, and an employee would fetch the merchandise from the back. In conjunction with his store, Snyder hired the Joe Kubert School of Cartoon and Graphic Art, located in Dover, New Jersey, to produce a comic-formatted catalog for mail order. Artist Rick Veitch, who worked on every issue of the catalog, tells BACK ISSUE, “Superhero Enterprises/Heroes World was geographically close to the Kubert School, so it was natural the owner, Ivan Snyder, would link up with Joe. Ivan needed authentic comic-book-style art to sell his superhero-themed stuff and Joe needed work-study projects for his students. So the catalogs were part of an ongoing relationship in which we provided art for Heroes World’s advertising in DC and Marvel Comics. We also painted a 12-foot mural for one of Ivan’s retail outlets. Joe offered the opportunity to every student who was up to date on his class assignments. If memory (hah!) serves, the catalogs were done during the first year at Kubert School, so we’re talking that whole first-year class including Tom Yeates, Ken Feduniewicz, Betsy Ambielli, Elaine Heinel, Cara Sherman, Rick Grimes, Sam Kujava, Ron Zalme, Rick Taylor, Larry Nibert, and more. Steve Bissette and I got the jobs as editorial coordinators. “Our job was to illustrate the products and paste up the final pages for the printer on a deadline,” Veitch continues. “Slaving on a toy catalog is about the lowest rung on the commercial-art totem pole, but as starving students we were happy to get the real-world experience and make a little money. The thing is, Steve Bissette and I threw ourselves into them creatively, at least as much as we could. The Heroes World superhero was Snyderman, and Steve and I gave him a little sidekick called Snydey who we’d use for little sight gags in the corners of the pages. Then there was an issue that was a board game. Steve and I came up with that, too.” Business was so good for Snyder that a second store was opened in a Livingston, New Jersey, shopping mall with DC Comics merchandise now joe kubert being added into his product inventory. New catalogs followed and were released periodically. When Ben Luigi Novi / Wikimedia Commons. Cooper, Inc. and Mego Corporation both lost the trademark of “superhero” to Marvel and DC Comics, Snyder was forced to change the Superheroes Enterprises name to Heroes World, and thus the name of The Superhero Merchandise Catalog was changed to The Heroes World Catalog in 1979. Here’s Rick Veitch once again on the making of these catalogs: “It was hard to say what Ivan’s deadlines were, but we students were juggling heavy school workloads, too. It’s a bit of a blur as it involved a lot of late nights—coffee and meatball subs. Usually Ivan would provide photo stuff that he got from the manufacturers. Once in a while he might bring in a toy. But you have to understand, we were mid-’70s comics purists. We thought the toys were crap.” The big boss had no qualms about producing these catalogs, though. “Joe Kubert loved this assignment,” Veitch says. “He had a deep sense of the nobility of work, and took pride in offering opportunity to others. He also understood the value of the hands-on experience. And some nights he’d be right in there with us, blasting out the catalogs and ads. I think they helped build my professional relationship with Joe. During this time he gave me a full-page ad for Ivan to do from start to finish. It was a drawing of an X-Wing from Star Wars and was one of my first things published in the color comics.”

In the early 1970s, Ivan Snyder was a certified public accountant and worked for Cadence Industries as an assistant treasurer. He then became vice president to Cadence’s publishing division that oversaw Marvel Comics (which they owned at the time). While at Marvel, Snyder realized that nobody was doing anything specific with their library of characters, which were immensely popular among children. Snyder remarked to interviewer George Khoury in Comic Book Creator #2: “When I went to work for the publishing division, we basically counted 20 pages of story in a 32-page comic—[leaving] 12 pages of advertising—and advertising at the time was not selling for a great amount and there was no avenue of licensing. DC Comics always had the advantage because of Licensing Corporation of America, which was part of them. Marvel had nothing. So I started a licensing division and had retained someone to sell in that regard, but there was nothing within the confines of the comics,so we started by devoting one page a month to selling comic-related products.” Snyder contacted Marvel licensees (such as Mego and Durham) and began placing ads for these items into the comics themselves. The results were unexpectedly positive and strong, especially from the readership. After a change in management in 1975, Marvel discontinued its mail-order service. With Snyder always thinking ahead, he made a bold move and purchased that part of the company and renamed it Superhero Enterprises. Initially running the business out of his basement, Snyder shortly thereafter opened up a store in Morristown, New Jersey. It was uniquely set up like a catalog showroom; a customer entered, looked at what

Many Hands Courtesy of Heritage Comic Auctions (www.ha.com), original cover art for the 1977 Superhero Catalogue. In this form its image sources are easier to spot: Note that it’s a hybrid of original art by Joe Kubert, product drawings by Kubert School students, and Photostats of other product art. Marvel characters TM & © Marvel Characters, Inc. DC characters TM & © DC Comics.

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THE COMPLETE CATALOG CHECKLIST 1975 • The Superhero Merchandise Catalog 1976 • The Superhero Merchandise Catalog • The Superhero Catalog of Games, Books, Toys, Puzzles #1 1977 • The Superhero Book of Goodies #2 • The Superhero Catalogue (2 different covers) 1978 • Superhero Catalogue #3 • Superhero Catalogue (same interior as Superhero Catalogue #3) • The Superhero Catalogue #4 • The Superhero Merchandise Catalog (same interior as Superhero Catalogue #4) 1979 • The Heroes World Catalog #1 (2 different covers) • The Heroes World Catalog #2 (2 different covers)

Agents of Power Shield While some Bronze Age readers didn’t get their hands on an actual catalog of superhero merchandise, Kubert Schoolproduced house ads like this one, from a 1977 issue of DC Super-Stars, were common in DC and Marvel titles. Characters TM & © DC Comics.

ENTER MARVEL AND THE END OF THE DREAM By late 1994, Heroes World was North America’s third largest comics’ distributor with a total of 12 locations (behind Diamond Comics Distributors and Capital City Distribution). On December 28, 1994, Heroes World was bought by Marvel Comics to act as the company’s exclusive distributor, thus reducing other distributors’ market superhero paraphernalia at your local Target or share by more than a third. Under Marvel’s Wal-Mart, but back in the ’70s and early ’80s ownership, Ivan Snyder would remain president there was nothing like it. for the distribution company. Only glimpses of this “special” time manifest But unfortunately, Snyder and Heroes World’s itself in catalogs found in back-issue bins or eBay new role as Marvel’s exclusive distributor was a auctions ranging in all different price ranges. It seems failure from the very beginning. Lacking an infrano one on a consistent basis knows what these structure to handle Marvel’s huge weekly orders catalogs are worth. I’ve seen some issues sell for $1 resulted in extensive shipping and billing mistakes, while others would sell for as much as $50 (and this plus constant payroll errors which caused extreme could be the exact same issue). I guess it doesn’t rick veitch panic among the thousands of comic specialty really matter because you can’t put a price on your shops. These factors combined with the collapse of rickveitch.com childhood, and that’s what these catalogs always the comic-book speculation market, forever turning away dissatisfied represented to me. So thanks for the memories, Mr. Ivan Snyder, and comic fans and helping put many comic shops out of business all your magical golden keys to the enchanted kingdom known as across the country. Superhero Enterprises and Heroes World! Throughout the rest of 1995 and 1996, Snyder and Marvel’s Heroes BANG! World continued to flounder, with increasing loss of business and JOHN CIMINO is a Silver and Bronze Age comic, cartoon, and memorabilia lawsuits. Finally, in 1997 the company went completely out of business, and Marvel returned to Steve Geppi’s Diamond Distributors, which by expert who runs Saturday Morning Collectibles. He also contributes artithat point was the only major distributor left standing.

LEGENDS NEVER DIE Superhero Enterprises and Heroes World are spoken about today like some great fabled myth of a time long passed. If you were lucky enough to go to a store or order from a catalog back in the day, then you’ve experienced a piece of comic history. It was the first time many comic fans saw a place that was totally dedicated to superhero toys and products. It was like walking into an actual comic book! Maybe that’s common coin today with all the

cles to Alter Ego and The Jack Kirby Collector and has been featured on AMC’s reality show Comic Book Men. John is such a fanatic that he continues to play superheroes with his daughter Bryn, even if it’s past her bedtime. Contact him at johnstretch@live.com, follow on Twitter at @Elastic_Hulk, or read his blog at hero-envy.blogspot.com to have some “Supa Dupa” fun.

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All characters TM & © their respective owners.

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Rob Kelly

Santa’s Super Helpers Yep, that’s Neal Adams art on the album cover for Power (Peter Pan) Records’ Exciting Christmas Stories with Superman/ Wonder Woman/ Batman LP (that’s “Long-Playing” record, whippersnapper!). Characters TM & © DC Comics.

Superman stopping a power-mad scientist from launching the United States’ nuclear weapons at the rest of the world. Batman, the target of a Gotham underworld conspiracy to rub him out. Wonder Woman teaming up with Santa Claus to defeat a rogue Nazi with plans to rule the planet. This sounds like a super-fun issue of World’s Finest, or perhaps a 100-Page Super Spectacular. Where can I get this comic? Actually, these stories cannot be found in any DC Comic—they were audio adventures courtesy of the late, great Power Records, released on an LP in time for the 1977 Christmas season. Sporting a— let’s just say it—jolly front cover by Neal Adams of the Big Three fully embracing the Christmas spirit, Exciting Christmas Stories with Superman/Wonder Woman/Batman (the closest we come to an official title) has our heroes each facing separate holiday-themed threats. In Light Up the Tree, Mr. President, Superman discovers an evil plan hatched by a disgraced, bloodthirsty scientist Thurston Kilgore. Upon lighting the White House Christmas tree, a peace-loving President of the United States will unwittingly blow himself up as well as launch five nuclear missiles. These missiles are aimed at the rest of the world,

which will leave America standing amid the rubble. Kilgore’s plan nearly comes off thanks to Superman being lured into a kryptonite trap via a kidnapped Jimmy Olsen, who was covering the event for GBS-TV. But the Man of Steel prevails by turning on the super-speed, stopping the missiles, and apprehending Kilgore, ensuring that America—and the world—has a Merry Christmas. (Superman later realized Kilgore’s plan wasn’t all bad, and repurposed it in the 1987 anti-nuke documentary Superman IV: The Quest for Peace.) In Christmas Carol Caper, Batman gets a singing telegram, except it’s not filled with holiday cheer—in fact, it comes from local thug Rudy Snow, a.k.a. “Rudy, the Red-Nosed Hitman,” who threatens to kill Batman and Robin in time for Christmas! While on their way to a Christmas party at the Gotham South Side Mission, Rudy tries to rub out the Dynamic Duo, but instead is handed off to the police thanks to a well-aimed Batarang. It turns out that Rudy is just a small part of a larger plot—hatched in secret by crooks who frequent the Mission— to kill Batman once and for all. Luckily, the conspiracy is foiled in time and Batman, Robin, and the South Side Mission have a Merry Christmas. Christmas in the Bronze Age Issue

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Super Singles Neal Adams returned to illustrate the record sleeves for the 45 RPM releases of (top) Superman in Light Up the Tree, Mr. President and (center) Wonder Woman in Prisoner of Christmas Island (featuring Santa Claus!). (bottom) Their Six Million Dollar Man holiday companion, featuring a cover illo by an unknown artist. Superman and Wonder Woman TM & © DC Comics. Six Million Dollar Man TM & © Universal Pictures.

Finally, in The Prisoner of Christmas Island, Santa Claus himself makes an appearance, kidnapped by not-knowing-when-to-pack-it-in Nazis Von Richter and Brunhilde, who use a submarine to break through the North Pole ice. It turns out this whole nefarious plot is the work of Mars, the God of War, who wants to throw the world into chaos during this most peaceful of all seasons. Aphrodite counters Mars by sending in Wonder Woman, who is charged with delivering the ransom money Brunhilde demands in return for old St. Nick. It ends with Wonder Woman in her Invisible Plane chasing Brunhilde and Von Richter, attempting to stop them from bombing the world’s major cities and restoring the Nazi Party to power. Of course, they are defeated and Wonder Woman returns Santa Claus to the North Pole just in time for children everywhere to have a Merry Christmas. One of the reasons Power Records still have a devoted subset of fans, even though they haven’t been in production for over 30 years and have still not been officially transferred to a format that anyone born after 1990 knows how to deal with, is that they offer uber-familiar heroes like Superman, Batman, and Wonder Woman in a manner not seen before, both in style and content. Sure, as drawn by the legendary Neal Adams on the sleeve, they look just like the characters we all know and love from the comics. But in these audio adventures we get to experience them via Power Records’ unique creative point of view. In Light Up the Tree, Superman is clearly squaring off against a stand-in for real-life nuclear war cheerleader Gen. Curtis LeMay, who never met a country he didn’t want to bomb. For her part, Wonder Woman gets to do the Brave and the Bold thing with Santa Claus, in a story that ends with the now-dead Brunhilde riding off to Valhalla, which is regarded as a not particularly strange or noteworthy turn of events. The piéce de résistance is in Christmas Carol Caper, which features a Batman so jolly that he wanders down the streets of Gotham singing Christmas carols, followed by telling jokes at a speech at the South Side Mission (for the um, record … Batman killed). You got the sense that no one at DC signed off on this material and the staff at Power Records was left to their own devices when crafting the stories. After all, we are talking about a Christmas record, ostensibly aimed at little kids, yet it features a potential nuclear holocaust, Batman almost being shot dead, and Nazis preparing to fire-bomb innocent civilians. All this kind of stuff routinely happened in the comics, of course, but when brought to life by Power Records’ actors and sound effects, these story elements seem so much more vivid and intense. Exciting Christmas Stories with Superman/Wonder Woman/Batman was issued as an LP only (no book-and-record combo, unfortunately), with two slightly different covers—one in red, one in green, each with a reworded title. Both the Superman and Wonder Woman adventures were repurposed onto solo 45s featuring new sleeve art, though for some reason Christmas Carol Caper—by far the most memorable story on the record—was not. Considering how many Batman records were produced during Power’s heyday, it seems odd that he was left behind this time around. Speaking of odd, it’s worth mentioning Power Records’ other Christmasthemed releases: None of the Marvel heroes got in on the holiday action, but the Six Million Dollar Man sure did—he got an entire Christmas-centric LP all to himself, an honor not even DC’s Big Three were afforded. There were also some records aimed at the younger set, like Frosty the Snowman and The Chipmunk Song, also featuring covers by Neal Adams. So no matter what characters you liked, or how old you were, Power Records ensured you were parked in front of your record player on Christmas morning. ROB KELLY is a writer, illustrator, and comics historian. He is the creator/EIC of The Aquaman Shrine site, the co-creator/writer of the award-winning webcomic Ace Kilroy, and the creator/ editor of the book Hey Kids, Comics!: True-life Tales from the Spinner Rack. He runs a blog devoted to Power Records, PowerRecord.blogspot.com.

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The subject of Christmas has been a strong one in the world of comic books, despite the fact that many of comics’ founding fathers had a Jewish background. Archie Comics and Harvey Comics had a lengthy history of devoting stories or issues to the holiday. In fact, the first Archie Christmas story, “Archie Andrews’ Christmas Story” with art by Bob Montana, appeared as early as 1942, in Jackpot Comics #7.

ARCHIE COMICS CHRISTMAS

Mark Arnold

Archie, in particular, made it a regular habit of devoting an entire issue to Christmas with the debut of Archie’s Christmas Stocking in 1954, a title that eventually developed into the long-running Archie Giant Series Magazine. From 1954–1959, Archie’s Christmas Stocking was the only title in the series with its annual appearance. After that, a variety of titles appeared in the format until its demise with #632 in 1992. By that point, the title was a “Giant” in name only as the series featured standard 32-page issues. By the time period covered in this article (1970–1989), Archie had three rotating books appearing annually in the Giant Series roster: Archie’s Christmas Stocking, Archie’s Christmas Love-In, and Betty and Veronica’s Christmas Spectacular. The three were joined by a fourth and fifth title debuting for Christmas 1971: Li’l Jinx Christmas Bag and Sabrina’s Christmas Magic. The Li’l Jinx Christmas Bag lasted until 1973 and the four other Christmas titles continued annually until Christmas 1981. The term “Love-In” was somewhat dated and Sabrina had lost a lot of her popularity by that point (Sabrina’s popularity was reignited later thanks to the Sabrina TV show starring Melissa Joan Hart and a new animated series; but in 1981, Sabrina was on the verge of comic-book cancellation and was ended in 1983 after 77 issues). After that, Archie’s Christmas Stocking and Betty and Veronica’s Christmas Spectacular continued annually, even beyond 1989. Some of the regular series at Archie also had Christmas covers during this time period. This didn’t always translate into Christmas stories on the interiors as the Giant Series titles had, but Archie Comics Digest Magazine, Little Archie, and the revived version of Katy Keene were the most consistent titles to sport a Christmas cover during this period. Of those, Little Archie was the most likely to have Christmas-themed stories inside. Two unique and very different Christmas-themed issues came out during this period. The first was Christmas with Archie in 1974. It was yet another in an ongoing series by Al Hartley published by Spire Christian Comics. A unique feature of this issue besides the theme was the fact that issue was a 52-page Giant. This makes it one of the more difficult Spire Christian Comics to attain. The other Christmas-themed issue was mentioned before in BACK ISSUE #61, as it was the first Archie treasurysized edition, called Christmas and Archie. It was also the only one until IDW published Archie: Best of Dan DeCarlo Treasury Edition in 2011. While DC had its Limited Collectors’

Archie’s Christmas Drop-In This Christmas card appeared in Archie Giant Series Magazine #203: Archie’s Christmas Stocking (Dec. 1972). TM & © Archie Comic Publications, Inc.

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Dan DeCarlo Double-Shot Two original art pieces from the archives of Heritage Comic Auctions (www.ha.com) featuring one of Archie’s premier artists: (left) Jughead gets the boot on this pinup from Archie Giant Series Magazine #203: Archie’s Christmas Stocking (Dec. 1972); and (right) snuggling snowmen on the cover of Archie Giant Series Magazine #568: Betty and Veronica Christmas Spectacular (Jan. 1987). TM & © Archie Comic Publications, Inc.

Edition and Famous First Editions, and Marvel had its Marvel Treasury Editions, Christmas and Archie was Archie’s sole attempt during the 1970s and 1980s to issue a treasury-sized comic. As such, it is also a difficult issue to get your hands on. It originally came out in 1975. As far as Christmas-themed stories go in the various Archie Comics, everyone has their favorites, but here are a few to pay attention to when seeking out these fun-to-read issues: • Archie in “Santa in Blue” from Archie’s Christmas Stocking #179 (Jan. 1971), art by Harry Lucey. • Archie in “The Greatest Gift” from Archie’s Christmas Stocking #203 (Dec. 1972), art by Harry Lucey. • Archie in “Solomon’s Child” from Archie’s Christmas Love-In #205 (Jan. 1973), art by Al Hartley. • Archie in “Silent Night?” from Archie’s Christmas Love-In #218 (Jan. 1974), art by Al Hartley. • Betty and Veronica in “She’s a Card” from Archie’s Christmas Love-In #230 (Jan. 1975), art by Dan DeCarlo. • Christmas Love-In in “The Missing Link” from Archie’s Christmas Love-In #242 (Jan. 1976), art by Dan DeCarlo. • Betty and Veronica in “Jingle Belle” from Betty and Veronica Christmas Spectacular #580 (Jan. 1988), story by Kathleen Webb, art by Dan DeCarlo. After the Archie Giant Magazine series ended, Archie’s Christmas Stocking continued on as its own book for a few more years, but today Archie Christmas stories have a tendency to pop up randomly in any Archie title. A good compilation to pick up that contains many post-1989 Archie stories is Archie’s Favorite Christmas Stories, which came out in 2014 and is over 400 pages! It contains the very first Archie Christmas story from Jackpot

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Comics, and a few others from the 1940s through the 1980s. It also contains the first of many appearances of Jingles, an elf character drawn by Dan DeCarlo that first appeared in “A Job for Jingles” in Archie’s Christmas Stocking #15 (Jan. 1962). The story was written by Frank Doyle. Other good compilations are Archie’s Classic Christmas Stories Volume 1 from 2002, which contains stories from 1956–1963, and Archie Classic Series Volume 1: Archie Christmas Classics from 2011, which contains stories from 1959–1984, but does not identify where each story originally came from.

HARVEY COMICS CHRISTMAS Harvey Comics, meanwhile, did not have such a rigid schedule for Christmas stories, with Christmas many times being relegated to themed covers. Harvey catered to Christmas more in the late 1950s and early 1960s with an annual pull-out “Toy Guide” advertising section, which was put together by Alfred Harvey’s wife, Vicki, and Stan Harfinest in the production department. Said Harfinest of the Guide, “Vicki and Alfred came to me and said, ‘Look, do you want to work with Vicki in advertising or do you want to do something else?’ I said, ‘Why don’t we license these products to the toy business?’ We all agreed, so I went off and did it! I wasn’t a salesman at the time. I never sold anything in my life. I don’t remember what the company was, but I remember it was in the garment industry. I took an elevator up and I was sweating bullets. I was a kid! Alfred had told me this: The sale starts when they say, ‘No.’ I’ll never forget that. That’s why, after the third try, I actually went through the door. When the guy said, ‘No,’ I started to sell, and I made the sale!”

Tabloid with Tinsel (top) Dan DeCarlo’s original art to the tabloid-sized Christmas and Archie special (courtesy of Heritage), and (inset) its published version. (For more on treasury-sized Bronze Age comics, see BACK ISSUE #61.) (bottom left) Casper and Santa Claus, on the cover of Casper’s Ghostland #94 (Feb. 1977). (bottom right) Richie Rich and Casper in “The Night Before Christmas,” from Richie Rich and Casper #22 (Feb. 1978); art by Warren Kremer. Archie TM & © Archie Comic Publications, Inc. Casper and Richie Rich TM & © Harvey Publications.

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Harvey’s Princely Pair (top) Courtesy of Heritage, the color guide for the cover of Richie Rich and Jackie Jokers #25 (Feb. 1978). (bottom) A page from that issue’s “Volunteer Santa” story. Art by Ernie Colón. TM & © Harvey Publications.

The only time a regular series was devoted to Christmas was the Richie Rich Holiday Digest Magazine, which ran for five annual issues, celebrating Christmas 1979 through 1981 and resuming in Christmas 1987 and 1988. The reason for the gap is that Harvey ceased publishing comic books shortly before the end of 1982. They resumed publishing in late 1986, but did not release a Christmas-themed book out until the following year. The 1989 Holiday Digest became the theme of Richie Rich Digest Magazine #19. Some Harvey Christmas-themed stories to seek out include: • Baby Huey in “Is There a Santa Claus?” from Baby Huey, the Baby Giant #68 (Feb. 1966), art by Marty Taras. • Herman and Katnip in “The Old Spirit,” from Baby Huey, the Baby Giant #68 (Feb. 1966), art by Marty Taras. • Richie Rich in “Of Course There’s No Santa Claus,” from Richie Rich #42 (Feb. 1966), art by Sid Couchey. • Richie Rich in “The Card on the Mantle,” from Richie Rich #91 (Mar. 1970), art by Ernie Colón. • Richie Rich and Casper in “The Merriest Christmas,” from Richie Rich and Casper #10 (Feb. 1976), art by Warren Kremer. • Dollar in “Dollar’s Xmas,” from Richie Rich Billions #8 (Feb. 1976), art by Ernie Colón. • Richie Rich in “A Christmas Treeless Christmas,” from Richie Rich Billions #8 (Feb. 1976), art by Ernie Colón. • Richie Rich in “What Richie Gave to Me,” from Richie Rich Billions #8 (Feb. 1976), art by Warren Kremer. • Richie Rich in “The Christmas Present,” from Richie Rich Profits #15 (Feb. 1977), art by Warren Kremer. • Richie Rich in “Great Skateboard Adventure,” from Richie Rich #163 (Feb. 1978), art by Warren Kremer. • Richie Rich in “Snow Job,” from Richie Rich #163 (Feb. 1978), art by Ben Brown. • Richie Rich and Casper in “The Night Before Christmas,” from Richie Rich and Casper #22 (Feb. 1978), art by Warren Kremer. • Jackie Jokers in “A Christmas Caper,” from Richie Rich and Jackie Jokers #25 (Feb. 1978), art by Ernie Colón. • Richie Rich and Jackie Jokers in “The New Year’s Chase,” from Richie Rich and Jackie Jokers #25 (Feb. 1978), art by Ernie Colón. • Richie Rich and Jackie Jokers in “Volunteer Santa,” from Richie Rich and Jackie Jokers #25 (Feb. 1978), art by Ernie Colón. • Richie Rich in “The New Year’s Resolutions,” from Richie Rich #175 (Feb. 1979), art by Ernie Colón. • Richie Rich in “Santa’s Sub,” from Richie Rich #187 (Feb. 1980), art by Warren Kremer. • Richie Rich and Casper in “A Winter Tale,” from Richie Rich and Casper #43 (Mar. 1982), art by Warren Kremer. After 1989, sporadic Christmas covers continued to appear until Harvey ceased publishing in 1994. There have been occasional Harvey comic-book revivals since, but none of them have expressed a Christmas theme, and currently there is nothing on the horizon. Richie Rich and Casper have become the Harvey characters most closely associated with Christmas. In fact, two direct-to-video productions have been released, Richie Rich’s Christmas Wish (1998) and Casper’s Haunted Christmas (2000). Hanna-Barbera also produced an animated TV special called Casper’s First Christmas (1979). MARK ARNOLD is a comic-book and animation historian with many books and articles to his credit. He wrote a two-volume history of Cracked Mazagine; assisted Craig Yoe with his various Archie books; and has written two books about Harvey Comics including the Harvey Comics Companion for TwoMorrows. He is currently working on a book about the Dennis the Menace comic-book series.

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ARCHIE COMICS CHRISTMAS ISSUES 1970–1989 • • • • • • • • • • • • • • • • • • • • • • • • • •

Archie Giant Series Magazine #167: Archie’s Christmas Stocking (Jan. 1970) Archie Giant Series Magazine #168: Betty and Veronica Christmas Spectacular (Jan. 1970) Archie Giant Series Magazine #169: Archie’s Christmas Love-In (Jan. 1970) Archie Giant Series Magazine #179: Archie’s Christmas Stocking (Jan. 1971) Archie Giant Series Magazine #180: Betty and Veronica Christmas Spectacular (Jan. 1971) Archie Giant Series Magazine #181: Archie’s Christmas Love-In (Jan. 1971) Archie Giant Series Magazine #190: Archie’s Christmas Stocking (Dec. 1971) Archie Giant Series Magazine #191: Betty and Veronica Christmas Spectacular (Feb. 1972) Archie Giant Series Magazine #192: Archie’s Christmas Love-In (Jan. 1972) Archie Giant Series Magazine #195: Li’l Jinx Christmas Bag (Jan. 1972) Archie Giant Series Magazine #196: Sabrina’s Christmas Magic (Jan. 1972) Archie Giant Series Magazine #203: Archie’s Christmas Stocking (Dec. 1972) Archie Giant Series Magazine #204: Betty and Veronica Christmas Spectacular (Feb. 1973) Archie Giant Series Magazine #205: Archie’s Christmas Love-In (Jan. 1973) Archie Giant Series Magazine #206: Li’l Jinx Christmas Bag (Dec. 1972) Archie Giant Series Magazine #207: Sabrina’s Christmas Magic (Dec. 1972) Archie Giant Series Magazine #216: Archie’s Christmas Stocking (Dec. 1973) Archie Giant Series Magazine #217: Betty and Veronica Christmas Spectacular (Feb. 1974) Archie Giant Series Magazine #218: Archie’s Christmas Love-In (Jan. 1974) Archie Giant Series Magazine #219: Li’l Jinx Christmas Bag (Dec. 1973) Archie Giant Series Magazine #220: Sabrina’s Christmas Magic (Dec. 1973) Archie Comics Digest #3 (Dec. 1973) Archie Giant Series Magazine #228: Archie’s Christmas Stocking (Dec. 1974) Christmas with Archie, Spire Christian Comics (1974) Archie Giant Series Magazine #229: Betty and Veronica Christmas Spectacular (Jan. 1975) Archie Giant Series Magazine #230: Archie’s Christmas Love-In (Jan. 1975)

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Archie Giant Series Magazine #231: Sabrina’s Christmas Magic (Jan. 1975) Christmas and Archie (An Archie Special Edition Treasury) #1 (Jan. 1975) Jughead with Archie Digest #6 (Jan. 1975) Archie Giant Series Magazine #240: Archie’s Christmas Stocking (Dec. 1975) Archie Giant Series Magazine #241: Betty and Veronica Christmas Spectacular (Dec. 1975) Archie Giant Series Magazine #242: Archie’s Christmas Love-In (Jan. 1976) Archie Giant Series Magazine #243: Sabrina’s Christmas Magic (Jan. 1976) Little Archie #103 (Feb. 1976) Archie Giant Series Magazine #452: Archie’s Christmas Stocking (Dec. 1976) Archie Giant Series Magazine #453: Betty and Veronica Christmas Spectacular (Dec. 1976) Archie Giant Series Magazine #454: Archie’s Christmas Love-In (Jan. 1977) Archie Giant Series Magazine #455: Sabrina’s Christmas Magic (Jan. 1977) Archie Comics Digest #22 (Feb. 1977) Little Archie #115 (Feb. 1977) Archie Giant Series Magazine #464: Archie’s Christmas Stocking (Dec. 1977) Archie Giant Series Magazine #465: Betty and Veronica Christmas Spectacular (Dec. 1977) Archie Giant Series Magazine #466: Archie’s Christmas Love-In (Jan. 1978) Archie Giant Series Magazine #467: Sabrina’s Christmas Magic (Jan. 1978) Archie Comics Digest Magazine #28 (Feb. 1978) Little Archie #127 (Feb. 1978) Archie Giant Series Magazine #476: Archie’s Christmas Stocking (Dec. 1978) Archie Giant Series Magazine #477: Betty and Veronica Christmas Spectacular (Dec. 1978) Archie Giant Series Magazine #478: Archie’s Christmas Love-In (Jan. 1979) Archie Giant Series Magazine #479: Sabrina’s Christmas Magic (Jan. 1979) Archie Comics Digest Magazine #34 (Feb. 1979) Little Archie #139 (Feb. 1979) Archie Giant Series Magazine #488: Archie’s Christmas Stocking (Dec. 1979) Archie Giant Series Magazine #489: Betty and Veronica Christmas Spectacular (Dec. 1979) Archie Giant Series Magazine #490: Archie’s Christmas Love-In (Jan. 1980) Archie Giant Series Magazine #491: Sabrina’s Christmas Magic (Jan. 1980) Archie Comics Digest Magazine #40 (Feb. 1980)

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Little Archie #151 (Feb. 1980) Archie Giant Series Magazine #500: Archie’s Christmas Stocking (Dec. 1980) Archie Giant Series Magazine #501: Betty and Veronica Christmas Spectacular (Dec. 1980) Archie Giant Series Magazine #502: Archie’s Christmas Love-In (Jan. 1981) Archie Giant Series Magazine #503: Sabrina’s Christmas Magic (Jan. 1981) Archie Comics Digest Magazine #46 (Feb. 1981) Little Archie #163 (Feb. 1981) Archie Giant Series Magazine #512: Archie’s Christmas Stocking (Dec. 1981) Archie Giant Series Magazine #513: Betty and Veronica Christmas Spectacular (Dec. 1981) Archie Giant Series Magazine #514: Archie’s Christmas Love-In (Jan. 1982) Archie Giant Series Magazine #515: Sabrina’s Christmas Magic (Jan. 1982) Archie Comics Digest Magazine #52 (Feb. 1982) Archie Giant Series Magazine #524: Archie’s Christmas Stocking (Jan. 1983) Archie Giant Series Magazine #525: Betty and Veronica Christmas Spectacular (Jan. 1983) Sabrina the Teen-Age Witch #77 (Jan. 1983) Archie Comics Digest Magazine #58 (Feb. 1983) Archie Giant Series Magazine #535: Archie’s Christmas Stocking (Jan. 1984) Archie Giant Series Magazine #536: Betty and Veronica Christmas Spectacular (Jan. 1984) Archie Comics Digest Magazine #64 (Feb. 1984) Archie Giant Series Magazine #546: Archie’s Christmas Stocking (Jan. 1985) Archie Giant Series Magazine #547: Betty and Veronica Christmas Spectacular (Jan. 1985) Archie Comics Digest Magazine #70 (Feb. 1985) Archie Giant Series Magazine #557: Archie’s Christmas Stocking (Jan. 1986) Archie Giant Series Magazine #558: Betty and Veronica Christmas Spectacular (Jan. 1986) Archie Comics Digest Magazine #76 (Feb. 1986) Katy Keene vol. 2 #13 (Feb. 1986) Archie Giant Series Magazine #566: Little Archie (Jan. 1987) Archie Giant Series Magazine #567: Archie’s Christmas Stocking (Jan. 1987) Archie Giant Series Magazine #568: Betty and Veronica Christmas Spectacular (Jan. 1987) Little Archie Comics Digest Magazine #23 (Jan. 1987) Archie Comics Digest Magazine #82 (Feb. 1987) Archie’s Girls, Betty and Veronica #346 (Feb. 1987) Katy Keene vol. 2 #19 (Feb. 1987)

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Archie Giant Series Magazine #579: Archie’s Christmas Stocking (Jan. 1988) Archie Giant Series Magazine #580: Betty and Veronica Christmas Spectacular (Jan. 1988) Archie Giant Series Magazine #581: Little Archie (Jan. 1988) Little Archie Comics Digest Magazine #28 (Jan. 1988) Archie Comics Digest Magazine #88 (Feb. 1988) Katy Keene vol. 2, #25 (Feb. 1988) Laugh vol. 2 #5 (Feb. 1988) The New Archies #3 (Feb. 1988) Archie Giant Series Magazine #592: Archie’s Christmas Stocking (Jan. 1989) Archie Giant Series Magazine #593: Betty and Veronica Christmas Spectacular (Jan. 1989) Archie Giant Series Magazine #594: Little Archie (Jan. 1989) Little Archie Comics Digest Magazine #34 (Jan. 1989) Archie Comics #364 (Feb. 1989) Archie Comics Digest Magazine #94 (Feb. 1989) Katy Keene vol. 2 #29 (Feb. 1989) The New Archies #12 (Feb. 1989)

HARVEY COMICS CHRISTMAS COMICS 1970–1989 • • • • • • • • • • • • • • • • • • • • • • •

Hot Stuff, the Little Devil #95 (Jan. 1970) Sad Sad Sack World #30 (Mar. 1971) Little Dot’s Uncles and Aunts #45 (Feb. 1973) Richie Rich Fortunes #9 (Mar. 1973) Richie Rich Billions #2 (Feb. 1975) Richie Rich and Casper #10 (Feb. 1976) Richie Rich Billions #8 (Feb. 1976) Casper’s Ghostland #94 (Feb. 1977) Richie Rich Profits #15 (Feb. 1977) Richie Rich and Casper #22 (Feb. 1978) Richie Rich and Jackie Jokers #25 (Feb. 1978) Richie Rich Holiday Digest Magazine #1 (Jan. 1980) Richie Rich #187 (Feb. 1980) Richie Rich Holiday Digest Magazine #2 (Jan. 1981) Richie Rich Holiday Digest Magazine #3 (Jan. 1982) Richie Rich and his Girlfriends #13 (Feb. 1982) Richie Rich Digest Magazine #5 (Feb. 1987 The Friendly Ghost, Casper #230 (Mar. 1987) Harvey Hits Comics vol. 2 #3 (Mar. 1987) Richie Rich #224 (Mar. 1987) Richie Rich Digest Magazine #6 (Mar. 1987) Richie Rich Holiday Digest Magazine #4 (Mar. 1988) Richie Rich Holiday Digest Magazine #5 (Feb. 1989)

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Marvel Super Special #39 was the official movie adaptation of Santa Claus: The Movie, released by Lionsgate on November 27, 1985.

SANTA CLAUS: THE MOVIE The movie was produced and originally conceived by Ilya Salkind. It was the last fantasy-based movie to be produced by the father-son team of Ilya and Alexander Salkind. Santa Claus was written by the husband-and-wife team of David Newman and Leslie Newman. David was responsible for the screenplays for Superman, Superman II, and Superman III, as well as Sheena. He was nominated (with David Benton) for an Oscar for Bonnie and Clyde for Best Writing, Story and Screenplay – Written Directly for the Screen. His wife, Leslie, co-wrote the three Superman movies as well as Santa Claus. The director was Jeannot Szwarc. Jeannot was the fourth choice to direct the film. Directors John Carpenter, Lewis Gilbert, and Guy Hamilton were considered but wanted more control than the Salkinds were willing to give up. They had enjoyed their experience with Jeannot on Supergirl [see Andy Mangels’ article on this topic in BACK ISSUE #84—ed.], so he was offered the job. Jeannot is the well-known TV director of hundreds of episodes of TV shows from Ironside and Rockford Files to such fan favorites as Heroes, Fringe, Bones, and Castle, to name just a few. His films include Somewhere in Time, Jaws 2, and Supergirl. The music was by composer Henry Mancini. The movie starred Dudley Moore as Patch, the Elf; David Huddleston as Santa Claus; John Lithgow as B. Z., the evil toymaker who wants to corner the market and eliminate Santa Claus; and Burgess Meredith as the Ancient Elf, in a role originally intended for James Cagney. The movie had a budget estimated at $50 million. Its $5 million opening weekend rapidly cooled off, so that by the middle of January the total US box office take was just over $23 million. Critics hated it … movie-goers quickly lost interest once the holiday season was done … but a hardcore block of fans still consider it a harmless “Dazzling and heartwarming Christmas classic,” as Lionsgate described it. Online fan reviews state “the plot is good … the villains are vile and the heroes are worthy … the scenery is beautiful and fanciful.” Critics raked it over the coals, but the general public either loved it or hated it….

SANTA CLAUS: THE MOVIE ADAPTATION The Marvel Super Special adaptation was released the same month and week of the movie’s release, November 26th, 1985. Bob Harras was the editor, Sid Jacobson wrote the adaptation, and Frank Springer handled the art chores, both pencils and inks. Janice Chiang handled the lettering and Petra Scotese provided the colors. The cover was painted by Tom Palmer. Tom Palmer is known primarily for his inking skills. Tom had fan-favorite runs at Marvel with Neal Adams, John Byrne, and Gene Colan. It is his chance pairing with

In the Mighty Marvel Manner Courtesy of the artist, Tom Palmer’s cover painting for the Santa Claus: The Movie adaptation, published in Marvel Super Special #39 (1985). Santa Claus: The Movie © 1985 Santa Claus Ltd.

62 • BACK ISSUE • Christmas in the Bronze Age Issue

Stephan Friedt

which to work and created the comic-book script for Frank from that.” Gene Colan that stands out among many art aficionados—Tom’s ability to capture the subtle tones and shading of Gene’s pencils on titles like Unfortunately, very few other memories remain of that one particular job. The interior art was done by the late artist, Frank Springer Daredevil and Tomb of Dracula were especially well received by fans. But (1929–2009). Tom started as an illustrator. He had painted two previous adaptation For the Marvel Super Special adaptation, Frank Springer filled each covers for the Marvel Super Special series. The cover to the adaptation of Sgt. Pepper’s Lonely Hearts Club Band for Marvel Super Special #7 was of the 32 pages both with dense panels and sporadic creative pages a personal favorite. Unfortunately, the Sgt. Pepper comic had not been using double-page spreads and eye-flowing layouts that moved the viewed by the public outside of Europe, where Marvel had exiled the story at a steady and involving pace. The magazine starts with a family snug in their home during a snowissue. Tom also painted the cover to the adaptation of 2010, the sequel storm. Grandmother is relating the history of the “vendegum,” little people to 2001: A Space Odyssey, for Marvel Super Special #37. that live in a magic kingdom at the top of the world and wear Tom tells BACK ISSUE, “An editor from Marvel contacted me brightly colored clothes. They are interrupted by the yearly visit and asked if I wanted to do a cover for an upcoming Santa of Uncle Claus and his wife Anya in their sleigh pulled by Claus movie adaptation they were doing, and I took the two reindeer, Donner and Blitzen. Uncle Claus delivers assignment. I do remember getting an iconic line toys he makes to the children every year. They finish at drawing by Frank Springer of a sleigh and reindeer Grandmother’s, and despite the storm increasing, they that was used inside the book and something I added head to the next house. The storm stops them before to the cover illustration. Other than that there was they can get to the next family. Things look dire when not any contact between me and Frank. I did receive out of the snow come lights and little people in brightly reference slides for the characters in the movie, which colored clothes. They not only welcome Uncle Claus I returned at the completion of the cover.” and Anya, they take them and the reindeer to their The originals to both Santa Claus and Sgt. Pepper are new home, the magical residence of the vendegum! still in Tom’s possession, and are shared here with BACK The vendegum, and Patch, the reindeer keeper, ISSUE’s readers with the kind permission of the artist. show the Clauses their new home, their workshop The story adaptation was handled by longtime filled with toys, and the reindeer stable that will soon comic professional Sid Jacobson. Sid started and tom palmer add Blitzen and Donner. Uncle Claus soon learns to oversaw the Star line of comics for Marvel, an attempt Marvel.wikia.com. drive a new sleigh, gets a new red suit, and all is to duplicate the endearing characters once a staple at Harvey [see BI #77 for the Star Comics story—ed.]. Sid also wrote most made ready. The “Ancient Elf” comes forward and explains that it was of the long run of Marvel’s adaptation of the TV show ALF. Sid reminisces, all foretold that the Clauses would arrive and take their toys for the first delivery to “all the children of the world.” The Ancient Elf explains how “I believe I was asked to do the book because at the time I was creating and editing the children's line at Marvel.” Sid had written a number time stands still for “Santa” Claus on this one special night a year so of scripts at Marvel and had become the “go-to guy” for the younger that he can reach all of the children on the same night … a gift that audience projects, “for much the same reason that I ended up editing comes with the position. The other gifts are immortality and the gift of Damage Control,” Jacobson adds. “Actually, in that case, no one flight … the latter accomplished by feeding the reindeer “stardust” from the superhero books wanted to do a book that basically satirized with their feed. With that, Santa takes off on his first flight. As the years progress, more children learn of Santa and begin to the superheroes. I loved the concept and loved working on it.” [Author’s note: Damage Control was Marvel’s fictional construction company that write to him for their favorite toys. Santa also discovers that there are has appeared in its own limited series as well as cameos in a number of some bad children and begins the division between good and bad. The load soon becomes too much for Santa and a decision is made to take story arcs.] Sid continues, “I was given a copy of the movie script from Christmas in the Bronze Age Issue

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Lonely Hearts at Christmastime (left) Longtime kids comics editor/writer Sid Jacobson scripted Marvel’s Santa adaptation for artist Frank Springer. (right) Here’s a BI bonus for our readers: Tom Palmer’s dynamite cover painting for Marvel Super Special’s adaptation of Sgt. Pepper’s Lonely Hearts Club Band, which was not released in the US. Courtesy of the artist. Santa Claus: The Movie © 1985 Santa Claus Ltd. Sgt. Pepper’s © 1978 Robert Stigwood Organization.

on a helper. The selection among the elves soon narrows to return to the North Pole. But B. Z. is greedy … and it down to two choices: Puffy, who favors the old slow giving away lollipops doesn’t fill his bank account. and careful way of doing things, and Patch, who favors He convinces Patch to help him with one last project new methods and new ways. Patch wins out with his before he leaves—candy canes with even stronger doses of stardust—and they’ll launch it in March as “Christmas assembly line and is given the title of “Assistant.” 2” … and this time it won’t be free. That year, Santa delivers toys that were all made on But stardust only remains stable in the cold Patch’s assembly lines. For what might be the first of winter … and it is quickly discovered time, Santa interacts with two children on his that the candy canes become time bombs rounds: a poor, young boy named Joe, who when exposed to warmth. Cornelia (as has lost his belief in Christmas, so Santa fate would have it, B. Z.’s step-niece) takes him on his rounds for that year; and and Joe discover this and alert Santa. Cornelia, a “poor, little rich” girl who is Patch is unaware that the candy canes an acquaintance of Joe’s. Unfortunately, can be lethal, so he gathers up the this year, for the first time, Santa gets stock determined to gift Santa with a returns. It seems many of the toys new treat for the children. With Joe and coming off of Patch’s assembly line are Cornelia’s help, Santa intercepts Patch defective. Santa confronts Patch about the and rescues him just before the candy toys, and Patch takes it to heart enough canes explode. B. Z. ingests his own to resign his position as assistant and enhanced candy canes and it soon leave the North Pole for New York City. sid jacobson finds him flying into space. Bitter over this turn of events, Patch Photo by Shure Jacobson. Santa and Patch return to the soon teams up with the despicable owner of a disreputable toy company. Losing his licenses North Pole, with orphan Joe and newly abandoned Cornelia as new residents. and facing lawsuits over his defective toys, evil toymaker Sid Jacobson’s script was remarkably true to Jeannot B. Z. jumps at Patch’s offer of a unique and magical toy— lollipops that allow the owner to fly, thanks to Patch’s Szwarc’s vision as director, and Frank Springer’s art flows supply of stardust! A battle for the hearts of children similar to the movie in pacing and camera angles, which makes the magazine a faithful rendition of the final movie. begins between Santa and the team of B.Z. and Patch. Learning that B. Z.’s company is under investigation STEPHAN FRIEDT is senior administrator of www.comicsfor all of its defective toys, and satisfied that he has shown priceguide.com. Santa what a mistake it was to let him go, Patch decides

64 • BACK ISSUE • Christmas in the Bronze Age Issue

Michael Eury

I had lots to celebrate during Christmas 1988: I was winding down my first year as a comic-book editor, at Comico (that’s “Ko-mee-ko,” by the way) the Comic Company in Norristown, Pennsylvania. It was the perfect job for me. The atmosphere was relaxed (well, except during rare deadline crises, when voices would elevate and dry walling would crumble). I was a man-child barely in my 30s who was allowed to wear T-shirts and jeans to the office (which was a creaky old house, my work station being on the third, and top, floor, in a former teen’s bedroom plastered with polka-dotted wallpaper). Every day was a learning experience under the tutelage of editor-in-chief Diana Schutz, one of comics’ best editors—ever. And I was collaborating with some heavy-hitters like Bill Willingham, Mike Leeke, Mike W. Barr, Adam Hughes, Mike Gustovich, Len Wein, Adam Kubert, and Gene Colan. Wow! But my yuletide was made even brighter by my work on two fun holiday one-shots that I had the joy of co-editing or editing: Comico Christmas Special and Gumby’s Winter Fun Special.

COMICO CHRISTMAS SPECIAL This 40-page one-shot was graced by a Dave Stevens cover. Now, those words have probably conjured an image of a shapely “Santa’s helper” as rendered by one of the medium’s best good-girl artists, but instead Dave’s cover featured a gift exchange between big-eyed, gray-skinned aliens, a scene from the Special’s final tale. There’s a story behind that cover, according to Legendary Comics editorin-chief Bob Schreck, who was Comico’s administrative director at the time. Bob’s relationship with Dave predated Stevens’ creation of the Rocketeer, which the artist had recently brought from Eclipse to Comico in the form of The Rocketeer Adventure Magazine. “This was at a time when a Dave Stevens cover would move the sales of a book up bob schreck 10 to 15 percent,” Schreck tells BACK ISSUE. He was certain a © Luigi Novi / Wikimedia Commons. Stevens cover would give a boost to a commercially iffy project like a Christmas anthology. “Dave didn’t agree,” Bob continues. “He felt that due to the material in the Special, nothing gave him the opportunity to draw what he was known for— which was good-girl art. Or bad-girl art.” However, Schreck persisted. “Dave kept saying, ‘No, I’m not going to bring any numbers to this,’ ‘You’ve got the wrong guy.’” Bob paraded the laudable list of talent inside the book (keep reading!) as an incentive to woo Stevens to draw the cover, and finally the artist consented.

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Writer Doug Wheeler tells BI how Comico Christmas Special came about: “My recollection is that Diana Schutz had asked Steve Bissette and/or John Totleben at a comics convention if they knew of any up-andcoming creators. Based upon the scripts they’d accepted from me for Taboo (a horror anthology Steve and John put together), and stories I had published in Eclipse’s SF anthology, Alien Encounters, they told her about me. Based on that recommendation, Diana asked me what I’d like to do. I suppose if I’d been more smart and savvy, and thought more long-term, I would have attempted to parlay that opportunity into a series. But the truth is, I really enjoy the anthology format, and would have loved to do a bimonthly science-fiction/fantasy/horror anthology, per Bruce Jones’ Alien Worlds. So I was thinking to do a one-shot, and if that does well, it could pave the way for me pitching such a series. (I didn’t attempt to pitch a whole anthology straight out, because I thought that might be an overreach of the chance I was being given.) I chose to pitch a Christmas theme, because a one-shot from an unknown needed some more cohesion, and Christmas as a theme has so many possibilities and directions you can take it. It allows for comedy, drama, sentimentality, stories with moral or social points, and my doing most of them with a science-fiction or fantasy spin would add a twist. I enjoy holiday stories a lot, and could probably do them annually, if the market were actually there.” Regarding the selection of the artists for the Special, Wheeler says, “At that point in time, other than John Totleben and Steve Bissette, I did not know any artists directly. For Alien Encounters, Comico Christmas Special, and Taboo, I simply sent in my scripts, artists were assigned by the editor, and I did not see the result until the art and lettering was finished. And that method worked perfectly fine—all the artists followed my scripts, and I was quite pleased with their interpretation. It wasn’t until later (Swamp Thing) dave stevens that I experienced an artist who 1982 photo by and didn’t follow scripts. courtesy of Alan Light. “I did provide a small list of ‘dream’ name artists [to Diana], hoping she might get one or two of them,” Wheeler continues. “Al Williamson, one of my favorite artists, was definitely on that list, so I was hopping with joy when she’d told me he had agreed. Steve Rude or Dave Stevens might have been on that list, I’m not certain. But the artist assignments were all Diana’s choices, and I was very happy with the job they all did. A few of them, such as Bernie Mireault, I got to know later, and did other short stories with.” Wheeler adds, “There is a lot from my own life embedded in several of the stories, as I think is true in most Christmas stories, given that the theme inherently involves families and holiday events.” Opening the book is the Schutz-edited “Living for Christmas,” with art by Ken Holewczynski. Set in the year 2232, this Twilight Zone-ish tale involves a wealthy loner named Altman who spends most of each year in a cryogenic freeze, thawing out each winter to enjoy the yuletide before returning to his ice-bed—but an encounter with a young boy who reminds him of the son he left behind makes Altman question his unusual ritual. Holewczynski’s impressionistic art style offers an intriguing vision of tomorrow, a blend of eras from its 1930s sedans, 1980s fashions (parachute pants!), and futuristic “news discs.”

And Dave Stevens drew a cover with bulb-headed aliens discovering the joy of Christmas giving. Outside of his telltale signature in the lower-left corner, though, at a casual glance it’s difficult to identify this as a Dave Stevens cover. “It’s gorgeous,” Schreck says. “Dave never did anything halfway.” Yet the absence of Stevens’ hallmarks—a curvy woman or the Rocketeer— placed his Comico Christmas Special under the radar of most retailers and fans. “The bottom line is, Dave was right,” Schreck admits. “He said his aliens scene for the cover wouldn’t move the needle on sales, and he was right!” Comico Christmas Special may have failed to ignite fandom’s flames, yet it certainly warmed the hearts of those who did give it a read. The no-ads comic was a writer-driven project, featuring five short tales written by Doug Wheeler, best known to many BACK ISSUE readers as the writer of Swamp Thing and Negative Burn. Each story was drawn by a different illustrator. Three of the stories were edited by Comico editor-in-chief Diana Schutz, and I edited the other two.

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Wheeler reveals a personal connection to this story: “‘Living for Christmas’ has running all through it the undercurrents of my antipathy towards my lowlife excuse of a father. Having the father figure in the story see the error of his ways, I felt was necessary for the ending of that story, but inside, it made me squirm to give any kind of positive spin to that character.” Diana also edited the second story, the quirky “Too Many Santas,” an eight-pager drawn by Bernie Mireault. In it, its “main character realizes that Santa Claus wasn’t real, in the same way I did—by spotting store and Salvation Army Santas within sight of each other in a downtown shopping area,” Doug says. “The deliberately fake-looking beards with visible strings [in the story] was from me in kindergarten, whispering to a Santa that they’d brought to the school gym and made me sit on his lap that he was an obvious fake, but I didn’t want to ruin Christmas for my classmates, so let me go and I’d keep his secret.” In Wheeler’s tale, the star, a boy who no longer believes in St. Nick, pulls a gun on the jolly fat man when he makes his Christmas Eve visit to his house. I edited story number three, “The Stiflemix Diaries,” which was my first opportunity to work with artist Tim Sale, who had been doing some work on Comico’s Grendel around that time. Those who subscribe to the “War on Christmas” theory would find “Stiflemix” of note, as it revealed that in the late 21st Century, Christmas—even the very utterance of the word itself—was relegated by law to its “proper” time of the year in response to public reaction to

decades of commercially inspired early launches of the shopping season. When setting up the premise, Wheeler writes, in a caption, “Tensions finally exploded with the riots of 2056, which were incited by a Fourth of July window display which featured Ben Franklin, Thomas Jefferson, and George Washington in Santa Claus outfits.” (Those of us who roll our eyes at the Christmas decorations sold alongside Halloween candy suspect that this vision of the future might not be too outlandish.) The Stiflemix in the title is the name of a reactionary who joins the Nöel Liberation Brigade, an underground group sworn to restore Christmas to its former glory. With his flair for caricature, Sale perfectly brings to life the collection of odd characters secretly dedicated to reviving the Christmas spirit. This story “is really just me channeling my Woody Allen influences into a sci-fi story,” says Wheeler. After such bizarre goings-on, Comico Christmas Special’s fourth tale, “One Winter Day,” is conversely down-to-earth. It’s the tale of a boy in frigid Erie, Pennsylvania, whose Christmas vacation is routinely interrupted by his nagging mother’s orders to shovel snow. Bill Willingham penciled this eight-page story, inked by Chris Warner, and those familiar only with Willingham’s work as a writer and artist of fantasies (Fables, or his creation The Elementals) might be pleasantly surprised at how adept the artist is at sliceof-life renderings. “‘One Winter Day,’ about shoveling snow in Erie, Pennsylvania, is straight-out autobiography,” Wheeler Christmas in the Bronze Age Issue

It’s a Wonderful Life (left) Page 1 of “Living for Christmas.” Art by Ken Holewczynski. (right) Santa interrupts the watching of a Star Trek: The Next Generation episode in “Too Many Santas.” Art by Bernie Mireault. © Doug Murray, Ken Holewczynski, and Bernie Mireault.

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Comico Christmas Sampler Excerpts from three Christmas tales written by Doug Wheeler: (top left) “The Stiflemix Diaries” (art by Tim Sale), (above) “One Winter Day” (art by Bill Willingham and Chris Warner), and (bottom) “Traditions Everlasting” (art by Steve Rude and Al Williamson). © Doug Murray, Tim Sale, Bill Willingham, and Steve Rude.

says, “although I changed the family structure, as my real family situation had nothing to do with that story, and so explaining it would have burdened the story with unnecessary information. And the home shown is my mom’s current house, as I didn’t want to go back to our old place to take exterior photographs. (I did do that years later, for a story titled ‘Abandonment Games’ in Dark Horse Presents.)” Concluding the package is a four-page story I had the honor of editing, “Traditions Everlasting.” What made this exciting for me was its art team: penciler Steve “The Dude” Rude, who had blowing my mind with his work with Mike Baron on Nexus, and inks by the legendary Al Williamson. The story itself is charming, featuring the aliens depicted on the book’s Dave Stevens’ cover on an archaeological dig of a ravaged future Earth, trying to piece together the Christmas story from the “totems” (Santa Claus figurines) and other holiday items they were unearthing. Looking back on this tale today, the writer reveals, “ ‘Traditions Everlasting’ has the ever-present (when I was growing up) Cold War Mutually Assured Destruction theme, being published just one year prior to the collapse of the Soviet Empire. If that story were ever to be reprinted, I’d want the one small panel revealing who the combatants were altered to leave it a mystery. Though Vladimir Putin’s recent actions make that panel work again, for now.” Does the writer have a favorite among the quintet? “I like them all, but ‘Traditions Everlasting’ was my favorite, even in script form,” Wheeler reveals. “That Steve Rude, Al Williamson, and Bret Blevins [who did art assists] illustrated it was a bonus. Although it’s a post-apocalyptic/post-human race tale, it’s uplifting despite that setting, and is the one that most adheres to a traditional ‘Meaning of Christmas’ ending.” I’ve purposely avoided spoiling any of the story endings, as I recommend that these stories be enjoyed by readers today. Outside of its late-1980s color palette, Comico Christmas Special has aged well, its stories feeling timeless and begging for discovery by new readers—and rediscovery by those who have allowed this to collect dust in a long box. It’s a relatively uncommon book but should not command much of a price tag once a copy is found.

GUMBY’S WINTER FUN SPECIAL In 1987, Comico the Comic Company published Gumby’s Summer Fun Special, an utterly bizarre one-shot written by Flaming Carrot’s Bob Burden and drawn by Arthur Adams, who at the time had recently made his mark upon fandom with Marvel’s Longshot miniseries, part of the X-Men universe.

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Gumby and Pokey Go to Heck (left) Arthur Adams’ cover to Gumby’s Winter Fun Special. (right) Our heroes to the rescue! Recognize any other vehicles here? Gumby TM & © Prema Toy Company.

(For the full story behind how Adams ended up drawing Gumby, Steve sat down to write the script. Diana Schutz was too busy to edit Gumby’s Winter Fun Special and and for Arthur’s retelling of how a childhood bully once beaned him with a Pokey, see my interview with the artist in BACK ISSUE #16, passed it off to me, her assistant—and I’m glad she did. But I recall Diana being a bit perturbed when Steve’s script arrived—it was June 2006.) Positive response to the one-shot led to a follow-up hand-written, not typed, which was the professional standard. the next year, and when Burden wasn’t available, Comico “That’s what I would do at the time, starting with Sam & had to find another writer. Max,” Purcell explains. “I would write it out longhand. “Wow, I don’t quite remember how it fell into my It was quicker and even still I find it easier to work my lap, whether it was Arthur or that someone else who initial passes of dialogue even for an animation script picked me to take a stab at it,” admits Steve by hand instead of typing.” Purcell, who wrote the Winter Fun Special. At the Gumby’s Winter Fun Special’s plot involves a time he was best known for his wacky independent cave-in at the city’s toy mine (where else would comic Sam & Max: Freelance Police, but he has since you expect toys to come from?), trapping undergone on to acclaim in TV animation, video games, ground several toy miners (who are actually talking and film, working for Nelvana, LucasArts, Pixar, and puppets). Gumby and Pokey race to the rescue others, on projects including the Oscar®-winning by burrowing into the earth in the Amazing X-5 2012 movie Brave. Purcell and Adams (as well as Nitro-Burning Dyna-Plunge® Crust Crawler Sedan. Hellboy’s Mike Mignola) were old chums, at one They encounter a race of Mole People—including time residingin the same apartment building— steve purcell an adorable little mole girl named Natasha—who and in my aforementioned 2006 interview, Adams Courtesy of Steve Purcell. implore them to rescue a fellow named Ray revealed that he suggested Purcell as the writer. “I Crabbe, who’s being held captive at the Earth’s core by the Prince was a lifelong fan of Gumby,” Steve adds. “I always enjoyed the of Darkness. So Gumby, Pokey, and Natasha tunnel even deeper weirdness and imagination of it.” Purcell and Adams loosely plotted the story together. “We talked until they reach the fiery pits of … “Heck” (hey, this is a Gumby about what kinds of ideas would be in the story,” Steve recalls. comic, after all!) to save Ray Crabbe, who turns out, as Natasha “I remember it was fun to get to imagine these fantastical double- reveals, to be Santa Claus. I remember my exhilaration when Arthur Adams’ pencils would page spreads that I knew I wouldn’t have to draw myself. I wanted it to be something fun that we would both enjoy working on.” Then arrive at the Comico office. They were incredibly detailed and Christmas in the Bronze Age Issue

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Crabby Old Santa (left) Santa revealed! (right) Sean Connery, from a lobby card for the film The Man Who Would Be King. Gumby TM & © Prema Toy Company. The Man Who Would Be King © 1975 Columbia Pictures.

movie] The Man Who Would Be King, so Ray Crabbe was basically a version of Sean Connery in that role, right down to the muttonchops,” Steve says. “I liked Santa not being a roly-poly, jolly elf, but a badass.” Steve suggested to me, “If you read the comic again, be sure to imagine Connery’s voice coming out of him”—but I always did, as Arthur’s arthur adams rendition of Connery was spot-on. © Luigi Novi / Purcell’s script was laugh-outWikimedia Commons. loud hilarious—I remember cackling when I first read it, then laughing again, at the same lines and situations, when the lettered art came in. His 1988 vision of the underworld had the damned forever tormented by Karen Valentine TV movie marathons, bad ’70s pop songs (including “Having My Baby”), and a Phyllis Diller kissing booth. Twenty-seven years later those pop-culture references might be lost upon most readers, so I asked Steve Purcell what Heck in 2015 would be like. “Now a proper Hell would probably include ‘Valley of the Endless Kardashians’ and a writhing sea of annoying TV absolutely breathtaking. Since Gumby was a licensed evangelists that won’t shut up,” he suggests. Purcell also reveals to BACK ISSUE the sources of property, my first order of business was to submit some of the material in Gumby’s Winter Fun Special: photocopies of the art to the licensor, Gumby creator Art Clokey and his associates. Surprisingly, Comico “There was a toy store we used to frequent nearby in was given a wealth of latitude with both Gumby Berkeley that sold all classic, vintage toys. It was run by one-shots. Their irreverent stories steered the green an artist named Natasha. She inspired the character of clay-boy and his orange pony pal far from what might the mole girl, and her apartment in the industrial space be considered their normal terrain; however, neither above the store was so packed with toys it gave me the Special veered away from being all-ages friendly. I don’t idea of the toy mine.” Okay, truth is, Gumby’s Winter Fun Special really isn’t recall their being any significant story or art changes a Christmas story, despite its inclusion of the Man Who required by the licensor. Purcell confirms: “There was no interference from Would Be Santa Claus. But it involves toys and a sense of the Clokeys as far as the content of the story, and the childhood wonder. And it features 40 amazing pages of only stipulation was that the Clokey company would Arthur Adams art, and some of the funniest dialogue you will ever read. So give yourself a Christmas present retain the rights to any new content, so I used characters and either fish this out of your collection or hunt down like Santa and Satan.” a copy. Ho, ho … ho. Adams’ horned-and-hooved rendition of Beelzebub was not unlike the interpretations of the Devil you’d find in other comic books, but his visual take on Ray Crabbe—Santa Claus—was inspired by a real-life figure, at Purcell’s suggestion. “Arthur and I are fans of [the

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Special thanks to Bob Schreck, Doug Wheeler, Steve Purcell, and Diana Schutz for their time, and to Roy Thomas, Leonardo De Sá, Mark Clegg, Stephan Friedt, Joe Pruett, Mitchell Senft, and Craig Yoe for their help in reconnecting me with Mr. Wheeler.

To m P o w e r s

With the characters of Ambush Bug and Lobo, both Keith Giffen creations, the writer-artist respectively provides a postmodern vision of a hapless hero and an unrepentant villain that undermine and challenge readers’ expectations. Appropriately enough, Giffen chose the formerly safe festive theme of Christmas to present double-sized exploits of these characters. In Ambush Bug Stocking Stuffer (Feb. 1986), Giffen and scripter Robert Loren Fleming utilize Ambush Bug to break the fourth wall in offering commentary on two juggernauts of capitalism: the DC superhero/ comics and the commercialized version of Christmas in general. Several years later, with the Lobo Paramilitary Christmas Special (Dec. 1991), Giffen, scripter Alan Grant, and artist Simon Bisley commit one of the most subversive and perhaps underappreciated acts in comics history: they not only present Santa Claus as a cutthroat, deplorable character but have Lobo carrying out a hit on the iconic figure as well! Consequently, if any Christmas-loving fanboy or fangirl wishes to argue that Keith Giffen represents a latter-day Grinch, these two comics would help that individual to successfully plead his or her case. Certainly, Giffen himself, a curmudgeonly unapologetic critic of Christmas—as this article will show—would strongly support any such comparisons to Dr. Seuss’ bitter green villain—before his cloying redemption, of course!

COAL IN DISGUISE? AMBUSH BUG STOCKING STUFFER Debuting in DC Comics Presents #52 (Dec. 1982), Ambush Bug, who is familiar to both longtime and newer DC readers as a comedic character, actually started out as a villain for the Man of Steel. Giffen comments, “Ambush was just a villain of the month I came up with when we needed a bad guy for a Superman/Doom Patrol team-up. I just … tossed him out there then figured we could have some fun with him. He was never meant to go past one-shot status. Shows how much I know.” After making another villainous turn in DC Comics Presents #59 (July 1983), Ambush Bug became a hero in Supergirl #16 (Feb. 1984). keith giffen Then he appeared in several issues © Luigi Novi / of Action Comics (#560, Oct. 1984; Wikimedia Commons. 563, Jan. 1985; and 565, Mar. 1985), and DC Comics Presents #81 (May 1985), before landing his first four-issue miniseries titled—of course—Ambush Bug (June–Sept. 1985). Several months later, just in time to wreak comedic havoc for the 1985 holiday season, Ambush Bug Stocking Stuffer debuted. Edited by the legendary Julius Schwartz, whom Giffen describes as “a real, honest-to-God editor,” this comic’s cover features a cheerfully smiling Santa

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Jingle Bug (right) Irwin Schwab rings in the holiday in Ambush Bug Stocking Stuffer (1986), which contained (left) this metahuman Santa. Lunacy and pencils by Keith Giffen, words by Robert Loren Fleming, and inks by Bob Oksner. TM & © DC Comics.

Claus-costumed Ambush Bug sitting in a giant stocking and singing a version of “Happy Birthday” in which he wishes a “Merry Christmas” to a “little swaddling infant.” Unfortunately, for any readers expecting the interior pages to match this festive tone, they will be greeted with an ironic surprise. In fact, regarding Giffen’s feelings toward this massive American tradition, the man comments, “I have always felt that Christmas is the most wretched holiday ever. But that’s just me.” A comic that defies traditional expectations for storytelling and plot, Ambush Bug Stocking Stuffer opens with a short titled “I Knew I Shoulda Taken That Left Toyn Back in Albakoyky.” Ambush Bug joyfully enters the scene, ready for a day on Pismo Beach, but he finds himself in Dien Bien, believing he is back in time during the Vietnam War, when he encounters Hukka, from the canceled Atari Force series. The strange little orange creature from that comic then finds himself finally talking in complete sentences before being given a deep-space background, where he expands and becomes a planet that is popped by an

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American astronaut. In the next one-page short, “1,001 Uses for a Dead Hukka,” the image of Ambush Bug using the dead creature’s corpse to kill flies fills the top panel of page 7, which illustrates use #837 for a deceased Hukka: “Attracts flies & kills ’em.” On the note of incorporating Hukka into this comic, Giffen says, “I think I had a story hanging around with Hukka, and since it got squelched, I figured, ‘What the hell.’ ” The following page subsequently reveals that Ambush Bug is the artist of the preceding pages, thus once more proving himself to be a self-aware character whose apparent role as illustrator of his own comic brings up ontological questions involving the nature of reality that reflect back upon the comic’s readers themselves. However, when asked if postmodern, fourth-wall-breaking storytelling influences how he writes and draws the character, Giffen replies, “Not a lot, really. If the gag works, sure I’ll break the fourth wall … if not, then it’s business as usual.” At this point, for readers unfamiliar with the concept of Ambush Bug, this synopsis of Stocking Stuffer’s first eight pages may sound a bit phantasmagoric. Then again, that’s just what this comic represents— a crazy book that keeps shifting gears. From this point, a distraught Ambush Bug, who calls himself “a real sucker for Christmas,” goes looking for his missing living doll, Cheeks. For readers who have always yearned to know more about Cheeks—the Toy Wonder—in regard to how he functions in this issue and what type of commentary he provides on the meaning of the superheroic sidekick, Giffen reveals, “He’s just a doll based on my son. We’d throw him in whenever we needed to fill a page and had no idea where we were going … a pretty regular condition on the A. Bug stuff.” Ambush Bug Stocking Stuffer also presents a dark lesson on how to write comic books on pages 14–15;

“The First Annual Fanboy-Press” on page 28, which both parodies a certain fanzine’s annual comics awards of that era and cleverly provides the credits for the comic; a delightfully sarcastic look at mid-1980s Saturday morning cartoons and their manipulative commercials on pages 30–31; and an appearance for the feisty yet adorable Jonni DC, “continuity cop.” On the note of his many kinesthetic Ambush Bug creative collaborations with scripter Robert Loren Fleming, Giffen tells BACK ISSUE, “I’d draw the issue then refuse to talk to him about it. Really. I’d communicate with him as little as possible. Ask him about the Ambush being chased by elephants scene. I just felt like drawing a few elephants, so…” Giffen is likewise quite honest in revealing his thoughts on his use of the character of Ambush Bug in this anti-Christmas comic: “I don’t really get this question, whenever it’s asked. My thoughts on the character were … my thoughts on the character. I was just looking to get the issue out. Honest! Any thoughts that came about were in service to the story. There was no overreaching scheme here. It was just a comic book.” Moreover, in regard to his approach as the artist for this book, specifically in reference to using a large number of panels per page (for instance, on pages 20–25), Giffen is equally forthright in remarking, “My thoughts on this book were the same as my thoughts on every book I do. How can I get through it without embarrassing myself? That’s it. Really. So … I guess the panel count, on any page, was what I figured the page needed. God, this is dull. Maybe I should have one of those self-aggrandizing art-types ghost this for me…”

THE COMICS SHOWDOWN OF THE 20th CENTURY: LOBO VS. SANTA CLAUS! Although only a twisted superheroic version of Santa Claus appears on page 29 of Ambush Bug Stocking Stuffer, an even more disturbing permutation of the fictitious North Pole resident shows up in The Lobo Paramilitary Christmas Special. And this time the Santa-Man is throwing down with the Main Man—Lobo! When Giffen was asked what type of thinking went into him co-creating the character of Lobo with writer Robert Slifer for Omega Men #3 (June 1983), he answered, “I actually created Lobo as Lunatik for Marvel, but when it proved kinda crappy, I rethought/reworked the character then did him at DC.” Additionally, in response to a question involving what long-term potential he saw in Lobo at that time, Giffen divulges, “None, actually. He was just a knee-jerk reaction

Easy on the Eggnog, Peter Cottontail Even if The Lobo Paramilitary Christmas Special ain’t your cup of tea, really, you’ve got to be in awe of Simon Bisley’s art. Courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

to the kinds of ‘heroes’ that the Big Two were shoveling out then—borderline vigilantes with the morals of a coyote.” Lobo, nonetheless, gradually became a hot DC character in the late 1980s, appearing in such comics as Justice League International #18–19 (Oct.– Nov. 1988); L.E.G.I.O.N., starting with issue #3 (Apr. 1989); Action Comics #650 (Feb. 1990); Mister Miracle #13–14 (Mar.–Apr. 1990); The Demon #11–15 (May– Sept. 1991); and his own miniseries, Lobo (Nov. 1990–Feb. 1991), which generated the delightfully warped one-shot comic, The Lobo Paramilitary Christmas Special. With its exuberant anti-yuletide cheer, this comic is bookended by the tale of a married couple who are dreading the reprisal of their children since the father, who had been fired from his job just a week before Christmas, cannot afford to buy them any gifts. About to murder their vicious children before they do the same to them, the parents pause upon finding a book that promises to potentially help them solve their situation—The Lobo Xmas Sanction. Upon being asked what inspired his idea for these troubled parents, who ultimately make a harsh decision concerning their offspring by the end of the comic, Giffen once more delivers a scathing indictment of Christmas in replying, “The inspired madness that makes the first thing we assure kids about is a low-down lie. What is the matter with us?!” The comic then goes on to tell the story of Lobo accepting the offer to perform a hit on Santa Claus from his arch-nemesis—the Easter Bunny! According to the disgruntled and inebriated Easter Bunny, he represents a “group of concerned parties” who wish Lobo to “eliminate” Santa because Christmas has been adversely affecting the business of their “respective holidays.” Naturally, Lobo agrees to this job, first uttering a complaint on page 11 that is undoubtedly shared

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elf clones to slave away in his toy-making sweatshop, the kind of Kris Kringle who reveals on page 33 that he prefers to use “a good sharp blade” to fight Lobo as he finds that such a weapon “works best on the particularly naughty.” He also, in the best old-school DC tradition, has a gorilla sidekick! On the inclusion of the gorilla in Simon Bisley’s finished artwork, Giffen comments, “The gorilla was Simon’s. I had no idea it was coming nor where it came from. That is SUCH a great way to work, ain’t it?” Giffen cheekily adds, “As for Santa … fat fool had it coming. If you’re giving to ‘good children,’ then give to them all. Oh, and if you’re imaginary and just there to f**k with kids’ minds … eat s**t.” Giffen’s dark mood, however, takes on a more upbeat tone when he gives his response to Simon Bisley’s interpretation of his layouts and Alan Grant’s scripting of The Lobo Paramilitary Christmas Special: “Simon got it. He knew what we were trying to do, and he ran along with us. Bisley’s just as important to Lobo and his success as Alan and I are. Really miss the guy. Alan’s a collaborator, so I wish him all the best.” Concerning their collaboration, Grant reveals that he approached the scripting for this comic “with a lot of black humor.” He adds, “Keith Giffen had plotted it all out, so I didn’t have as much to do as a full script. Keith and I had previously worked together quite a lot, and we have a feel for each other’s material. As always, Bisley’s art didn’t follow Keith’s plot in several places, but that’s what you expect from Simon. He has a similar sense of humor to Keith and me, so it wasn’t a problem to incorporate his changes into the script. I absolutely love Simon’s art, whatever he’s drawing. He’s a true force of nature, and if he doesn’t like the script, he just doesn’t follow it. Makes for exciting writing!” Grant continues, “I’ve always thoroughly enjoyed working with Keith. His plotlines are usually fairly tight, but he always left space for anything I (or Simon) want to add. He’s a very clever man, and I’ve missed working with him these past few years.” When Giffen and Grant were asked if they had any closing thoughts they would like to express about working on this Lobo-centric Christmas Special, Grant confesses, “It’s so long ago now that I can barely remember working on it! But it has certainly been widely popular—I was in Mexico City for a convention the year before last, and there were a lot of Lobo fans there. And I was at a by countless mentally scarred children: convention in Poland a few months “Y’know, I never did like Christmas … ago; a couple of guys turned up from I never got nothin’ I asked fer!” Kazakhstan with a complete collection When BACK ISSUE asked Giffen of Lobo for me to sign.” Giffen, morewhy he wanted to feature Lobo in a over, whom one could now reasonably simon bisley Christmas comic, he responded, nominate as the patron comics saint © Luigi Novi / Wikimedia Commons. “Because Christmas and I are old of Christmas hate, offers a similarly ‘friends’—No. Really. I f**king HATE Christmas.” candid response concerning Scripter Alan Grant was likewise asked what inspired the The Lobo Paramilitary Christmas creation of this book, and so, on a sympathetic wave- Special: “I just did it as a goof. length with Giffen, he revealed that he possesses “a mild I never actually thought it would hatred of Christmas.” He then offered his thoughts be published. More fool me.” concerning his, Giffen’s, and artist Simon Bisley’s depiction of Santa Claus, his elves, and the reindeer: “All three of TOM POWERS, a lecturer who teaches composition courses at us are (minor) iconoclasts, and it was very satisfying to Montgomery County Community portray Claus as a knife-wielding maniac. I think it was College, located in PA, is the the first time I’d ever seen Santa treated in that fashion, co-author, along with Marc but I see that Family Guy featured a very funny—and Schuster, of The Greatest Show violent—clash between the Griffins and Santa.” in the Galaxy: The Discerning Grant is referring to the version of Santa Claus that he Fan’s Guide to Doctor Who and Giffen wrote for this comic—a man who creates (McFarland 2007)..

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ACTION HERO DISCOVERIES Over Independence Weekend I caught up on a ton of reading on the beach. I finally read BACK ISSUE #79, released in mid-spring. I found the articles focused on Captain Atom, Peacemaker, and Peter Cannon–Thunderbolt most interesting, and absolutely appreciate the backstories that went into the making of these comics told by the creators themselves. I was more familiar with Captain Atom from my youth, but after reading #79, I'm now on the hunt for the 12 issues of Mike Collins’ Peter Cannon and I’ve already started reading Paul Kupperberg and Tod Smith’s Peacemaker miniseries. It’s great stuff! I may have missed out on this had it not been for BACK ISSUE. Thank you! – Steve Wilber You’re welcome, Steve! Thanks for reminding us that our nostalgic looks back often provide first discoveries for many readers.

LOOKING BACK AT BACK ISSUE? I enjoyed BACK ISSUE #79, with its Charlton Comics focus, a good deal more that I’d expected. Of all their characters, only the Question has ever held any real appeal. No stone, it’s fair to say, was left unturned. The original Charlton issues only ever received patchy distribution here in the UK, and when they did turn up there was little about these comics that made me want to buy them in preference to any of the regular DC or Marvel fare. The contents may have been perfectly adequate, but I found the covers uninspiring (and still do), hindered by lackluster logos and poor design. The title lettering, un-integrated into the main picture but set instead into a colored background, gave the covers an old-fashioned appearance. On an unrelated point, might I suggest you review your standard practice of referring readers to past issues of BI, and instead provide a few pertinent details wherever possible. On page 31 of the current issue there is reference to BI #3, which saw print some 11 years ago. Indeed, if there are new details to add, you could always consider rebooting or updating the article—after all, most long-running characters have undergone several re-imaginings in the last 11 years. – Simon Bullivant What do the rest of you think? Should a previously published (and readily available, at least in digital form) BI article be considered definitive, or should we revisit/update earlier articles from time to time?

SPRINTING SUPERHEROES Re: BACK ISSUE #79. I had forgotten about giving you copies of those Blue Beetle sketches that Paris Cullins sent to me. There was something in particular thought caught my eye in this issue—the cover shot of Comic Cavalcade #1 on page 20. The cover shows the Golden Age versions of Flash, Green Lantern, and Wonder Woman at the finish of a race, which Wonder Woman apparently wins. This made me think of a similar race for charity in Roy Thomas’ All-Star Squadron series, which I believe was held in either the first issue or a 16-page preview of the series. I remember it because I thought it was odd that Green Lantern would be in such a race since he isn’t exactly a speedster (I suppose he could fly at superspeed with his ring, but I don’t think he’s ever used it to make himself

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run faster). It was also a bit odd that Wonder Woman won a race against the Flash (even though she does supposedly have the speed of Mercury), although she said at the time that she thought Flash had held back because he was too gentlemanly to beat a woman. Now I’m thinking that Thomas intentionally based his race in All-Star Squadron on this Comic Cavalcade cover, which explains why GL would be in such a race and how Wonder Woman would win it. Perhaps even Thomas was perplexed about that cover and decided to script an explanation for it decades later? For all I know, this might have already been explained in an All-Star Squadron letters page, but it was a revelation to me! – Daniel DeAngelo

CHARLTON FUN FACTS FROM MIKE W. BARR If BI #79 (“Charlton Action Heroes in the Bronze Age”) did nothing else, it strongly reinforced my conviction that the series published as Watchmen should have used the original incarnations of the Charlton Heroes, as nothing done at DC—or any other company—with those characters was worth spitting at, especially the Question series which deliberately destroyed the philosophical base Steve Ditko had established for his creation. Well, almost nothing. I am quite fond of Mike Collins’ 1992 Thunderbolt series. I have always been an avid fan of Pete Morisi’s hero and was considered as writer for the 1992 series, with Mike Collins as the artist, but the editor chose Mike to fill both posts. Nonetheless, the resulting series was quite good and the only DC work on any Charlton character that came close to being anywhere near as good as anything Charlton published. Charlton Fun Facts: 1) BI #79 made no mention of the fact that T-Bolt also appeared in issue #7 of the series The DC Challenge (Mar. 1986). T-Bolt’s appearance in that issue, which I wrote, was well received by Pete Morisi, who confided in me that he didn’t care for any of the non-Morisi issues published by Charlton. 2) Pete told me he could legally have prevented DC from publishing the 1992 T-Bolt series, since it had been determined by that time that he owned T-Bolt. But Dick Giordano, his former editor, had threatened to hold up restoration of T-Bolt rights to Morisi “until after you’re dead” if Pete had done so. Pete played ball. 3) Regarding the Question, I supplied some material for an unpublished series on that character (as disclosed on page 19), which evolved into a proposed Question/Outsiders strip, as Giordano thought the Question was not strong enough to support a solo strip. This was fine as long as Giordano kept his promise to me that the series I wrote would be the Question’s first appearance in a DC series. But that promise lasted about as long as a snowflake in the lower realm and when it was broken, I was gone. 4) Two of my proudest achievements are the Who’s Who pages I wrote for the Question and Thunderbolt, as those were the only appearances of the characters at DC drawn by their creators: Steve Ditko and Pete Morisi, respectively. I asked Pete to sell me his page, but he said he wanted to keep it, as it had been the only T-Bolt work published at DC that he had drawn. Instead he created for me an original color drawing of the character which I treasure. – Mike W. Barr

THEMATICALLY SPEAKING Your Charlton Action Heroes issue was great fun! In their heyday, I was only peripherally familiar with this stable of heroes, mostly because of the distribution problems mentioned in the articles. I remember Blue Beetle as being sort of alternate version of Spider-Man, and the short-lived Son of Vulcan’s thinly disguised resemblance to a certain God of Thunder. But for the most part their small cadre of heroes was pretty original for their time. Christmas in the Bronze Age Issue

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BACK ISSUE • 75

I have always been fascinated by the Charlton/Watchmen connection, so thank you for the in-depth look at that. What if Moore got his original wish to use the Action Heroes in this classic? The mind boggles at the possibilities… One thing briefly touched on in passing was Charlton’s lineup of mystery magazines with the “ghostly host” format. I always enjoyed those, and I was wondering if you’d consider an issue dedicated to that genre? Practically every notable comics publisher, from DC and Marvel to Gold Key and Charlton, have had their share of creepy people introducing stories of revenge and comeuppance. That might make a fun Halloween theme. Also, how about an issue celebrating the prozines of the Silver and Bronze Age? I’d love to see some behind-the-scenes stories on FOOM, WAM!, MMMS, and Amazing World of DC Comics. I’m looking forward to your 100-Page Super Spectacular issue; those hold a particular place of fondness in the heart of this old collector. And the Bronze Age Events issue looks promising, too. Where do you come up with your theme ideas, anyway? Keep up the good work; every issue is a gem, jam-packed with fun and information. – Michal Jacot

A COVER SURPRISE I was walking into Chicago Comics on Free Comic Book Day with my son, and I was shocked. I saw issue #80 on the stands, and I was instantly drawn back to early 2004. It was before Hal Jordan or Barry Allen were brought back, and I missed seeing them. I learned that George Pérez was taking orders for commissions—and several months later I received in the mail a beautiful rendition of the pair in their full Bronze Age glory. Along with the black-and-white commission, Tom Smith had also prepared a phenomenal color version as well. That full-color version is what greeted me on your cover this May, and seeing my commission on the newsstand was a tremendous surprise. The issue was great and a reminder why I requested Mr. Pérez draw the pair all those years ago. Also, I thought you might appreciate this. Mr. Smith did two color versions of the commission. The first is the cover of issue #80, but I am attaching the second version for you to see. Thanks again for the surprise. – Andrew Mueller

Michal, the themes are usually concocted by yours truly, but on a handful of occasions they’ve been recommended by a contributing writer or a fan. Themes not only provide editorial structure, they keep the magazine fresh (hey, with this issue we’re starting Year 13 of BI!). Ghostly hosts? Check out BACK ISSUE #52. And while FOOM and AWODCC got a short article in BI #49, we will revisit them again, in depth, in a future issue.

And thank you for responding positively to the surprise, Andrew! I had no idea until receiving your message that this was your commission, as I obtained the piece from colorist Tom Smith. Normally, I acknowledge the art contributors’ names in print—which I’m doing now; thank you!—and send a complimentary copy—which has also been done. I’m happy that you’re happy with its use. It’s a striking cover, one that’s garnered a lot of positive response from readers. And thanks to Andrew, here’s the color variation of that amazing piece (below)…

THANKS FOR THE MEMORIES

ANOTHER OFFICE TOUR, PLEASE

Wanted to drop an email to let you know how much I enjoyed the Charlton Action Heroes issue. My exposure to these characters came from the post-Crisis period of DC Comics, which to date is my favorite period of that company’s publishing history. While I read comics as a child, it was during this period that my comic buying exploded. While BACK ISSUE in general is a wonderful publication, one of the highest compliments I can give it is that after I finish every issue, I end up digging into my numerous long boxes to either re-read or read for the first time something covered in the latest issue. After this latest one, I’ve begun to re-read The Question by O’Neil and Cowan and Captain Atom by Bates/Weisman and Broderick (which, by the way, is one of my favorite series), and for the first time, I’m reading Blue Beetle by Wein and Cullins. Keep up the great work on this magazine. In this day and age of modern comics, where nothing resembles what I grew up with, I look forward to each issue of BACK ISSUE to remind me what it was that made comics from the past so enjoyable. – Vince Fahey

Just had to say that the tribute to DC’s New York offices in BI #80 was absolutely fantastic. With so many terrific little anecdotes and some genuinely emotional reminiscing, it’s one of the finest things you’ve ever published. With so much good stuff to share, it’s a shame the pictures that go with the stories had to be squeezed down, but it was worth it to get it all in. Maybe in the future we could have a photo feature showing more of the desks and workplaces of editorial staff in the Bronze Age? It would be great to see the actual places where all these weird and wonderful comics were born. – Bob Temuka Office photos were surprisingly hard to come by. Still, we managed to gather some interesting ones. I’ll take your suggestion under advisement, though … maybe a photo tour of DC’s (and Marvel’s) office from yesteryear might be arranged. (If any former or current DC and Marvel staffers or freelancers have office photos to share, please email me at euryman@gmail.com).

BI #80’s SURPRISE HIT I enjoyed the BI Flash/Green Lantern issue. I always thought it was cool that these two heroes were buddies when they were “off the clock.” As Mark Waid TM & © DC Comics.

76 • BACK ISSUE • Christmas in the Bronze Age Issue

pointed out in his article, they were characters of different personalities, with Barry being the careful, thinking-it-through personality and Hal being the glamour boy; it’s ironic to think that, when the Green Lantern/Green Arrow team formed, Hal’s personality became more like Barry’s in order to counterpoint Oliver Queen’s hotheaded impulsiveness. I am never, never disappointed with “Prince Street News.” I hope that when Mr. Heitmueller accumulates enough of these strips they’ll be collected in a trade paperback. Captain Marvel’s line in panel 5 is one of those great joke time-bombs that took a few seconds to sink in but made the reference even more enjoyable when it got there. The surprise of the issue was the “Oral History of DC Comics Offices.” When I read the premise of this article my first thought was, “Seriously? A whole article giving us a tour of their office space? What, the article about Michael Eury remodeling his bathroom didn’t make it to deadline?” It seemed like a pretty dull concept for an article. Once I started, though, I realized I had misjudged you. I was quickly engrossed in the reminiscences told by the people who had been through those halls. I liked the stories of how they routinely trashed all that “worthless” original art—ah, if only I had a time machine. There were loads of terrific, funny, and fascinating stories in this article. And, just to put it out there, when my wife dies, I want to marry Barbara Kesel. Her contribution had me laughing out loud. I am eagerly anticipating BI #81 and its coverage of DC’s Bronze Age Giants. I’m always impressed with the sheer density of material available in every issue of BI. I don’t just read it, I savor it for days! – Michal Jacot

I’m glad the DC Offices feature won you over! As noted in the issue, it became a much larger piece than we had anticipated, but each story was engaging, and I’m happy we were able to capture this milestone in DC’s history and the history of comics publishing. Regarding your proposal to Barbara Kesel, she just muttered something about a “restraining order.”

MARVEL AT THE MOVIES Greetings to all the staff that works hard and tirelessly to put together every single issue of BACK ISSUE. A lot has changed in comics since I read my first one (Tomb of Dracula) when I was 8 (in 1977). And a lot more has changed since I first worked in a comic-book store way back in 1987 until 1994. DC is going strong both in animated movies and live-action television series; I cannot wait for Supergirl to hit the small screen. Marvel is blowing my mind with all these wonderful movies; though Avengers: Age of Ultron had a very disappointing storyline (they so should have used the Winter Soldier as the villain instead of Ultron), the creation of Vision and having him wield the Mindstone was a brilliant, great way to promote the upcoming Thanos vs. half the Marvel Universe Ultimate Battle Royal. I’ll be seeing Ant-Man in a couple of days and look forward to being entertained at the movies during the next five or six years, with Doctor Strange and The Inhumans being my top choices. Will end this with a big thank-you for putting out your mag. I will continue to support you. I’ve attached a commissioned piece of art drawn by George Pérez of Ms. Marvel from her first appearance in Ms. Marvel #1. Since she’s getting her own movie in a couple of years, think you could use this sometime? – Stephane Pharand How about now (see below)? BTW, we ran a history of Carol Danvers back in BACK ISSUE #54, and next year will be covering the Monica Rambeau Captain Marvel (in BI #90) and Mar-Vell (#93). Maybe by the time Ms. Marvel/Captain Marvel’s movie debuts, we’ll revisit her in our pages. And thanks for your kind words about the magazine! Art and Giant-Size logo TM & © Marvel Characters, Inc. All Rights Reserved.

BITS FROM THE BI MAILBAG (FROM FACEBOOK) Fantastic issue! Kudos to everyone. Jim Kingman’s Green Lantern article is great! – Robert Casio Issue #80, as with all your other issues, was clearly a labor of love. My compliments to all involved with the production of the issue. Keep up the great work! – Jeff Herman Love Mr. Robert Greenberger’s article! That [DC characters] mural almost brought me to tears, knowing it was left behind. I think it was donated—at least I hope so. – Chris Guffey Next issue: The sequel to the crowd-pleasing BI #81: Marvel Bronze Age Giants and Reprints! We open Marvel Comics’ vaults for an in-depth exploration of its Giant-Size series! Plus: indexes galore of Marvel reprint titles, Fireside Books editions, Marvel paperbacks and digests, Marvel’s deluxe reprints, and X-Men, the reprint series. Featuring NEAL ADAMS, RICH BUCKLER, TONY ISABELLA, GIL KANE, STAN LEE, ROY THOMAS, IRENE VARTANOFF, LEN WEIN, and more. Re-presenting the cover of Giant-Size Marvel Triple Action #1 by JOHN ROMITA, SR.! Special 100-page edition, full color, $9.95. Don’t ask, just BI it! See you in sixty! Your friendly neighborhood Euryman, Michael Eury, editor-in-chief

Christmas in the Bronze Age Issue

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BACK ISSUE • 77

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Incredible interview with JIM SHOOTER, which chronicles the first decade of his career (Legion of Super-Heroes, Superman, Supergirl, Captain Action) with art by CURT SWAN, WALLY WOOD, GIL KANE, GEORGE PAPP, JIM MOONEY, PETE COSTANZA, WIN MORTIMER, WAYNE BORING, AL PLASTINO, et al.! Plus FCA, MR. MONSTER, BILL SCHELLY, and more! Cover art by CURT SWAN!

Science-fiction great (and erstwhile comics writer) HARLAN ELLISON talks about Captain Marvel and The Monster Society of Evil! Also, Captain Marvel artist/ co-creator C.C. BECK writes about the infamous Superman-Captain Marvel lawsuit of the 1940s and ‘50s in a double-size FCA section! Plus two titanic tributes to Golden Age artist FRED KIDA, MR. MONSTER, BILL SCHELLY, and more!

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DOUBLE-TAKES ISSUE! Features oddities, coincidences, and reworkings by both Jack and Stan Lee: the Galactus Origin you didn’t see, Ditko’s vs. Kirby’s Spider-Man, how Lee and Kirby viewed “writing” differently, plus a rare KIRBY radio interview with Stan, MARK EVANIER and our other regular columnists, unseen and unused pencil art from FANTASTIC FOUR, 2001, CAPTAIN VICTORY, BRUCE LEE, & more!

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“Marvel Bronze Age Giants and Reprints!” In-depth exploration of Marvel’s GIANT-SIZE series, plus indexes galore of Marvel reprint titles, Marvel digests and Fireside Books editions, and the last days of the “Old” X-Men! Featuring work by DAN ADKINS, ROSS ANDRU, RICH BUCKLER, DAVE COCKRUM, GERRY CONWAY, STEVE GERBER, STAN LEE, WERNER ROTH, ROY THOMAS, and more. Cover by JOHN ROMITA, SR.!

“Batman AND Superman!” Bronze Age World’s Finest, Super Sons, Batman/Superman Villain/Partner Swap, Jimmy Olsen and Lois Lane go solo, Superman/Radio Shack giveaways, and JLA #200’s “A League Divided” (as a nod to Batman v. Superman)! Featuring work by BRIAN BOLLAND, RICH BUCKLER, GERRY CONWAY, JACK KIRBY, GEORGE PÉREZ, JIM STARLIN, and more. Cover by DICK GIORDANO!

“Comics Magazines of the ‘70s and ‘80s!” From Savage Tales to Epic Illustrated, KIRBY’s “Speak-Out Series,” EISNER’s Spirit magazine, Unpublished PAUL GULACY, MICHAEL USLAN on the Shadow magazine you didn’t see, plus B&Ws from Atlas/Seaboard, Charlton, Skywald, and Warren. Featuring work by NEAL ADAMS, JOHN BOLTON, ARCHIE GOODWIN, DOUG MOENCH, EARL NOREM, ROY THOMAS, and more. Cover by GRAY MORROW!

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The Broadway sci-fi epic WARP examined! Interviews with art director NEAL ADAMS, director STUART (Reanimator) GORDON, playwright LENNY KLEINFELD, stage manager DAVID GORDON, and a look at Warp’s 1980s FIRST COMICS series! Plus: an interview with PETER (Hate!) BAGGE, our RICH BUCKLER interview Part One, GIANT WHAM-O COMICS, and the conclusion of our STAN GOLDBERG interview!

Retrospective on GIL KANE, co-creator of the modern Green Lantern and Atom, and early progenitor of the graphic novel. Kane cover newly-inked by KLAUS JANSON, plus remembrances from friends, fans, and collaborators, and a Kane art gallery. Also, our RICH BUCKLER interview conclusion, a look at the “greatest zine in the history of mankind,” MINESHAFT, and Part One of our ARNOLD DRAKE interview!

STAR WARS! Amazing custom ships by ERIC DRUON, incredible galactic layouts by builder AC PIN, a look at the many droid creations built by LEGO fans—truly, the LEGO Force has awakened! Plus JARED K. BURKS on minifigure customizing, step-bystep “You Can Build It” instructions by CHRISTOPHER DECK, BrickNerd DIY Fan Art, MINDSTORMS robotics lessons by DAMIEN KEE, and more!

Super-star DC penciler HOWARD PORTER demos his creative process, and JAMAL IGLE discusses everything from storyboarding to penciling as he gives a breakdown of his working methods. Plus there’s Crusty Critic JAMAR NICHOLAS reviewing art supplies, JERRY ORDWAY showing the Ord-Way of doing comics, and Comic Art Bootcamp lessons with BRET BLEVINS and Draw! editor MIKE MANLEY! Mature readers only.

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TO WHAT PLACE IS this SENSATIONAL SQUADRON OF STUPENDOUS and SCINTILLATING SUPER-HEROES (AND SUNDRY STARS) SPEEDING? EVEN THE EDITOR OF ALTER EGO is Baffled about the AMBITION of this bustling bunch! But hang loose, true believers, and keep pace with the gang of gallopers IN our next chapter!

The twomorrows family has conspired to enlist the tremendous talents of many of the best comic book artists working today, each artisan assigned a character who is somehow associated with “one of our own.” We know this all sounds so mysterious, but we promise you won’t be disappointed with the denouement of the five interlocking spreads that traverse the Twomorrows magazine line. IT BEGAN IN Alter Ego #136, and CONTINUES HERE, onto back issue #85, and next in comic book creator #10, the jack kirby collector #66, brick Journal #37, and the great reveal in Alter ego #137 (with a “key” identifying the contributing artists in Draw! #31). So check out ON sale very ON sale soon! very soon! part three of this ambitious salute coming in issue #10 of

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