60 Summers Ago: Amazing Spider-Man Annual 1

Note: This post originally appeared on July 9, 2014 - a decade ago - and four years after my  online premiere. Since this is the sixtieth anniversary of when the first Spider-Man Annual was published I thought it deserved another look back. Some of the analysis has been revised and updated. I hope you enjoy the results. 

On a bygone spring day one can only imagine the delight kids felt when they entered a candy store and encountered a rack of comic books! Further enthusiasm would be generated when he or she saw what amounted to a 25 cent extravaganza that was more than triple the output of the regular, monthly titles, which at the time were priced at 12 cents. This was indeed a special event, understood by both management and the purchaser. With the promise of a long summer ahead there was a sense of magic in the air, and for those who loved comics it became a reality.       

In June of 1964 the first Amazing Spider-Man Annual arrived on newsstand shelves. Marvel had been publishing a number of oversized titles since 1961, with such best sellers as the Fantastic Four and Millie the Model, supplementing their regular product line with a larger variant, generally in the summer months*. Spider-Man seemed like a natural next choice. For fans of the character it was a smorgasbord of his most infamous villains; which were presented in a double-size 41-page story by Stan Lee and co-plotter/artist Steve Ditko. An additional 31 pages of pin-ups and other atypical offerings followed.

*See the feature post on the right-side for further exciting details on Marvel Annuals. You won't be disappointed! Exuberant Nick 

    
 The Circus comes to town!  Amazing Spider-Man Annual # 1, June, 1964. Cover by Steve Ditko, letters by Artie Simek and colors by Stan Goldberg. With the exception of Sam Rosen, who did the interior lettering, the same creative team is responsible for the compete book. Stan Lee wrote all the dialogue and cover copy.

With it's multi-colored logo and simple but effective design the first Spider-Man Annual offered a world of excitement. Priced at 25 cents the comic was a bargain, offering a total of 72 pages of interior story/art and only three pages of advertising (inside front cover, inside back cover and back cover). Unfortunately the ad pages grew in the following year, but it was nice to read a story with no interruptions!  

A little background is needed for the uninitiated. Editor/writer Stan Lee wanted to promote the entire Marvel Comics Group, which meant having heroes from other books appear in different comics. He saw it as one self-contained and insular landscape where super-real and real worlds collided in an almost natural but paradoxical fashion. This occurred during the gestation of Marvel; Ant-Man or the Hulk for instance, would get involved with the Fantastic Four. Lee very likely got this idea from radio programs such as Jack Benny, where rival comedian Fred Allen, who broadcast on the same network, would often get into a feud with Benny on HIS program. This helped to cross-promote both shows. In actuality this was not a new idea for Lee; early on he would have Millie the Model meet Patsy Walker in the teen-humor titles. Ditko had other ideas regarding this, though.    

Ditko did not like the idea of using guest-stars in the books he was working on [Spider-Man and the "Dr. Strange" series in Strange Tales] feeling that they undercut the character's story world and the development of the supporting cast. He believed a hero should be able to face any difficulty on their own. Lee had an opposing view, with an eye towards promoting the entire line, thus crafting a "world" where everyone could conceivably meet. From this synergy between titles sales could grow from fan interest. Guest-stars and villains from other strips were common during the time they produced the Annual. Furthermore it was customary for Lee to provide Ditko with a short synopsis, which they discussed before the work began. Once Ditko started to plot solo (circa Amazing Spider-Man # 25) the use of outside characters came to an abrupt end. Ditko made a few exceptions, as he explained in the essay, A Mini-History 1: The Green Goblin:* *

"Amazing Spider-Man Annual #2 (1965) featuring Dr. Strange, was,  as an Annual should be, a special event. It does not necessarily have to connect to the monthly adventures."  

 **The Comics, Vol 12, No. 7, July 2001.

While Ditko's commentary was about the second Annual, it points to the idea that he was more amenable to add guest-stars to these special events, and went along with Lee's edict to include Marvel's heroes throughout the book. What's worth exploring is exactly how he creatively accomplished this without compromising his core beliefs. 

The first costumed hero Spider-Man literally "runs into" is Thor, in a two-panel sequence as he zooms past him. Lee provides the humorous dialogue: "He's either on his way to a meeting with the Avengers..or he's late for his BARBER!". For the edification of the newcomer Lee adds a caption to the panel where the character appears, citing the title's particulars - a simple but effective promotional ploy.  

Ditko's other signature character, Dr. Strange, has a cameo strolling nonchalantly through the streets of Forest Hills while Peter is tussling with Flash Thompson! Dr. Strange is depicted in his "spirit form" (differentiated by a lack of color) but this does not follow previously established tenants from his Strange Tales series. Dr. Strange is known to the public as an investigator of psychic phenomenon and recognized by many as an eccentric. There is no reason for him to be in his other form, since he would likely give citizens a heart attack! Further, he has only used that form to battle mystic forces, and usually is drifting above ground. 

Two panels from "The House of Shadows!", Strange Tales # 120, May 1964, published several months earlier. This clearly illustrates that Dr. Strange moving about in public  flamboyantly attired would be as normal to the average bystander as Bob Dylan ambling around Greenwich Village. Maybe they both ran into each other at Cafe Wha? 

I strongly suspect this was an error by Lee in both his dialogue (telling the teens he is in his "ectoplasmic form") and possible instructions to Stan Goldberg to not color Strange. My theory on Ditko's sequence of events: Strange is walking in his flesh and blood form. In panel one his raised hand indicates a spell cast, allowing him to become intangible (panel 2), thus avoiding physical harm to both himself and the boys, protecting everyone from their hooliganism. In the third panel the dumbstruck gang clearly sees Strange and points to him. Fellow fan and master of minuitae Frank Mastropaolo differs with my theory slightly. He suspects the second panel would correctly have been devoid of color to emphasize his intangibility. I postulate that a lighter shade of blue would have gotten the same effect. Since coloring is one of the final processes before printing, it is also possible that production head Sol Brodsky did not notice the mistake. What do you think? Feel free to weigh in on the comments section. Perhaps we're BOTH wrong!    

While Ditko wrote notes and rough dialogue for every panel/page on separate sheets of paper as a rough guide for Lee, it's possible his intent was lost or misunderstood. Ditko also wouldn't have been aware of a mistake until the comic was published. Either way, Ditko's concept was probably a better strategy than Lee would have asked for, since it was a clever way of showing fandom that here is a great character and this is what he does. 

As the Fantastic Four fly around town they spot Spider-Man, who they assume is goofing off. Unknown to the FF, though, he is actually having difficulty with maneuvers he usually performs effortlessly. Peter is beginning to fear that he is losing his powers. After witnessing his Aunt, May Parker, grieving over a photograph of her deceased husband, Peter's feelings of guilt over not saving him from a criminal's bullet resurfaces. The reader has to wonder exactly what is happening to Peter.   

Lost in thought and worried about how his life will change as a normal teenager, Peter is indifferent to Giant-Man and the Wasp stopping a crime.

The Vulture delivers a message to Daily Bugle publisher J. Jonah Jameson, informing him that his secretary, Betty Brant, and Peter Parker's Aunt are hostages of "The Sinister Six", a group of Spider-Man's old foes seeking revenge. The Vulture wants Jameson to contact Spider-Man, setting him up for a trap. Jameson, of course, has no clue how to get in touch with Spider-Man and calls the Fantastic Four, who in turn contact the Avengers. Captain America answers the call and tells Reed Richards: "I never even MET Spider-Man!". Yes, there was a time Marvel's heroes didn't all know each other!   

The Human Torch fashions a flaming message in the skies to no avail. Professor X, mentor of the teenage mutants known as the X-Men, has no time to worry about Spider-Man, telling his students to get back to work! If only more superheroes minded their own business instead of getting involved in every story-line! 

Convinced that he no longer has special abilities Peter still heads out as Spider-Man in a desperate attempt to save his loved ones. Arriving at the assigned destination he encounters Electro. When his extraordinary reflexes save his life Peter realizes that his loss of powers was only psychosomatic. Surely the first time a superhero had suffered from such an illness! 

After many near misses, Spidey finally has a direct encounter with another hero. Since the prior panels reflect battle scenes with Electro in Tony Stark's factory, it makes sense that his alter-ego, Iron-Man, shows up, but only AFTER Spidey's confrontation! Since Lee was promoting each character, perhaps he deliberately left off the official titles in his captions. By this point Journey into Mystery and Tales of Suspense's cover logos had been minimized. Superheroes were clearly the main selling point so "The Power of Iron-Man" and "The Mighty Thor" were emphasized. Soon Tales to Astonish would follow suit, although Strange Tales' logo remained intact for some time. 

                           Jameson contacts the FF again, worried about his own neck, of course!  

The Human Torch appeared in a number of Spider-Man's monthly adventures, but the two teenagers were often antagonistic towards each other. Spider-Man declines Johnny's offer of assistance; most assuredly Ditko's take that a hero had to fight his own battles and doesn't need outside help. Ditko explained a specific instance of this in "A Mini-History 12: Guest Stars: Heroes and Villains"*** 

"I also deliberately made S-M (Spider-Man) and the HT (Human Torch) ineffective as a "team" in capturing the B (Beetle)...In yet another S-M/HT team up (#19) I had two policeman capture the Sandman." 

*** The Comics, Vol 14, No. 7, July 2003.

New York's finest save the day! Panel from Amazing Spider-Man # 19, Dec, 1964

Ditko grudgingly accepted Lee's use of guest-stars on occasion, but cleverly turned the idea on its head, making them a detriment to each other, not a boon.  

Spidey battles the X-Men...or does he? They turn out to be robots created by Mysterio. Lee gets his wish to publicize the new team (whose seventh issue was on the stands when the Annual appeared) while Ditko avoids a meeting with the real heroes.

  In one of the most amusing panels Jameson desperately tries to contact Spider-Man by conversing with a spider outside his window. I bet JJ was a fan of Mr. Ed!

The final cameo goes to the Human Torch, who checks in with an aggravated and bombastic Jameson. Ditko included a total of 27 panels featuring guest stars in a 41 page story, most of which were "walk on" appearances. Ditko cannily followed Lee's directive in his own inventive and unique way. 

The story was immediately followed by an outstanding collection of special features that represented exactly WHY these Annuals were highly anticipated. The gallery of Spider-Man's foes included every lowlife the hero had encountered up to publication. Ditko knocked it out of the park with every meticulous illustration he rendered. I'm particularly impressed by the details, such as the lurking rats and the expressive tiny lizard. Lee added details in the copy and a sense of drama and enthusiasm to the mix.       

"The Secrets of Spider-Man" feature included cameos of Thor, the Hulk, the Thing, Mr. Fantastic and The Human Torch, explaining Spider-Man's strength in proportion to other heroes and the capability of his webbing.

The "Guest-Star Page" includes Ditko's versions of the Hulk and the FF, described by Lee as drawn in "the somewhat different Ditko style". Some fans may not have been impressed with Ditko's interpretation of the Kirby characters, but that distinctivness is exactly what made each man stand out as brilliant stylists. To this viewers eye, Kirby's boldness, as exemplified by The Thing's craggy protuberances, was antithetical to Ditko's more organic, down-to-earth figures. That said, he did a fine job on the other members of the FF, particularly the Torch, and the following month Ditko would sucsessfuly revise Kirby's Hulk, plotting and drawing the new co-feature in Tales to Astonish for eight issues. It should be pointed out that the vision exuded by both creators helped set Marvel apart from the competition, and launched them - a relativity small company at the time - to the very top of the industry. 

Finally, we close with this delightful image of Stan Lee being assaulted by Marvel's heroes, including Daredevil and Sgt. Fury, the only characters who didn't make it into the main story. Fury, of course, was set in World War II, and DD may have been omitted because Lee and Ditko worked on the Annual before his first issue was published. Or, as Joseph William Marek pointed out, it may simply be that they were both aware that the character was featured in that month's Amazing Spider-Man (issue #16).     

While I don't totally agree with Ditko's theory that guest-stars diminish a heroes importance, his point that they interfered with the development of the protagonist, his supporting cast and ongoing sub-plots (particularly in the monthly comic book) is valid. For kids reading the comics however, it was often an exciting and welcomed event. In the early 1960's they were used sparingly, resulting in a hightened sense of novelty, but the practice escalated to the point of overuse and excess. As the years went by an "anything goes" mentality produced many poorly plotted stories, lacking in either logic, characterization or originality. All too often these encounters resulted in forced exchanges until they became indistinguishable xerox copies: predictable and cliche ridden. Where's the creativity in that? The Innovation? 

Back in June of 1964, though, few - if any - fans debated the merits of guest-stars. The Amazing Spider-Man Annual # 1 was appreciated by both casual readers and rabid collectors with a quarter to spare for an afternoon's entertainment. They all recieved their money's worth. It was a well-concieved publication, made special by the efforts of sedulous craftsman who did far more than put together a larger version of the monthly iteration. These were seasoned veterans in their prime, maybe visionaries, arguably delivering the best work of their careers. Looking back, it was, and continues to be, a rarefied moment that stands the test of time, when a confluence of forces revitalzed the art form. It was an amazing (no pun intended) epoch we naively thought would last forever. Although in many ways it has. Revisiting this material, even through an adult lens, evokes a sensation of dream-like surrealism, coupled with a persistent awareness that we will not see its like again.  

Card Collecting in the 1960s: Memories Packaged for a Nickel

I have a vivid childhood memory where a sea of kids cascade into a candy store that was located around the corner from my school, St. Joseph Patron. The year is 1966 and I  live in the Bushwick section of Brooklyn, New York. It's lunch break, and a chaotic mass of hands are stretched out with change as the proprietor and his clerk feverishly dole out Milky Ways, Charleston Chews, Cokes, Chocolate Cows, Lays Potato Chips, Bazooka Joe bubble gum and other treats. On the counter are colorfully designed display boxes containing packs of cards. Along with the phenomenally popular Baseball cards, which just about every boy bought, there were many other cards designed to appeal to a young audience. These are referred to (although not by anyone at the time) as "Non-Sports Cards." To those growing up back then, they were a part of the pop culture firmament. Like cartoons, monster movies and comic books, they always existed in our world. And at a nickel a pack they were readily available to almost everyone. In this piece I'll take a look back at some of the cards I fondly recall collecting all those years ago. 

The 1966 Batman TV show was enormously popular, which led to a merchandising explosion, from toys and models to records and coloring books. Topps, one of the biggest producers of trading cards, designed an initial set consisting of 55 cards, penciled by Bob Powell, a versatile artist whose work in comic books spanned a period from 1930 to the 1960s. Powell's efforts appeared at Quality, Magazine Enterprises, Street and Smith, Harvey and Atlas/Marvel, among others. Norman Saunders then painted the art, adding another layer of drama to the composition. Saunders was a talented painter who produced covers for Pulps and comics. He was in demand at Topps, crafting the popular 1962 Mars Attacks cards (also over Powell art; with initial designs by the great Wally Wood) and later created Wacky Packs, another successful card set. Topps employed many other comic book artists over the years, including Jack Davis, Tom Sutton, Jack Kirby (who drew spot illos on the backs of their Baseball cards in 1960) and even one of the pioneers of Underground comics, Robert Crumb. As a kid I was totally enthralled by these images, and in the present day I'm still impressed by their efforts. 

The backs of cards often told a story and might impart information related to the image on the front or was a puzzle piece - another reason to complete your collection. The Batman cards cannily employed both methods. The first series included a dramatic narrative; the second set was adorned with mini-puzzles of Batman and Robin, the Joker, Riddler, etc. with explanatory copy  on the right side.    

The Monkees was a hit TV show on NBC in 1966. The original concept was conceived to be a fictional group capitalizing on The Beatles (who had a card set of their own). Initially, professional musicians did most of the tunes, but soon the screen Monkees played their own instruments, headlining hits by songwriters Tommy Boyce, Bobby Hart and Neil Diamond. With their overwhelming popularity it's no surprise that the Monkees had several card sets produced between 1966-68. Above is an example produced by Donruss. I was a huge fan at the time and likely collected the cards with whatever spare change I acquired, although my older brother John recalls buying all (or most) of the Batman cards on his own.     

The Green Hornet was a masked crimefighter whose radio show debuted in 1936. The character also appeared in comic books and serials. The Hornet was brought to television screens in 1966 by producer William Dozier, the man responsible for  Batman's success on the small screen. Lightning didn't strike twice, though, and the show lasted just one season. Unlike Batman, The Green Hornet wasn't played for laughs; he often fought ordinary criminals and stayed truer to its original premise. Van Williams starred as Britt Reid/The Hornet and Bruce Lee played his aide Kato. In a few years Lee would become recognized for popularizing Kung Fu in a run of movies. 

I'd be remiss if I didn't make special note of the Green Hornet's theme music, "Flight of the Bumblebee." It was written by Nikolai Rimsky-Korsakov in 1900 and was closely associated with The character from his earliest appearances on radio, in serials, and most famously, Al Hirt's exciting rendition for the TV show. In 1941 popular band leader Harry James released a version that topped the charts. Donruss produced the 44 card set.   

 Image taken from page 19; panel 5 of Amazing Spider-Man # 19, December 1964. Steve Ditko art.  

I was already immersed in Marvel's entire comics line of heroes, thanks to older brother John, who had been collecting them for several years, so you can imagine the thrill when they had their own card set! The display box utilized art by Jack Kirby and Steve Ditko, and all the characters, with the exception of Spider-Man and Daredevil, were concurrently appearing in the syndicated Marvel Super-Heroes cartoon. The 66 card Donruss set incorporated panels from Marvel's comics 

(drawn by Kirby, Ditko, Don Heck, John Romita, Bob Powell and Wally Wood) with humorous dialogue substituting for Stan Lee's original.  

The back of the MSH cards formed a montage of figures, with the images lifted from various covers. Jack Kirby pencils (inks by Vince Colletta; Dick Ayers and John Romita) on all, except Spider-Man, drawn by Steve Ditko, which was sourced from a 1965 poster. Worth pointing out are the glaring coloring errors (which I even noticed as a youngster), particularly on the attire of two heroes. Thor's legs were bare, lacking blue tights, the boots were only partially yellow and his mystical hammer lacked gray tones. Captain America, whose costume embodied the American flag and Americana in general, had gloves, boots and sections of his shield inexplicably colored yellow. In addition, the star on his chest, sleeves and alternating stripes across his waist - which should have been white - were doused with blobs of blue and red. The Hulk fared slightly better - but no purple pants, and it looks like the colorist ran out of green before he completed the job! Image from Heritage Auctions.      

The MSH wrapper sported head shots of Spider-Man, Captain America, Iron Man, Daredevil, Thor and the Hulk staring out at its audience. Art by Steve Ditko (Spider-Man) and Jack Kirby (all the rest - with the exception of Thor, drawn by Marie Severin. That image may have been hastily inserted, since the character's long golden locks are missing). How could you resist if you had 5 cents in your pocket?    

Dark Shadows was a supernatural-themed daytime serial that appealed to a large adolescent audience. No surprise that it rated two card sets in 1968-69, produced by the Philadelphia Chewing Gum Company. The above card is from the second set, featuring a photo of Jonathan Frid as vampire Barnabas Collins. I'd go into more detail, as I've been an enthusiast of the show since it first aired, but instead I'll point you to two excellent YouTube videos which provide THAT minutia, and you can see every card there as well. Tell Alan Nick Caputo sent you!  

When I was buying the DS cards at a local newsstand in 1969 I happened to purchase the last pack. My friend Joe urged me to ask the proprietor if I could have the display box. He gave it to me with no qualms but over the years that item was lost. Display boxes are a rarity, specifically because they were trashed by store owners, who obviously had no idea they would have future collectability. 

One last Dark Shadows item. Yours truly was recently a guest on Terror at Collinwood, a delightful podcast hosted by Danielle Gelehrter, aka Penny Dreadful. Our conversation also crossed over into comic books, Steve Ditko, the Gold Key Dark Shadows comics, and other related tales: 

    Top of the World, Ma! Charlton Heston becomes a star of bubble gum cards!

Planet of the Apes was a blockbuster movie that captured the attention of children and adults alike. Premiering in early 1968 the film featured a sterling cast headed by Charlton Heston. When Topps was given the rights to produce a card set based on the movie, including photos of the actors, the star initially did not approve. Eventually he was convinced that it would be a quality product and he allowed them to use his images on nine out of 44 cards. 

In addition to tie-ins with TV and movies many cards were geared  to its audiences sillier side, such as Topps Wacky Packages, which debuted in 1969. Heavily influenced by MAD, It satirized well-known products and their advertising campaigns. Tom Sutton, whose art in comic books skillfully balanced between horror and humor, illustrated a majority of the cards. While I can't definitively say that I immediately recognized Sutton's art from comics, I was always good at identifying distinctive styles and almost certainly noticed that this was the same guy drawing many of the super-hero satires in Marvel's Not Brand Echh around the same time. You can see all of Tom's Wacky Packages (and much more) at this site: http://www.lostwackys.com/wacky-packages/wacky-artists/tom-sutton.htm      

   

The 1950s Superman TV show was a hit with kids for decades. George Reeves as both Clark Kent and the Man of Steel had a charm that resonated with the youth growing up in that era - even those that didn't follow the Superman comics! Topps issued a set in 1966, although it continued to be distributed in stores until 1970, which is around the time I believe I purchased them. I recall them being on display on the countertop of my neighborhood grocery store, around the corner from where I lived in the Bushwick section of Brooklyn. 

Finally, Topps 1969 Man on the Moon cards was a must-have for kids witnessing the thrill of space travel and the opportunity to see the moon landing live. There were two sets produced, one leading up to the landing and a second set in 1970 that added 44 cards to the original 55, including photos of Neil Armstrong and Edwin Aldrin on the surface of the moon. These cards, I noticed, were priced at ten cents. A sign that times were changing in more ways than one!

From a personal standpoint, card collecting transports me back to a different time and place. In the 1960s there was absolutely no thought of preserving them for future financial value; they were shared or traded with friends and fellow collectors. In those pre-internet/computer/smartphone days, cards were often a keepsake of memories, particularly with movies and TV shows. Imagine a world where you didn't have images, music or movies at your fingertips; you either had to buy them (in the case of records), wait for them to appear on TV (popular movies) or find photos in magazines. It was much more of an effort to track things down. And perhaps due to that it made these items all the more special. 

Akin to comic books and rock and roll, cards catered to the interests of pre-teens and teenagers, distinctly apart from the concerns - and often understanding - of parents or adults. There was a sense of satisfaction (Mick Jagger notwithstanding) in completing a set, of finding that ONE card you needed. With just a nickel in your hand and a trip to the candy store you were immersed in a world of imagination. 

1976 Topps New York Yankees team photo. Chambliss! Guidry! Hunter! Lyle! Munson! Nettles! Pinella! White! Billy Martin! Those were the days!  

I just HAD to close out with a baseball card, since they were traded and collected by every kid. The Brooklyn-based Topps company was the preeminent manufacturer of sports cards, and, along with Bazooka Joe Bubble Gum, which cost a penny, they were part of the childhood of many who grew up in the 1960s.     

EC and the Legacy of Roger Hill

Perhaps the greatest tribute I can pay Roger Hill is that I didn't immediately draw a connection to the name when my pal, Timely/Atlas historian Michael J. Vassallo, announced the news of his passing on Facebook. This may sound like a back-handed compliment, but it's exactly the opposite. Although Hill's contributions to the world of comic book scholarship in general - and the EC comic book line in particular - spans six decades, I struggled for a few moments to recollect the exact nature of his studies. I suspect this was due to Hill's relentless love of the medium and the creative giants he celebrated, with the spotlight always placed directly on their contributions. From his earliest fanzine efforts to the latest book project, Hill's focus was always on the subjects he covered, and that passion translated to an almost subliminal response from like-minded fans and students of the medium. While an author's talents can be appreciated and recognized, they should never overshadow their subject matter. And Hill captured the essence of that sensibility in all his endeavors.    

The debut issue of Squa Tront, the preeminent EC fanzine which began publication in 1967, included several illustrations by Roger Hill. His cover was inspired by the immensely talented Wally Wood, a favorite artist of Hill's, and one I'd place on a Mount Rushmore of comics creators.

While not a professional artist, strictly speaking, Hill's efforts had a distinctive quality and charm. Inside the first issue of Squa Tront he designed the table of contents logo and illustrated the acknowledgements page (where publisher Jerry Weist noted his contributions), as well as the back cover, channeling EC's master of the grotesque, "Ghastly" Ghaham Ingles . 

,

In addition to Hill's artwork, Squa Tront # 1 included an early example of  his writing skills: an essay on the aforementioned Graham Ingles. He also supplied the title design.  

From the beginning of his collecting days Hill was enamored by the EC comics of the 1950s. The combination of solid storytelling, exceptional artistic talent and editorial savvy was a winner. In addition, Publisher Bill Gains engaged fans in editorials and letters pages, displaying sardonic humor and showing respect for the intelligence of his readers, which helped infuse further interest. The quality of the material has enthused comic book aficionados for decades - and will surely continue into the future - as EC's line of horror, crime, science-fiction, war and humor* is preserved in a plethora of high quality formats. 

*For those not in the know Mad started out as a standard comic, conceived by masterful editor-writer-artist Harvey Kurtzman, and was later transformed into a magazine. Running continuously until 2018, MAD has been relegated to a (mostly) reprint title sold in specialty shops, but it was EC's most successful (and influential) publication.     

Squa Tront # 13, 2012.

Squa Tront # 14 (2022) (possibly the last issue - but don't count on it!)

Squa Tront continued sporadically for a staggering 55 years, from 1967-2022, with Roger Hill remaining a primary contributor. After overseeing four issues Jerry Weist passed on the editorial reigns to John Benson, and, In 2002, Fantagraphics took over the publishing end (ST # 10). Hill's last two pieces for the fanzine included a focus on Basil Wolverton, acclaimed for his bizarre renderings, most notably at Mad, and a deep dive into Charlton's Yellowjacket title. While EC comics was an ongoing study for Hill, to his credit his curiosity for other unexplored roads in the comic book firmament continued unabated.   

(Special thanks to Dan Schlissel for the info on ST # 14. This one escaped my notice but its now on order!) 

Hill also published his own EC fanzine, which debuted in 2004. Above is the current issue, released in November, 2023. A posthumous 6th edition has been announced for 2024. Jack Davis cover art.      

Hill was involved in preserving comic book history on multiple levels: as writer, editor and researcher, with a specific skill-set for distinguishing artists' styles. In addition to Squa Tront and his own EC Fan-Addict fanzine, his articles and essays could be found in Comic Book Marketplace and Alter Ego. 

And onward he soared. Some of his recent offerings included books on a quartet of astonishing craftsman, including the science fiction illustrations of Wally Wood; acclaimed Quality comics and Blackhawk artist Reed Crandall; a biography of the superbly talented Mac Raboy, and, debuting just a few months ago, his final published project, a study of the life and art of Matt Fox, whose quirky, bizarre and largely forgotten stylings appeared in horror-oriented pulp magazines such as Weird Tales. Fox's art would later be found throughout the comics pages of Youthful and Atlas/Marvel, where, in the 1963-4 period he delineated the pencils of Larry Lieber in a detailed woodcut-style. Hill again delved into his subject matter with great alacrity and brought this obscure artist to life. I recently purchased the book and praised it on several Facebook pages. Hill was reportedly working on other book projects, so with any luck they may have reached completion and will see the light of day. 

                              Wally Wood Galaxy Art and Beyond, 2016

                                    Reed Crandall Illustrator of the Comics, 2017. Interior page. 
 

                                Mac Raboy Master of the Comics, 2019.  

Hill's book on Matt Fox was published only a few short months ago. I urge you to track it down. You won't be disappointed. All four of the above books were published by TwoMorrows and should be part of any fan's library.  

I don't believe I ever met Roger Hill. I may have corresponded with him via email at some point or perhaps exchanged words on online forums, but I can't recall offhand. I hope he read my enthusiastic reviews of his Matt Fox Book. In the scheme of things, though, it's not important. Of paramount importance is the scholarship Roger Hill left behind. His writings add to the rich history of the medium and remind us that the focal point should always be about the material we are dissecting. That is what really counts. 

The above You Tube video from several years ago spotlights several fans/historians discussing the importance of EC, including Roger Hill.  

         

Roger Hill passed away on December 6, 2023. He was 75 years old.