tag:blogger.com,1999:blog-20897337592636360222024-03-13T19:47:44.727-04:00Marvel Mysteries and Comics MinutiaeA place to explore the cobwebbed corridors of comics' past.Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.comBlogger141125tag:blogger.com,1999:blog-2089733759263636022.post-51275612037537497082024-02-21T23:28:00.013-05:002024-02-28T00:35:28.549-05:00Card Collecting in the 1960s: Memories Packaged for a Nickel <p style="text-align: justify;"><span style="font-family: verdana;">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. </span></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSnFlNiB4jyPcntVihis_ZR3p6vYXLYdN41-kJUAdRz-ia9Bj-k3qApLCMd9FEfPOjqOOx7gD09tgrLFXYFPu0ZAbbMSs0ymqhL1Hz9y4J6zpqM__45k_M-vK38GXxJey0ghzGWwPpU-kt5zevCDLgPvO64tlZ-KqXvP6hv0Z2_XqXs-LXWQ9me4dbZQ/s987/cards-batman-joker.jpg" style="font-family: verdana; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="687" data-original-width="987" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSnFlNiB4jyPcntVihis_ZR3p6vYXLYdN41-kJUAdRz-ia9Bj-k3qApLCMd9FEfPOjqOOx7gD09tgrLFXYFPu0ZAbbMSs0ymqhL1Hz9y4J6zpqM__45k_M-vK38GXxJey0ghzGWwPpU-kt5zevCDLgPvO64tlZ-KqXvP6hv0Z2_XqXs-LXWQ9me4dbZQ/w640-h446/cards-batman-joker.jpg" width="640" /></a></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsxi4oHZsQXlnTM-H3DlGWL2592zC9pwZdHCZ8rg9sGbIgAWvkHQwedyrS8CAvh9DYMaAFbwsPaI68im1I1pynJVLy0kDiSt3Sxr-NruEtOW1qhUMwkLOo4xhFnSiyLAygOOSO_0JA90pyFxdtQr4ewjLzySoLRH2kDCzm5l9OjzeXJ1LaV_kJNA_DLU/s969/card-batman2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="654" data-original-width="969" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsxi4oHZsQXlnTM-H3DlGWL2592zC9pwZdHCZ8rg9sGbIgAWvkHQwedyrS8CAvh9DYMaAFbwsPaI68im1I1pynJVLy0kDiSt3Sxr-NruEtOW1qhUMwkLOo4xhFnSiyLAygOOSO_0JA90pyFxdtQr4ewjLzySoLRH2kDCzm5l9OjzeXJ1LaV_kJNA_DLU/w640-h432/card-batman2.jpg" width="640" /></a></div><br /><span style="font-family: verdana;"><div style="text-align: justify;"><i><span style="font-family: Poppins;"><b>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. </b></span></i><i><span style="font-family: Poppins;"><b>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. </b></span></i><i><span style="font-family: Poppins;"><b>As a kid I was totally enthralled by these images, and in the present day I'm still impressed by their efforts. </b></span></i></div><div style="text-align: justify;"><i><span style="font-family: Poppins;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifS7fFto9iZw8ixi29hn_qtHuZJ4CiKCcZdP00YLFLvjfggw63IOBKvrYsNf7rfVQOMSCOFf1LxJOn2lJfQSoFFIvTyjyqjkL0FGM_AIEBOeOfbanGCy2llPASlEDkKw-YgeOd6KLXD2Zkn4fKgvA_LFo2RyImKC0dI199lgbN5Av1p2LHacXvbzrgSJs/s1476/card-batman-back.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1476" data-original-width="960" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifS7fFto9iZw8ixi29hn_qtHuZJ4CiKCcZdP00YLFLvjfggw63IOBKvrYsNf7rfVQOMSCOFf1LxJOn2lJfQSoFFIvTyjyqjkL0FGM_AIEBOeOfbanGCy2llPASlEDkKw-YgeOd6KLXD2Zkn4fKgvA_LFo2RyImKC0dI199lgbN5Av1p2LHacXvbzrgSJs/w416-h640/card-batman-back.jpg" width="416" /></a></div><b>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. </b><b><br /></b></span></i></div></span><p></p><p><i><span style="font-family: Poppins;"></span></i></p><div class="separator" style="clear: both; text-align: justify;"><i><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmxNdzGxT-RhpmuSpkGK5MJoNFe5pXnSpMp2oxn8pBhlL7bxzQMd9IdfrhaTs04DQko4v3IMsXhFaDZt9WKeb7Qa7cZZn3JEb0loCPfHBYpwImV1kIVdhUquffK1tjMewgxXc35jweOh0iLfqW-Jr192XaFQna3yNkjO4-HVSFdkcRpTcLiWAhGcwNyzU/s350/cards-monkees.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="250" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmxNdzGxT-RhpmuSpkGK5MJoNFe5pXnSpMp2oxn8pBhlL7bxzQMd9IdfrhaTs04DQko4v3IMsXhFaDZt9WKeb7Qa7cZZn3JEb0loCPfHBYpwImV1kIVdhUquffK1tjMewgxXc35jweOh0iLfqW-Jr192XaFQna3yNkjO4-HVSFdkcRpTcLiWAhGcwNyzU/w458-h640/cards-monkees.jpg" width="458" /></a></span></i></div><i><span style="font-family: Poppins;"><div style="text-align: justify;"><i><span style="font-family: Poppins;"><b>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 its no surprise that the Monkees had several card sets were produced in 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. </b></span></i><i><span style="font-family: Poppins;"><b> </b></span></i></div></span></i><p></p><p><i><span style="font-family: Poppins;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMiglh5_KtdNTP1cJBvz5Vulx3fBNOwusP8FJvE8Kl2wpBYVLAxhxQFW5X7OJlIpZIJsaOOfO8uazXiDehoV5USAP8rwhNTVlgu9g1OFdS7_CF5841abM0WWmw9m0CPZC2_tCCPcOmzicgBCQS0IKLsFcq0cc41PY9kf8x9mQeWEl_Rr7TFRAiTpeT5c/s300/cards-greenhornet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="210" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMiglh5_KtdNTP1cJBvz5Vulx3fBNOwusP8FJvE8Kl2wpBYVLAxhxQFW5X7OJlIpZIJsaOOfO8uazXiDehoV5USAP8rwhNTVlgu9g1OFdS7_CF5841abM0WWmw9m0CPZC2_tCCPcOmzicgBCQS0IKLsFcq0cc41PY9kf8x9mQeWEl_Rr7TFRAiTpeT5c/w448-h640/cards-greenhornet.jpg" width="448" /></a></span></i></div><p><i><span style="font-family: Poppins;"><i></i></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: Poppins;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUzRW_XYQahU3tjMQWw0KJvrl5v6JrOLcMMmrM7FgqJhlq5jfyL6Hkh79oLRpLOGO3XRP0wRwGEJIPE__mku8qNRvZwDS4und3Bzq96LCo6xwWxnWK30HcCIAX71mmivPRwoxZVPYs57-1I1oyXImLVmjiH1B0unyWJTnsls09L1upX9BsTtM-fj3EclY/s775/cards-kato.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="775" data-original-width="588" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUzRW_XYQahU3tjMQWw0KJvrl5v6JrOLcMMmrM7FgqJhlq5jfyL6Hkh79oLRpLOGO3XRP0wRwGEJIPE__mku8qNRvZwDS4und3Bzq96LCo6xwWxnWK30HcCIAX71mmivPRwoxZVPYs57-1I1oyXImLVmjiH1B0unyWJTnsls09L1upX9BsTtM-fj3EclY/w486-h640/cards-kato.jpg" width="486" /></a></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b>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</b></span></i></span></i><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b>. 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. </b></span></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b><br /></b></span></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b>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. </b></span></i></span></i></div><span style="font-family: Poppins;"><p style="font-style: italic;"></p><p style="font-style: italic;"><i><span style="font-family: Poppins;"></span></i></p><div class="separator" style="clear: both; font-style: italic; text-align: center;"><i><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XHvrhaxcDF0-fUOasxNApA4FmXG90kvopY7aiOfhtiZXtn4yqhjrlfuSaCal_RLT-ezX_fIZnw7Nm8fublMOA1Y8M3pmC9KMp0GJGt2yBLxpf8su4Sjq-7oqRj66TIfDPHMfDBWaBq5crNgRVvKnRd6bnebH1Gd2kI0IawMWgegz37EPD7xddXqxLlw/s462/cards-msh-display.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="212" data-original-width="462" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XHvrhaxcDF0-fUOasxNApA4FmXG90kvopY7aiOfhtiZXtn4yqhjrlfuSaCal_RLT-ezX_fIZnw7Nm8fublMOA1Y8M3pmC9KMp0GJGt2yBLxpf8su4Sjq-7oqRj66TIfDPHMfDBWaBq5crNgRVvKnRd6bnebH1Gd2kI0IawMWgegz37EPD7xddXqxLlw/w640-h294/cards-msh-display.jpg" width="640" /></a></span></i></div><p style="font-style: italic;"><i><span style="font-family: Poppins;"><i></i></span></i></p><div class="separator" style="clear: both; font-style: italic; text-align: center;"><i><span style="font-family: Poppins;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoE-k8f0XurCzCzr8rs5SCLYdY8kl_QG_BV2VctjVV9Zl5GaKYH209KyK9Rko9aYP5TJ1CacDw4-0oODR2BSMQ4jBuFxeaxM53mBnUappO154fYMD9f3HjNYw1XoRa2VIM5Qv2EWDk1-EpxGr-mbK2Lqr8cS8ix3bHrjZYNIzqbzXkUfuq_RTfeIo1Of8/s505/card-ditko-msh.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="505" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoE-k8f0XurCzCzr8rs5SCLYdY8kl_QG_BV2VctjVV9Zl5GaKYH209KyK9Rko9aYP5TJ1CacDw4-0oODR2BSMQ4jBuFxeaxM53mBnUappO154fYMD9f3HjNYw1XoRa2VIM5Qv2EWDk1-EpxGr-mbK2Lqr8cS8ix3bHrjZYNIzqbzXkUfuq_RTfeIo1Of8/w640-h452/card-ditko-msh.jpg" width="640" /></a></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b> Image taken from page 19; panel 5 of Amazing Spider-Man # 19, December 1964. Steve Ditko art. </b></span></i></span></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b><br /></b></span></i></span></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b>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 </b></span></i></span></i></span></i></div><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><i><span style="font-family: Poppins;"><b>(drawn by Kirby, Ditko, Don Heck, John Romita, Bob Powell and Wally Wood) with humorous dialogue substituting for Stan Lee's original. </b></span></i></span></i></span></i></div><div style="text-align: justify;"><span style="font-family: Poppins;"><span style="font-family: Poppins;"><span style="font-family: Poppins;"><div class="separator" style="clear: both; font-style: italic; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKVx-J23jCgJSUIITyymLC4SB4Qu_QVTghTikrNIdxT0XNEJbAnjtj36u0JYw6Nobh6FrekjnJk2YkVyZ7wKlgikZt2hu29S3a_UEUysC7P4g881MMJMVYlyo1fisyoxlqSUhRh6hFa9oPg-M1kXnyN6-m2b1cXi70PYyGJ780CPpcO82vjBBEWSNeAs8/s600/cards-msh-poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="460" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKVx-J23jCgJSUIITyymLC4SB4Qu_QVTghTikrNIdxT0XNEJbAnjtj36u0JYw6Nobh6FrekjnJk2YkVyZ7wKlgikZt2hu29S3a_UEUysC7P4g881MMJMVYlyo1fisyoxlqSUhRh6hFa9oPg-M1kXnyN6-m2b1cXi70PYyGJ780CPpcO82vjBBEWSNeAs8/w490-h640/cards-msh-poster.jpg" width="490" /></a></div><b><i>The back of the MSH cards formed a montage of heroes. The colorist, however, made a few mistakes. Art by Jack Kirby and Steve Ditko; inks by Vince Colletta; Dick Ayers; John Romita and Ditko. The figures were all lifted from cover scenes, with the exception of Spider-Man, which was sourced from a 1965 poster. Image from Heritage Auctions. </i></b><i> </i><br /><div class="separator" style="clear: both; font-style: italic; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2wuWIDH0wZK8iqfLtrU9p0egIpM6HfDjOEup94swLHIh1tswJeZ51n_18qdc3pzNRJqdaUcClbMwiDpo4rF-lxhdEXiahfqKEteOqfreKquno9doKlb7p4llYFmOLG3qPnLDvHTMDoyyFjteFiGec5CIYPEAHgROTE-zV2DD7rzQioCUZJ9qffZ939MY/s523/cards-msh-pack.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="385" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2wuWIDH0wZK8iqfLtrU9p0egIpM6HfDjOEup94swLHIh1tswJeZ51n_18qdc3pzNRJqdaUcClbMwiDpo4rF-lxhdEXiahfqKEteOqfreKquno9doKlb7p4llYFmOLG3qPnLDvHTMDoyyFjteFiGec5CIYPEAHgROTE-zV2DD7rzQioCUZJ9qffZ939MY/w472-h640/cards-msh-pack.jpg" width="472" /></a></div><br /><b style="font-style: italic;">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). How could you resist if you had 5 cents in your pocket? </b></span></span></span></div><div style="font-style: italic; text-align: justify;"><br /></div><div class="separator" style="clear: both; font-style: italic; text-align: center;"><i><span style="font-family: Poppins;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiXvHX_Y25oGsSBlNnjzBtffjc2mlwrVgsPLgx4VLZ4taLCdspxmFLLb5JiOmFzS-vZfZNxOiYR7HaMoSoSkbu8asC45Wli7vnUvzQbcalAj6ByHrfhlvHgv5U_OEDnNErGRAC7NvEZgesBAsddSZaYJMqhy_LXlN9NGHsVZVOW1Zc-jaayEtr1EVErI/s1023/card-darkshadows.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="741" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiXvHX_Y25oGsSBlNnjzBtffjc2mlwrVgsPLgx4VLZ4taLCdspxmFLLb5JiOmFzS-vZfZNxOiYR7HaMoSoSkbu8asC45Wli7vnUvzQbcalAj6ByHrfhlvHgv5U_OEDnNErGRAC7NvEZgesBAsddSZaYJMqhy_LXlN9NGHsVZVOW1Zc-jaayEtr1EVErI/w464-h640/card-darkshadows.jpg" width="464" /></a></b></span></i></div><p style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;"><b>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! </b></span></i></p><div class="separator" style="clear: both; font-style: italic; text-align: center;"><i><span style="font-family: Poppins;"><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/upYnlh9AVOo" width="320" youtube-src-id="upYnlh9AVOo"></iframe></b></span></i></div><i style="font-style: italic;"><span style="font-family: Poppins;"><b><br /></b></span></i><p style="font-style: italic;"></p></span><p></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/mXoLKAcrves" width="320" youtube-src-id="mXoLKAcrves"></iframe></i></div><i><br /><div style="text-align: justify;"><i><span style="font-family: Poppins;"><b>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</b></span></i><i><span style="font-family: Poppins;"><b> 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. </b></span></i></div><div style="text-align: justify;"><i><span style="font-family: Poppins;"><b><br /></b></span></i></div><div style="text-align: justify;"><i><span style="font-family: Poppins;"><b>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: <div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/llcz3MMT7Ro" width="320" youtube-src-id="llcz3MMT7Ro"></iframe></div><br /></b></span></i></div></i><div><span style="font-family: Poppins;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrfB0Wj7ho-FxPSiH7O1vIf2nyUm5OCYlPezu48i0D_gwSrcHu9OECaOFdKEcE6DkophEZb0zo16J3r7CLO_emIcspoEmaivlv-SmBzpy6HM1EBd4TMMthqF8CCbTmxVVk0f8FlJMsy2DAFGl7-QUiPoQj4PILFuO3Di2m2_9Z25S5hnQhyphenhyphen6FMt6WU7GA/s1885/card-pota-heston2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1885" data-original-width="1351" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrfB0Wj7ho-FxPSiH7O1vIf2nyUm5OCYlPezu48i0D_gwSrcHu9OECaOFdKEcE6DkophEZb0zo16J3r7CLO_emIcspoEmaivlv-SmBzpy6HM1EBd4TMMthqF8CCbTmxVVk0f8FlJMsy2DAFGl7-QUiPoQj4PILFuO3Di2m2_9Z25S5hnQhyphenhyphen6FMt6WU7GA/w458-h640/card-pota-heston2.jpg" width="458" /></a></div><div><span style="font-family: Poppins;"> <i> Top of the World, Ma! Charlton Heston becomes a star of bubble gum cards!</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpQcgCtGcDnTGFIppy67CfMC44mBfc68R592DUYIg0Jxf8wEi5EQCSp6ZzY9I8M3GVwgAOBo5SMiCbwWKFVmLvq1ZD_8ntqs1_hE_7d5HqTYe05l5hhMf27pTJoA6iQbLPlObgHaFOuPQ1BsTMql_yPbc3Sl-qp4-urH3m8uO99VxIx8q6oLyYUS_i7ro/s1779/card-pota-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1224" data-original-width="1779" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpQcgCtGcDnTGFIppy67CfMC44mBfc68R592DUYIg0Jxf8wEi5EQCSp6ZzY9I8M3GVwgAOBo5SMiCbwWKFVmLvq1ZD_8ntqs1_hE_7d5HqTYe05l5hhMf27pTJoA6iQbLPlObgHaFOuPQ1BsTMql_yPbc3Sl-qp4-urH3m8uO99VxIx8q6oLyYUS_i7ro/w640-h440/card-pota-3.jpg" width="640" /></a></div><br /></span><p style="text-align: justify;"><i><span style="font-family: Poppins;"><b>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. </b></span></i></p><p style="text-align: justify;"><i><span style="font-family: Poppins;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiefzKctwdCcmQqprrfVmJHIOG02jf19RRdsu2B0eg7ow5qRA-gMH_9uxQ4cZAQzWXdafL-1NgPdT30UoJlYHV3yj-Poo39s1jk5wRrT9LfGaT23X24bUOO2Dgb3gzDpeLixxlybkl4cMKRRmKiectTGkvTU6ADPZFk_3MNtAh9V-sEcdJAn028yp0MlE8/s565/sutton-wacky.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="565" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiefzKctwdCcmQqprrfVmJHIOG02jf19RRdsu2B0eg7ow5qRA-gMH_9uxQ4cZAQzWXdafL-1NgPdT30UoJlYHV3yj-Poo39s1jk5wRrT9LfGaT23X24bUOO2Dgb3gzDpeLixxlybkl4cMKRRmKiectTGkvTU6ADPZFk_3MNtAh9V-sEcdJAn028yp0MlE8/w640-h372/sutton-wacky.jpg" width="640" /></a></span></i></div><i><div style="text-align: justify;"><i><span style="font-family: Poppins;">I<b>n 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:</b> <a href="http://www.lostwackys.com/wacky-packages/wacky-artists/tom-sutton.htm">http://www.lostwackys.com/wacky-packages/wacky-artists/tom-sutton.htm</a> </span></i></div></i><p></p><p><i><b><span style="font-family: Poppins;"></span></b></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJfG79FgHyV-2IrbEsja5I6u9xXJnLVJznwypq6CoViVZgoGOrL065-IgNL8lDJG-M-WjV9PVlVZ6OIiRDBAG3cHZQWEwvbujqRfja_kRcuuF7TSD9qY3-1_IGvj5erV1dBdjaqoHCFFccWrrkok4PTd6x5HBKQL6DXMJpucoP5IYLqxc5_wMQjioaTc/s260/card-clark-superman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="188" data-original-width="260" height="463" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJfG79FgHyV-2IrbEsja5I6u9xXJnLVJznwypq6CoViVZgoGOrL065-IgNL8lDJG-M-WjV9PVlVZ6OIiRDBAG3cHZQWEwvbujqRfja_kRcuuF7TSD9qY3-1_IGvj5erV1dBdjaqoHCFFccWrrkok4PTd6x5HBKQL6DXMJpucoP5IYLqxc5_wMQjioaTc/w640-h463/card-clark-superman.jpg" width="640" /></a></span></i></div><i><span style="font-family: Poppins;"><br /> </span></i><p></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtnQn0JUtRFXwvf-MllWzVzP-8noDTodkDj55qHFNKUEz2OSd6FvvHcBwK-OKwCjtWwI7ZK2aGAf3lXjsr1zNEcJoVp7LqL14Xb2Jr3LKA0JkupZCOos7BdHb-yRzNt-_F-Xxsa8teKq9Z0ZXTQhrUevKYR6cXRpkjaj96hBwzwx3efgYsE4yXDpCCs70/s987/card-superman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="662" data-original-width="987" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtnQn0JUtRFXwvf-MllWzVzP-8noDTodkDj55qHFNKUEz2OSd6FvvHcBwK-OKwCjtWwI7ZK2aGAf3lXjsr1zNEcJoVp7LqL14Xb2Jr3LKA0JkupZCOos7BdHb-yRzNt-_F-Xxsa8teKq9Z0ZXTQhrUevKYR6cXRpkjaj96hBwzwx3efgYsE4yXDpCCs70/w640-h430/card-superman.jpg" width="640" /></a></i></div><i><br /></i><p></p><p style="text-align: justify;"><i><span style="font-family: verdana;"><b>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. </b></span></i></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy1ZMdazUmXn9Dyu8Il3hBcytEgs_mYnBa2wYYhnWL4NxuFDrJwwSJy5VT2hGowIY5Mu1ZZHXkP-EWBti7pkS3vMHTM1KpGqlZOlLtopX45RB-9EcATPOKYBhXNuVkcJrVYpHsUCA_WrbWZfRaD_IWwpFJ8TvEOVRsMRlGu-pfCFUtxSyJTsQ9T8uwU5Q/s1017/cards-manonmoon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="1017" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy1ZMdazUmXn9Dyu8Il3hBcytEgs_mYnBa2wYYhnWL4NxuFDrJwwSJy5VT2hGowIY5Mu1ZZHXkP-EWBti7pkS3vMHTM1KpGqlZOlLtopX45RB-9EcATPOKYBhXNuVkcJrVYpHsUCA_WrbWZfRaD_IWwpFJ8TvEOVRsMRlGu-pfCFUtxSyJTsQ9T8uwU5Q/w640-h446/cards-manonmoon.jpg" width="640" /></a></i></div><i><br /><div style="text-align: justify;"><i><b><span style="font-family: verdana;">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!</span></b></i></div></i><p></p><p style="text-align: justify;"><span style="font-family: verdana;">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. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Akin to comic books and rock and roll, cards catered to pre-teens and teenagers interests, 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. </span></p><p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTvPHJBcVrIHrbaVaNIVpqUsbkS3SIwiYTFC-yJ-vryW3o-Q3fiunbh9P8M14LzFXDI5cUCDwEZkgBpCsGlOm7eImpvhlFiCL9yAmb0E-Eh2Xbjdv5twjGvUnio1jBPRkLEyiXRsoPvkKpHRa6YJ9nU5wIdDisTBlYa_uDTK4l2RV98SqxcWXyFej_bM/s1050/card-yankees.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1050" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTvPHJBcVrIHrbaVaNIVpqUsbkS3SIwiYTFC-yJ-vryW3o-Q3fiunbh9P8M14LzFXDI5cUCDwEZkgBpCsGlOm7eImpvhlFiCL9yAmb0E-Eh2Xbjdv5twjGvUnio1jBPRkLEyiXRsoPvkKpHRa6YJ9nU5wIdDisTBlYa_uDTK4l2RV98SqxcWXyFej_bM/w640-h458/card-yankees.jpg" width="640" /></a></span></div><span style="font-family: verdana;"><br /><i><b>1976 Topps New York Yankees team photo. Chambliss! Guidry! Hunter! Lyle! Munson! Nettles! Pinella! White! Billy Martin! Those were the days! </b></i></span></div><div><span style="font-family: verdana;"><br /></span></div><div><div style="text-align: justify;"><span style="font-family: verdana;">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. </span></div><p></p><p style="text-align: justify;"><i><span style="font-family: Poppins;"><br /></span></i></p><p><br /></p></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com8tag:blogger.com,1999:blog-2089733759263636022.post-28781226988516652422023-12-11T18:58:00.022-05:002024-02-03T00:20:10.151-05:00EC and the Legacy of Roger Hill <p style="text-align: justify;"><span style="font-family: Montserrat;"><span>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 </span></span><span style="font-family: Montserrat;">the exact nature of his studies.</span><span style="font-family: Montserrat;"> 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. </span><span style="font-family: Montserrat;"> <b> </b></span></p><p></p><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WF1FvesSUzHcVmoh9k1coLPzpQx0O42aHXqu1TnlXbeiPFVEEwsKV5Ybdq6-g5Tc18wZlT2S7A5kWp8z0fCYxZ7npxzkVktTHWPAM19W24hh3hKIvgq9P0dXyEZ0vQIEPGse0oW8NrBumhW31yliRyEI3hyphenhyphenvXED9QshTJUMC2lyePdMNLxMtv-UxVYE/s3277/hill0squatront1-fc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3277" data-original-width="2490" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WF1FvesSUzHcVmoh9k1coLPzpQx0O42aHXqu1TnlXbeiPFVEEwsKV5Ybdq6-g5Tc18wZlT2S7A5kWp8z0fCYxZ7npxzkVktTHWPAM19W24hh3hKIvgq9P0dXyEZ0vQIEPGse0oW8NrBumhW31yliRyEI3hyphenhyphenvXED9QshTJUMC2lyePdMNLxMtv-UxVYE/w486-h640/hill0squatront1-fc.jpg" width="486" /></a></div><span style="font-family: Poppins;"><div style="text-align: justify;"><i><b>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</b><b>.</b></i></div></span><p></p><p><span style="font-family: Poppins;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicDmHrh6S79p6y5ZGyf5eweCLODnWK-7KOmMRGK6ZjrWFw0Xzksf_q5fF0BazLTbhIFF9b3bUblueGHordmuKW5u_TK3wdLaWgs3C57i_WraDIHCyB0ZhOvE3gqKfm0jznEJ_XeCoIkUP8NgFP0izAnqiWYLmLkIknHhAtXTDMf9hDRjLRk5Ovd2c0gxQ/s2520/hill-squatront1-contents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1735" data-original-width="2520" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicDmHrh6S79p6y5ZGyf5eweCLODnWK-7KOmMRGK6ZjrWFw0Xzksf_q5fF0BazLTbhIFF9b3bUblueGHordmuKW5u_TK3wdLaWgs3C57i_WraDIHCyB0ZhOvE3gqKfm0jznEJ_XeCoIkUP8NgFP0izAnqiWYLmLkIknHhAtXTDMf9hDRjLRk5Ovd2c0gxQ/w640-h440/hill-squatront1-contents.jpg" width="640" /></a></b></span></div><span style="font-family: Poppins;"><b><br /><i><br /></i></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpt9RRNsokoXqJzyNzTdqG09sL-EYszOcpqe3xcXmWtCJdm5D-RYCbRu_mQCmzREzdnbrUIdxMi-5CO-jlytzwzOXUtroRhf8uu01vXVHwpHUdRNL-oZiiBkW13SwG2m8etLTAiSK0OvBQawBoQRSH6Ioi04VwMLyKkYa35MjXy38q2_sQB-V9g5MqVqE/s3255/Hill-squatront1-ack.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3255" data-original-width="2430" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpt9RRNsokoXqJzyNzTdqG09sL-EYszOcpqe3xcXmWtCJdm5D-RYCbRu_mQCmzREzdnbrUIdxMi-5CO-jlytzwzOXUtroRhf8uu01vXVHwpHUdRNL-oZiiBkW13SwG2m8etLTAiSK0OvBQawBoQRSH6Ioi04VwMLyKkYa35MjXy38q2_sQB-V9g5MqVqE/w478-h640/Hill-squatront1-ack.jpg" width="478" /></a></div><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZrfAYr5QVeCjZxbuPI2jlfE4PwMMNRY2s5ugJ9O8VMw8yzIPOqa-Ic2fnz4TJdPADy5RWHony48tZlQp-o8p5m_gneBey0GMS6YDQ_Mr6-pne2VgIoORfqzmHNCT6BN_hXuXJSnYdxDaCfhFbaOdKFn65mpDM6dOSuLtx5WPR7MrA9r8P0Saxvdv48M/s3228/hill-squatront1-bc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3228" data-original-width="2454" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZrfAYr5QVeCjZxbuPI2jlfE4PwMMNRY2s5ugJ9O8VMw8yzIPOqa-Ic2fnz4TJdPADy5RWHony48tZlQp-o8p5m_gneBey0GMS6YDQ_Mr6-pne2VgIoORfqzmHNCT6BN_hXuXJSnYdxDaCfhFbaOdKFn65mpDM6dOSuLtx5WPR7MrA9r8P0Saxvdv48M/w486-h640/hill-squatront1-bc.jpg" width="486" /></a></div><br /><div style="text-align: justify;"><i><span style="font-family: Poppins;"><b>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 .</b></span><span style="font-family: verdana; font-weight: bold;"> </span></i></div><div class="separator" style="clear: both; font-family: helvetica; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFo92vwCqBGOcUZcRBmNRH6NRznEVddQJAyzosaK7MT7VRPPhoPyRGLngoxVIE1uMY7vbOBYdMUQH2qJrKfsxsmJfxce-Yv3WYcp5l8W4Pqv0sGzLCDSE7fGV-32ajwYm4JV3o1-7fmWteLSGIB1Jr-AP56hzdPRyZ3bxhHrZhHTclKCdNiNJ-b1IEyeQ/s3193/hill-squatront1-ingles.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3193" data-original-width="2238" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFo92vwCqBGOcUZcRBmNRH6NRznEVddQJAyzosaK7MT7VRPPhoPyRGLngoxVIE1uMY7vbOBYdMUQH2qJrKfsxsmJfxce-Yv3WYcp5l8W4Pqv0sGzLCDSE7fGV-32ajwYm4JV3o1-7fmWteLSGIB1Jr-AP56hzdPRyZ3bxhHrZhHTclKCdNiNJ-b1IEyeQ/w448-h640/hill-squatront1-ingles.jpg" width="448" /></a>,</div><i><span style="font-family: Poppins;"><b>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. </b></span></i><p></p><p style="text-align: justify;"><span style="font-family: Montserrat;">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 - </span><span style="font-family: Montserrat;"><span>as EC's line of horror, crime, science-fiction, war and humor* </span><span>is preserved in a plethora of high quality formats.</span><span> </span></span></p><p style="text-align: justify;"><span style="font-family: Montserrat;"><span><i>*For those not in the know </i></span><span><i>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. </i> </span><span> <i> </i></span></span></p><p><span style="font-family: Montserrat;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV45MXq2NGa7Jk85lyIfpBD5UdU2YyhyqZEHD_9qNplrFxaT77bO2ihg-dNJL_1vgvozI7KQjH6NYIxhPH396s-qptl2HsvJwv-hVAS0_eazYH3r2a0PBAomzFLsY38CkdmCNwU1kXNA9YTIDq5Xhi8A92i8UAxCacNrpDVAbHGng7Ay4sRK55eoT2VWY/s3122/hill-squatront13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3122" data-original-width="2310" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV45MXq2NGa7Jk85lyIfpBD5UdU2YyhyqZEHD_9qNplrFxaT77bO2ihg-dNJL_1vgvozI7KQjH6NYIxhPH396s-qptl2HsvJwv-hVAS0_eazYH3r2a0PBAomzFLsY38CkdmCNwU1kXNA9YTIDq5Xhi8A92i8UAxCacNrpDVAbHGng7Ay4sRK55eoT2VWY/w474-h640/hill-squatront13.jpg" width="474" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><b><i>Squa Tront # 13, 2012.</i></b></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYAD-oFHrWldlRnsil6b9sA2Mof2F3rT-PY_ryRGXeWcpLx6Wse7bGPUcHZIom96pEElSW-fUJocRl33ux3r94Gs41pzGonnRtM2-Cqyf5FdaMixqI87iVwE-CRypZnWD_hpsxn5T8L6xpDIHN52kaLYmxQCK8punAvxThKzTo8TLpVWFQfgoZ2gOVsMg/s549/hill-squatront14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYAD-oFHrWldlRnsil6b9sA2Mof2F3rT-PY_ryRGXeWcpLx6Wse7bGPUcHZIom96pEElSW-fUJocRl33ux3r94Gs41pzGonnRtM2-Cqyf5FdaMixqI87iVwE-CRypZnWD_hpsxn5T8L6xpDIHN52kaLYmxQCK8punAvxThKzTo8TLpVWFQfgoZ2gOVsMg/w466-h640/hill-squatront14.jpg" width="466" /></a></div><span style="text-align: justify;"><div class="separator" style="clear: both; font-family: helvetica; font-style: italic; font-weight: bold; text-align: center;"><i style="font-family: helvetica; text-align: justify;"><b><br /></b></i></div><div class="separator" style="clear: both; font-family: helvetica; font-style: italic; font-weight: bold; text-align: center;"><i style="font-family: helvetica; text-align: justify;"><b>Squa Tront # 14 (2022) (possibly the last issue - but don't count on it!)</b></i></div><div style="font-family: helvetica; font-style: italic; font-weight: bold; text-align: justify;"><i><b><br /></b></i></div><div style="text-align: justify;"><span style="font-family: Montserrat;">S</span><span style="font-weight: bold;"><span style="font-family: Montserrat; font-style: normal; font-weight: normal;">qua 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 </span><span style="font-family: Montserrat; font-weight: normal;"><i>Mad</i></span><span style="font-family: Montserrat; font-style: normal; font-weight: normal;">, and a deep dive into Charlton's </span><span style="font-family: Montserrat; font-weight: normal;"><i>Yellowjacket</i></span><span style="font-family: Montserrat; font-style: normal; font-weight: normal;"> 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. </span><span style="font-family: helvetica; font-style: italic; font-weight: bold;"> </span></span></div><div style="font-family: helvetica; font-style: italic; font-weight: bold; text-align: justify;"><i><b><br /></b></i></div><div style="font-family: helvetica; font-style: italic; font-weight: bold; text-align: justify;"><i><b>(Special thanks to Dan Schlissel for the info on ST # 14. This one escaped my notice but its now on order!) </b></i></div><div style="font-family: helvetica; font-style: italic; font-weight: bold; text-align: justify;"><i><b><br /></b></i></div><div class="separator" style="clear: both; font-family: helvetica; font-style: italic; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigeliINGKhvYdaSE-EyJfVvleLxZ91Q8Vif0daIEqW6frUhybfxW8eCSWnKFemAziIjFayYQHSUW8lUuFxqiFbIkyS6vHC0jKin2sdGqExP5FpESL4rPrJAeUGFHLpsNdYDtVYa7XVxeqay9HiVFty_tXBW_EbOK6eW_NSRTHZCI0Ny_MorXtzBQMwjIA/s519/hill-ecfan5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="519" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigeliINGKhvYdaSE-EyJfVvleLxZ91Q8Vif0daIEqW6frUhybfxW8eCSWnKFemAziIjFayYQHSUW8lUuFxqiFbIkyS6vHC0jKin2sdGqExP5FpESL4rPrJAeUGFHLpsNdYDtVYa7XVxeqay9HiVFty_tXBW_EbOK6eW_NSRTHZCI0Ny_MorXtzBQMwjIA/w494-h640/hill-ecfan5.jpg" width="494" /></a></div><b style="font-family: helvetica; font-style: italic;"><div style="text-align: justify;"><i><b>Hill also published his own EC fanzine, which debuted in 2004. Above is the current issue, released in November, 2023. A </b><span style="font-family: helvetica;"><b>posthumous</b></span><b> 6th edition has been announced for 2024. Jack Davis cover art. </b></i></div></b><div style="font-family: helvetica; font-style: italic; font-weight: bold; text-align: justify;"><br /></div></span></div><div><span style="font-family: Montserrat;">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.<b> I</b>n addition to Squa Tront and his own <i>EC Fan-Addict</i> fanzine, his articles and essays could be found in </span><i style="font-family: Montserrat;">Comic Book Marketplace</i><span style="font-family: Montserrat;"> and </span><i style="font-family: Montserrat;">Alter Ego</i><span style="font-family: Montserrat;">. </span></div><div><span style="font-family: Montserrat;"><br /></span></div><div><span style="font-family: Montserrat;">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 <i>Weird Tales. </i>Fox's art<i> </i>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. </span></div><div><span style="font-family: Montserrat;"><br /></span></div><div><span style="font-family: Montserrat;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6LjB9fXPLgHB-dgM__XHOX9pqrkpomMgUcy9YMIY_Q1dWpUN3MP-rWhIupvbb9yo24Eh2r8VVVJXvtjpIqEyinwmqmTrymCnfpS6EzX2kCzoRZAAutSrlUrVjtEfTdQ0vpaxTlp_3_I1uFW9Foax3va6SwDagg4BKa7sqxJ-D6yBas2QcxwUKsAT69eM/s549/hill-wood.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6LjB9fXPLgHB-dgM__XHOX9pqrkpomMgUcy9YMIY_Q1dWpUN3MP-rWhIupvbb9yo24Eh2r8VVVJXvtjpIqEyinwmqmTrymCnfpS6EzX2kCzoRZAAutSrlUrVjtEfTdQ0vpaxTlp_3_I1uFW9Foax3va6SwDagg4BKa7sqxJ-D6yBas2QcxwUKsAT69eM/w466-h640/hill-wood.jpg" width="466" /></a></div><br /> <b>Wally Wood Galaxy Art and Beyond, 2016</b></span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxjdu1fJYQjS9rppKuIIZojZJX_6jbrPA7RQ5hOs6NA-60v1Wj2JFtrb2DDPGRmpnA5g702-VnXiHftAEfJvQ_Mf2DoGFo5P-aIc80HnZVKVe3lXgq3EUOZPcpqWQL-k6PCrxF9eRo4lUkaMo6aeZ7IMAzD_dzlNRSD0y0_sLWHaIVJS5qwDZfrnsEFU/s3087/hill-crandall.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3087" data-original-width="2358" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxjdu1fJYQjS9rppKuIIZojZJX_6jbrPA7RQ5hOs6NA-60v1Wj2JFtrb2DDPGRmpnA5g702-VnXiHftAEfJvQ_Mf2DoGFo5P-aIc80HnZVKVe3lXgq3EUOZPcpqWQL-k6PCrxF9eRo4lUkaMo6aeZ7IMAzD_dzlNRSD0y0_sLWHaIVJS5qwDZfrnsEFU/w488-h640/hill-crandall.jpg" width="488" /></a></div> <b><i>Reed Crandall Illustrator of the Comics, 2017. Interior page</i></b>. <br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpPSCH1OnvIMFcbcqnYoorR1kdZhbaVERRJRTsIRwVNrzCvbJaTElyY71ePN_MW2Xrv-hqsCmNuScaAAj4J1tZVID5229Xw79Etr_6gCb77PaLeSBXt5XcfqLieslKBrySFp-irAOQUbG_8IR1rasJqZuGNmH7mycQ3eqWeimvZbec04-tpwyVx3fbY0/s3385/hill-raboy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3385" data-original-width="2550" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpPSCH1OnvIMFcbcqnYoorR1kdZhbaVERRJRTsIRwVNrzCvbJaTElyY71ePN_MW2Xrv-hqsCmNuScaAAj4J1tZVID5229Xw79Etr_6gCb77PaLeSBXt5XcfqLieslKBrySFp-irAOQUbG_8IR1rasJqZuGNmH7mycQ3eqWeimvZbec04-tpwyVx3fbY0/w482-h640/hill-raboy.jpg" width="482" /></a></div> <b><i>Mac Raboy Master of the Comics, 2019.</i></b> </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGIof8QWD8ULXl8WoXZyBOaQ8OjzGagfeN3U_C6YZL_v5CkmsPduWlXKem4oGEaIp9PVO87Xi2lFM_UMcVQnQm6V5fTZr91ppE1LlvJd8xrOH5B5HxGiQ6wpsA_9f7FuF_qajyDeeXRE8nFJRQPTB7jk-LMaKSBl_5esMkJdNCrbhTSz_wgMuPd4D_SE/s455/hill-mattfox.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="351" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGIof8QWD8ULXl8WoXZyBOaQ8OjzGagfeN3U_C6YZL_v5CkmsPduWlXKem4oGEaIp9PVO87Xi2lFM_UMcVQnQm6V5fTZr91ppE1LlvJd8xrOH5B5HxGiQ6wpsA_9f7FuF_qajyDeeXRE8nFJRQPTB7jk-LMaKSBl_5esMkJdNCrbhTSz_wgMuPd4D_SE/w494-h640/hill-mattfox.jpg" width="494" /></a></div><div><br /></div><span style="font-family: Poppins;"><i>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></span><br /><span style="font-family: helvetica;"><br /></span></div><div style="text-align: justify;"><span style="font-family: Montserrat;"><span>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 </span><span>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. </span></span></div><div style="text-align: justify;"><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XHt8QYw2laM" width="320" youtube-src-id="XHt8QYw2laM"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><b style="font-family: helvetica; text-align: left;"><i>The above You Tube video from several years ago spotlights several fans/historians discussing the importance of EC, including Roger Hill.</i></b><span style="font-family: helvetica; text-align: left;"> </span></div><div><span style="font-family: helvetica;"> </span></div><div><i style="font-family: Montserrat;">Roger Hill passed away on December 6, 2023. He was 75 years old. </i><span style="font-family: Montserrat;"> </span></div><div><span style="font-family: Montserrat;"><i> </i></span><p></p><p><i><b><span style="font-family: Poppins;"><br /></span></b></i></p></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com8tag:blogger.com,1999:blog-2089733759263636022.post-35442323451610427472023-08-09T21:00:00.005-04:002023-09-08T19:47:52.870-04:0058 Summers Ago: Amazing Spider-Man Annual # 2<div class="MsoNormal" style="text-align: justify;"><span style="font-family: arial; font-size: medium;"><b>Note: This post was originally published on July 20th, 2015. It has been revised and expanded with new content and information, so even if you read it all those years ago, take another look. You won't be disappointed! </b></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Poppins;"><span face="Verdana, sans-serif"><br /></span></span></div><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Poppins;"><span face="Verdana, sans-serif">Fifty eight years ago comic book specialty stores didn’t exist. Instead, you had to saunter over to the neighborhood newsstand, candy store or luncheonette to purchase the latest comics (if none of those establishments sound familiar to you I suspect you're under thirty!). The Marvel Comics Group was in full swing in 1965, with superstar artists/creators Jack Kirby, Wally Wood and Steve Ditko producing superior work under editor/writer Stan Lee. If you were an aficionado who followed any
of Marvel’s output, letters pages and house ads would have announced the upcoming
Annuals which were published every spring and summer, a time chosen specifically to
coincide with kids being off from school. The reasoning being they'd have a few extra quarters to spend (often attained by doing extra chores around the house or selling pretzels on street corners - which was how my older brother John and cousin Jack paid for their comics!), while taking a family vacation or
sitting under a tree with a coke on a lazy afternoon. </span>In that long ago summer of '65 <i>Amazing Spider-Man Annual</i> #
2 leaped off the racks, falling into the
hands and back pockets of many a youth. </span></div>
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<span style="font-family: verdana;"><i><b>The understated simplicity of Ditko’s cover included what
would become an iconic Spider-Man image; the full-figure pose was used as the corner symbol on
the monthly Amazing Spider-Man title for years after Ditko had parted ways with Marvel. The bold coloring, likely by Stan Goldberg, compliments Ditko’s images. Spider-Man’s red/blue
costume contrasts perfectly with the yellow background, purple logo and red/orange/white
captions and corner box. Sam Rosen’s attractive lettering completes the picture. </b> </i></span></div>
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<span face="Trebuchet MS, sans-serif"> <o:p></o:p></span><span style="font-family: Poppins;">In “The Wondrous Worlds of Dr. Strange!” Steve Ditko brought
together two of his <span style="line-height: 115%;">signature characters. Although
this was a Ditko plotted tale (with Stan Lee dialogue and editing) it is possible
the Annual may have been discussed months in advance, when Lee and Ditko were still communicating with each other (according to Ditko sometime before <i>Amazing Spider-Man </i># 25 Lee stopped talking to him. To learn more about Ditko's side of the story I urge everyone to purchase <i>The Four Page Series </i># 9, which can be ordered here):</span></span></div>
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<span face="Verdana, sans-serif"><span style="line-height: 115%;"><a href="http://ditko.blogspot.com/p/ditko-book-in-print.html">http://ditko.blogspot.com/p/ditko-book-in-print.html</a></span></span></div><div class="MsoNormal"><span face="Verdana, sans-serif"><br /></span></div><div class="MsoNormal"><span style="font-family: Poppins;">But in a letter by Ditko written to fan Glen Johnson in 1965, as seen in The Hero # 37, Summer 2023 (published by Robin Snyder) Ditko wrote: </span></div><div class="MsoNormal"><span face="Verdana, sans-serif"><br /></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: georgia;"><span><i>"It's a little difficult to give you the coming spider adventures because it's a continued story and the major villain's identity is not revealed in the beginning. I was going to use this for the Annual but when Marvel planned so many reprints and only 20 pages or so available for a new spider adventure and that not being enough to tell the whole story I decided to revise it and use it over a 3 issue spread because it would fit in very well with the issue where Pete goes to College."</i> </span><span> </span></span></div><div class="MsoNormal" style="text-align: justify;"><span face="Verdana, sans-serif"><br /></span></div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZPiJ57HD7_RDgtUVCkfuhbY1cHy0-C52UFCAGwwfsnqwlENIuF4mHoaEvjjOs7LjJ3fiko0g9m3hEBAl3GMwjhTIBpHP0cMWBUW7Gxw4YQdLAGDCgUXhLA1hMDtpYejOwoBhv0oZm0n2Gx9D3aqud-gmftYn7Z4ItaLppIFDKl1VWOcsX095ofHkGqlI/s2959/ditko-asm31-splash.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2959" data-original-width="1980" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZPiJ57HD7_RDgtUVCkfuhbY1cHy0-C52UFCAGwwfsnqwlENIuF4mHoaEvjjOs7LjJ3fiko0g9m3hEBAl3GMwjhTIBpHP0cMWBUW7Gxw4YQdLAGDCgUXhLA1hMDtpYejOwoBhv0oZm0n2Gx9D3aqud-gmftYn7Z4ItaLppIFDKl1VWOcsX095ofHkGqlI/w428-h640/ditko-asm31-splash.jpg" width="428" /></a></div> Amazing Spider-Man # 31, December 1965<br /><span face="Verdana, sans-serif"><br /></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><i><b>This could have been the splash page to Amazing Spider-Man Annual # 2, but when Ditko discovered he didn't have 40-odd pages to play with he wisely scrapped that idea and expanded it into one of the most acclaimed storylines, spanning over three issues of the monthly title (#'s 31-33). As comics fan/analyst Joe Frank noted in the letters section of The Hero # 37, "This way may have worked out better giving readers a full month to worry between episodes." I agree wholeheartedly, Joe! </b> </i></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><i><span style="font-size: x-small;"><br /></span></i></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: georgia;"><span>To read more of Ditko's letter on his future plans for Spider-Man and Doctor Strange, further commentary from the erudite Joe Frank, and other surprises, I once again direct you to this site: <a href="http://ditko.blogspot.com/p/ditko-book-in-print.html">http://ditko.blogspot.com/p/ditko-book-in-print.html</a> <i> </i></span><i> </i></span></div><div class="MsoNormal"><span face="Verdana, sans-serif"><br /></span></div><div class="MsoNormal"><span style="font-family: Poppins; text-align: justify;">With one avenue closed Ditko rethought his options and explored another direction; one that would work to greater advantage with a shorter page count. In retrospect, the choice seems odd, since Ditko often stated his dislike of using
guest stars, contending that it undercut the individuality of a superhero:</span></div>
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<span style="font-family: georgia; line-height: 115%; mso-bidi-font-size: 11.0pt;"><i>“<span face="Verdana, sans-serif">Everyone used from another hero’s story-world prevented us from focusing
on, creating and developing our own unique story-world of characters and
villains like Dr. Octopus, Electro, Kraven, etc. And it affected S-m’s own
cast—JJJ, Betty, Flash, Aunt May—such as Johnny Storm’s (HT) relationship with
Peter and his classmates, etc. All outside, other inclusions robbed us of our
unique potentials.” <o:p></o:p></span></i></span></div>
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<i><span style="line-height: 115%; mso-bidi-font-size: 11.0pt;"><span style="font-family: georgia;">Steve
Ditko, A Mini-History “Guest-Stars: Heroes and Villains,” The Comics, Vol 14,
No. 7 July 2003 </span><o:p style="font-size: 10pt;"></o:p></span></i></div>
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<span style="line-height: 115%;"><span style="font-family: Poppins;">Ditko avoided this problem
by choosing not to use any of the supporting characters (even Spider-Man fails
to appear in his civilian identity of Peter Parker) setting the tale apart from the monthly continuity. Ditko
explained his reasoning, speaking specifically about the Annual:</span></span></div>
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<div class="MsoNormal" style="text-align: justify;"><span><span style="font-family: georgia;">“A line has to be drawn for what is acceptable and not
acceptable for a character. (I even had magic limits on Dr. Strange. <i>Amazing
Spider-Man Annual</i> # 2 (1965) featuring Dr. Strange, was, as an annual should
be, a special event. It does not necessarily have to connect with the monthly adventures.
And Spider-Man was already long undercut with space aliens.” </span></span></div>
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<span style="font-family: georgia; line-height: 115%; mso-bidi-font-size: 11.0pt;"><i><span>Steve Ditko, A Mini-History
1 “The Green Goblin,” The Comics Vol 12, No. 7, July 2001. </span><o:p></o:p></i></span></div>
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<span style="line-height: 115%; mso-bidi-font-size: 11.0pt;"><b><span style="font-family: verdana;"><i>Ditko's compositional skills, cityscape and seedy characters come to life on this page. The use of a vertical panel positions Spider-Man front and center as pedestrians go about their business on the street below. </i></span></b></span></div>
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<b><span style="font-family: verdana;">Spider-Man enters the wildly imaginative dimensions Ditko created in Dr. Strange. A historical aside for any youngsters in the audience, please note that there was a time when you could ride a bus or subway for 15 cents, but you had to have change or a token - and Metro Cards didn't exist! </span></b></i><i><b><span style="font-family: verdana;">(who says a blog on comics can't be educational?)</span></b></i></div>
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<span style="line-height: 115%;"><span style="font-family: Poppins;">The plot centers on a sorcerer named Xandu, who seeks power
by acquiring a magic wand, one half of which is owned by Dr. Strange. Two dimwitted thugs fall under Xandu's spell and assist him in his quest (what better way to
involve Spider-Man?). Despite the odd nature of the tale, Spider-Man remained
in character, cracking jokes while being flung into another dimension (one of Lee’s
best lines: <i>"It's gonna take more than a 15 cent bus ride to get me back to
Forest Hills in New York!"</i>). </span></span></div>
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<div class="MsoNormal"><div style="text-align: justify;"><i><b style="font-family: verdana;">Dr. Strange discovers Spider-Man's presence during his mystic battle with Xandu in the last panel of page 15, building up the story's drama. </b><span style="font-family: verdana;"> </span></i></div>
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<div class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><b><i>The more mature Dr. Strange leads the confrontation, with Spider-Man backing him up. </i></b></span><b style="font-family: Verdana, sans-serif;"> </b><span face="Verdana, sans-serif"> </span></div>
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<span style="font-family: verdana;"><span face="Verdana, sans-serif"><span style="line-height: 115%;">Ditko set parameters. Throughout most of the story Spider-Man and Dr. Strange were unaware of each other, fighting on different fronts. The heroes did not </span></span><span face="Verdana, sans-serif" style="line-height: 115%;">“meet” until
the final panel of page 15 and appeared in only 13 panels together. They combined
forces against Xandu in the final confrontation, the older, wiser Dr. Strange
leading the fray. </span><span face="Verdana, sans-serif" style="line-height: 115%;">This would make sense
following Ditko’s logic of what makes a successful team, citing Sherlock Holmes
and Dr. Watson. </span><span face="Verdana, sans-serif" style="line-height: 115%;"> </span><span face="Verdana, sans-serif" style="line-height: 115%;"> </span><span face="Verdana, sans-serif" style="line-height: 115%;"> </span></span></div>
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<span style="line-height: 115%;"><span style="font-family: georgia;"><i>“The more the unequal
status is perceived and valid, the better the results as a team operation.” </i></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: georgia;"><i>Steve
Ditko, A Mini-History 6, "Spider-Woman/Spider-Girl”, The Comics Vol 13, No. 5 May 2002. </i></span></span></div>
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<b><span style="font-family: verdana;"><i><span style="line-height: 115%;">Ditko's two unique heroes have a brief conversation before going their separate ways. The lettering on the word "friendship" is not by Sam Rosen, meaning the </span><span style="line-height: 15.3333px;">original</span><span style="line-height: 115%;"> word was replaced. Since this blog is titled "Marvel Mysteries and Comics </span><span style="line-height: 15.3333px;">Minutiae</span><span style="line-height: 115%;">" I have to ask, what could it have replaced?</span></i></span></b></div>
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<span style="font-family: Poppins;"><span style="line-height: 115%;">Ditko juggled the discordant elements of Spider-Man and Dr.
Strange in a way that retained the integrity of both strips. Mood and color
(likely supplied by Stan Goldberg), detailed buildings and arcane images, all
combined to unusual effect.</span><span style="line-height: 115%;"> </span></span></div>
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<span style="font-family: Poppins;"><span style="line-height: 115%;">Given the page restrictions (20 as opposed to 41 pages) this story was
considerably more offbeat, and the brief interaction between Ditko’s heroes was memorable. It was the last time Ditko included a guest-star in his
Spider-Man and Dr. Strange stories.</span><b><span style="line-height: 115%;"> </span></b></span></div>
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<span style="font-family: verdana;"><i><span face="Verdana, sans-serif"><b><span style="font-size: 10pt; line-height: 115%;">Reprint of the splash page from Amazing Spider-Man # 1, March 1963. Lettering by John D'Agostino under the pen name "Johnny Dee." H</span></b></span></i></span><i style="font-family: verdana;"><span face="Verdana, sans-serif"><b><span style="font-size: 10pt; line-height: 115%;">is career included work as artist, inker and colorist and he lettered many of Ditko's stories for Charlton in the 1960s.</span></b></span><b style="font-size: 10pt; line-height: 115%;"><span face="Trebuchet MS, sans-serif"> </span><span face="Verdana, sans-serif">Ditko's expressive hands showing emotion is at the forefront of this page. </span></b></i></div>
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<span style="font-family: verdana;"><b><i><span style="font-size: 10pt; line-height: 115%;">The "space aliens" Ditko </span><span style="font-size: 13.3333px; line-height: 15.3333px;">referred</span><span style="font-size: 10pt; line-height: 115%;"> to in the quote above was also reprinted in the Annual, originally presented in Amazing Spider-Man # 2, May 1963, "The Uncanny Threat of the Terrible Tinkerer!" Stan Lee plot and </span><span style="font-size: 13.3333px; line-height: 15.3333px;">dialogue</span><span style="font-size: 10pt; line-height: 115%;">; Artie Simek letters. Although Ditko is correct that the sci-fi elements, offshoots of Lee's Tales to Astonish and Journey into Mystery plots, are out of place in Spider-Man's world, the artist still invests energy and a quirky atmosphere to the yarn. </span></i></b></span></div>
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<span style="font-family: verdana;"><b><i><span style="font-size: 10pt; line-height: 115%;">While Ditko drew an exciting splash page (and included vignettes of Spider-Man's cast) Dr. Doom was too powerful a character to "realistically" confront a teenage hero. </span><span style="font-size: 13.3333px; line-height: 15.3333px;">Characteristically</span><span style="font-size: 10pt; line-height: 115%;"> for Ditko, Spider-Man doesn't defeat Doom; he flees when the Fantastic Four show up. Reprinted from Amazing Spider-Man # 5, October 1963. </span></i></b></span></div>
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<span style="font-family: Poppins;"><span face="Verdana, sans-serif"><i style="line-height: 115%;">Amazing Spider-Man Annual</i><span style="line-height: 115%;"> # 2 had one drawback from the previous years effort; </span><span style="line-height: 115%;">it (along with Marvel's other 1965 dated Annuals) included reprints in lieu of longer stories and features. A let-down, although to be fair a number of fans, yours truly included, did
not own all the original comics and greatly enjoyed seeing them. The 1964 </span><i style="line-height: 115%;">Amazing
Spider-Man Annual</i><span style="line-height: 115%;"> had 72 interior pages of all-new material (with only the inside front,
inside back and back covers consisting of advertising); Annual 2 featured 70 pages of story and art (two house ads for the Marvel line and MMMS products were included). Either due to time constraints or cost cutting the
opening 20 page tale was followed by reprints from </span><i style="line-height: 115%;">Amazing Spider-Man</i><span style="line-height: 115%;"> #'s 1, 2 and 5. As good as Ditko’s earlier work was - and it most assuredly had an immediate impact on this author, starting with ASM # 3 - his style evolved in a very short period of time, with a more assured confidence in storytelling,
composition and inking by 1965. </span></span><span face="Verdana, sans-serif" style="line-height: 115%;"> </span></span></div>
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<div class="MsoNormal" style="text-align: justify;"><span style="font-family: Poppins;"><span style="line-height: 115%;"><span face="Verdana, sans-serif">Following in the footsteps of the first annual, the Gallery
of Spider-Man’s Foes continued. It included five full-page illustrations of Spider-Man’s
rouges gallery, concurrent with his monthly title. Ditko’s mastery of pen and ink is
evident in every line, and his clean, precise inking is a joy to behold.</span></span></span></div>
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<div class="MsoNormal"><b style="font-family: verdana; text-align: justify;"><i>The Ringmaster was originally a Simon and Kirby villain, dating back to Captain America Comics #5 (August 1941) and revised two decades later by Lee and Kirby in The Incredible Hulk #3 (September 1962). Ditko created most of the rouges gallery though, including the Clown and Princess Python, one of Ditko's more attractive females. Lettering by Sam Rosen. </i></b></div>
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<i><span style="font-family: verdana;"><span face="Verdana, sans-serif"><b><span style="line-height: 115%;">The Crime-Master was one of Ditko's most dramatic non-powered villains, a gangster straight out of a 1930s Warner Brothers movie. Ditko excelled at creating a world in his Spider-Man stories that consisted of sinister mobsters, </span></b></span><b><span style="line-height: 18.4px;">threatening</span><span style="line-height: 115%;"> back alleys and lonely docks. The two-part story in </span><span style="line-height: 115%;">Amazing Spider-Man</span><span style="line-height: 115%;"> #'s 26-27 (July-August 1965) which also featured the malevolent Green Goblin, remains a personal favorite. Copy by Lee; lettering by Sam Rosen.</span></b></span></i></div>
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<div class="MsoNormal" style="text-align: justify;"><span style="line-height: 115%;"><span style="font-family: Poppins;">This<i> w</i>as the last Spider-Man annual produced by Steve Ditko (according to Ditko he was phoned by production man Sol Brodsky, who relayed the assignment of the 1966 special, but the artist had second thoughts about his future at Marvel and whatever he might have planned is a tantalizing question left to the ages. Several months after ASM Annual # 2 was published Ditko quit the company, never to draw his two signature
characters again. The stories Ditko produced with Stan Lee in a four year
period on Spider-Man and Dr. Strange are not just a nostalgic romp; many stand
out as superior work woven by a master craftsman. It is an accomplishment that
stands the test of time. </span></span></div>
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<span style="line-height: 115%;"><span style="font-family: verdana;"><i><b>The final caption in Amazing Spider-Man Annual #2 (reprinting Amazing Spider-Man #5) included new copy likely written by Stan Lee. One aspect of Ditko's work that is often ignored is his ability to create humorous situations. Peter Parker's bemused expression brought the character's personality to life in an endearing way for many young fans and was a refreshing change from the cardboard heroes that permeated comics in that period. </b> <o:p></o:p></i></span></span></div>
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<o:p></o:p>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com16tag:blogger.com,1999:blog-2089733759263636022.post-64965420167618360372023-06-15T22:56:00.031-04:002023-08-09T21:58:23.546-04:00Remembering John Romita: His First Interview <div style="text-align: justify;"><i style="font-family: Poppins;">Note: With the recent passing of John Romita I thought it appropriate to pay homage with a piece I did on his first fanzine interview, originally published on March 28th, 2015. It has been modified and updated for this presentation. </i></div><div style="text-align: justify;"><i style="font-family: Poppins;"><br /></i></div><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;"><i>The Web-Spinner</i><span> was an early fanzine that focused attention on the monthly comic book offerings published by Marvel, a company that revitalized the field with its nascent superhero line in the 1960s. While the vast majority of enthusiasts were satisfied with spending their twelve cents (that's what they cost in the mid-1960s!) and being swept away into a world of fantasy and adventure, another segment took their fervor to a deeper level. Those fans chose to write, draw and produce their own amateur pamphlets, mailing them out to other like-minded individuals. Akin to teenagers who formed garage bands, an unbridled rawness exuded from the hastily-printed, purple-colored pages </span></span><span style="font-family: Poppins; font-size: medium;">(substitute guitars and drums for typewriters and spirit duplicators).</span><span style="font-family: Poppins; font-size: medium;"><span> </span></span><span style="font-size: medium;"><span style="font-family: Poppins;">Encouraged by material aimed directly for their consumption - and, in fact, <i>welcomed</i> by many editors, including Stan Lee and Julius Schwartz - the response, both resourceful and creative, seems like a given. It was almost certainly fueled by a need for their voices to be heard in a medium they felt compelled to champion.<b> </b></span><span style="font-family: Poppins;">Edited by Mike Appel, </span><i style="font-family: Poppins;">The Web-Spinner</i><span style="font-family: Poppins;"> was noticed by the Marvel staff and included letters of approval from corresponding secretary Flo Steinberg and new editorial assistant Roy Thomas. Their fifth issue (undated; likely spring 1966) featured an interesting article on John Romita, very likely the first time his ruminations on the subject of comics were recorded in the fan press.</span></span></div><div style="text-align: justify;"><span style="font-family: Poppins;"><br /></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpMlWLMq_M0tGRzYW44v-K6K49q2Mss0CW-H146_qrDJzcMfia5ZNe2ppbEgei1YVU1GBcKJDwNXLthpfVKqh84Jl9NNxDhOq5vG0g1_gvSnh3OvONE6S_v29uRh56Vk7ID1sRm5UXYy2B0TbtXGtnboEuZIfm1n8bEQuYhgNNb6z9Btv0k0M-8gD/s2952/romita-westernkid8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2952" data-original-width="1944" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpMlWLMq_M0tGRzYW44v-K6K49q2Mss0CW-H146_qrDJzcMfia5ZNe2ppbEgei1YVU1GBcKJDwNXLthpfVKqh84Jl9NNxDhOq5vG0g1_gvSnh3OvONE6S_v29uRh56Vk7ID1sRm5UXYy2B0TbtXGtnboEuZIfm1n8bEQuYhgNNb6z9Btv0k0M-8gD/w422-h640/romita-westernkid8.jpg" width="422" /></a></div><br /><span style="font-family: Poppins;"> </span><i><span style="font-family: georgia; font-size: medium;">Romita's splash page to The Western Kid # 8, February 1956.</span></i></div><div style="text-align: justify;"><i><span style="font-family: arial;"><br /></span></i></div><div style="text-align: justify;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMklJhogx1AkLRytZkysBn__f5nYgLmE9F9aNu2DBbUV2bt06svvB5jHfNx-etNFIQt66Raj961znH4H5RhYB22-qXgNsSDBMG_tXyvvzxaRoUjiTeidRMciazHHZYawhMi8J61_4jB6Kgx3yapjD1WEC_Yr4g_5WV361BAy3l530fZyeooxSeuj4I/s6165/romanceGL85.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6165" data-original-width="3954" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMklJhogx1AkLRytZkysBn__f5nYgLmE9F9aNu2DBbUV2bt06svvB5jHfNx-etNFIQt66Raj961znH4H5RhYB22-qXgNsSDBMG_tXyvvzxaRoUjiTeidRMciazHHZYawhMi8J61_4jB6Kgx3yapjD1WEC_Yr4g_5WV361BAy3l530fZyeooxSeuj4I/w410-h640/romanceGL85.jpg" width="410" /></a></div><br /><span style="font-family: georgia; font-size: medium;">Romita was one of the top romance artists at DC before moving to Marvel in 1965. Cover to Girls' Love Stories # 85, March 1962. Ira Schnapp lettering. </span></i></div>
<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;"><span>Romita first worked for Marvel from 1951 to 1957, drawing war, western, crime and horror genre stories, along with such features as </span><i>Captain America</i><span>, </span><i>Western Kid</i><span>, "Greg Knight" and "Jungle Boy". He was laid off in 1957, when publisher Martin Goodman drastically cut his comics division - a result of the distributor going out of business (commonly referred to by aficionados as "The Atlas Implosion"). Romita found work at National/DC, drawing stories exclusively for the romance line. In 1965 Romita returned to Marvel, at first inking, but soon taking over the art on </span><i>Daredevil </i><span>from the departing Wally Wood. At the time of the <i>Web Spinner</i> article Romita was working at Marvel for less than a year and only recently assigned the reigns of </span><i>Amazing Spider-Man </i><span>when Steve Ditko quit (judging by Romita's comments he was likely working on <i>ASM</i></span><span> # 41 at the time). While hardly comprehensive, this uninhibited, behind-the-scenes peek into Marvel's creative process by a teenage fan (through Romita's narrative) reveals a few surprises, which I'll discuss at length below.</span></span></div></span><div style="text-align: justify;"><br /></div>
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<a href="http://1.bp.blogspot.com/-bsQmb2AaQ6I/VRYc6B5BGzI/AAAAAAAAD1o/dehMtNitfLY/s1600/Romita-webspinner-1.jpg" style="margin-left: 1em; margin-right: 1em;"><span face="Trebuchet MS, sans-serif"><img border="0" height="640" src="http://1.bp.blogspot.com/-bsQmb2AaQ6I/VRYc6B5BGzI/AAAAAAAAD1o/dehMtNitfLY/w477-h640/Romita-webspinner-1.jpg" width="477" /></span></a></div>
<span face="Trebuchet MS, sans-serif"> </span><br /><div style="text-align: justify;"><i><span><span style="font-family: georgia; font-size: medium;">On page one of Bob Sheridan's article, "Rambling with Romita" the artist makes a revelation that I believe has heretofore been unknown. Bill Ward apparently penciled a few pages of Amazing Spider-Man to help out Romita on a deadline. This was not an unusual occurrence in comics; assistants (or ghost artists) often did uncredited work in both comic books and comic strips.</span></span></i></div>
<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;"><span>Bill Ward began drawing comics in the early 1940s, working at Fawcett, ACG, Feature Comics and Quality, with his run on <i>B</i></span><i>lackhawk </i>being<i> </i>a standout<span>. Ward is also noted for creating </span><i>Torchy</i><span>, a comic strip featuring a blonde bombshell, produced while he served at the Fort Hamilton Army base in Brooklyn, New York during World War II. The strip was soon syndicated to newspapers throughout the world, distributed solely to the armed forces. Torchy later became a feature at Quality comics and received her own title for a period during the late 1940s. By the 1950s Ward focused on illustrating sexy women (his specialty) for Abe Goodman at Magazine Management (the parent company of Timely/Atlas/Marvel); these single panel gag cartoons were prepared for digest mags such as </span><i>Humorama</i><span>. His other major account was at <i>Cracked</i> magazine, where he spent several decades on humor features.</span></span></div></span><div style="text-align: justify;"><br /></div>
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<span style="font-family: georgia; font-size: medium;"><i><span face="Trebuchet MS, sans-serif">Bill Ward's statuesque Torchy blended sex and humor, as seen on this splash page from Torchy # 4, May 1950. Image from <a href="http://comicbookplus.com/">http://comicbookplus.com/</a>. </span></i><br /></span>
<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;"><span>Since Ward continued to work on Goodman's digest mags in the 1960s (including an episode of </span><i>Pussycat</i><span>, a </span><i>Little Annie Fannie</i><span> styled strip that appeared in </span><i>Male Annual</i><span> and </span><i>Stag Annual</i><span> and later reprinted in a one-shot magazine in 1968), it's possible that he might have been free to assist Romita. From what I gather by Romita's comments Ward worked on </span><i>Amazing Spider-Man </i><span># 41, dated October 1966. After closely examining the art I suspect Ward contributed to the five-page fight sequence with the Rhino (pages 13-17). As Romita noted, he touched up some of Ward's art (and may have provided breakdowns). Below are examples of a few pages from that sequence, all with inking by Mike Esposito.</span></span></div></span><br />
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<a href="http://3.bp.blogspot.com/-_uJ74E7qIbA/VRYj--bsZ8I/AAAAAAAAD14/nFAtgdLltZA/s1600/romita-ward-sm41-pg13.jpg" style="margin-left: 1em; margin-right: 1em;"><span face="Trebuchet MS, sans-serif"><img border="0" height="640" src="http://3.bp.blogspot.com/-_uJ74E7qIbA/VRYj--bsZ8I/AAAAAAAAD14/nFAtgdLltZA/w427-h640/romita-ward-sm41-pg13.jpg" width="427" /></span></a></div>
<span face="Trebuchet MS, sans-serif"> </span><br /><div style="text-align: justify;"><i style="font-family: georgia; font-size: large;">Page 13 is the start of the Rhino sequence, and possibly where Ward began assisting Romita. In panels 1 and 6 Spider-Man and the Rhino are awkwardly positioned and lack Romita's dramatic flair, although the other panels show hints of his pencils. </i></div>
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<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: georgia; font-size: medium;"><i>Page 15 opens with a large panel that captures a sense of Jack Kirby-inspired dynamics typical of Romita. The depiction of the Rhino in panels 2-3 and Spider-Man in panel 3 are stiff in comparison.</i></span></div></span><div style="text-align: justify;"><br /></div>
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<i><span style="font-family: georgia; font-size: medium;"><span face="Trebuchet MS, sans-serif">The last three panels on page 16 employ cartoony figures, ala the "Jack Davis style" Romita refers to in the article. </span><br /></span></i><br />
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<a href="http://3.bp.blogspot.com/-6YF-d0-iVsI/VRYo-oXT71I/AAAAAAAAD2U/mGK6iAFRcXc/s1600/romita-ward-sm-p17.jpg" style="margin-left: 1em; margin-right: 1em;"><span face="Trebuchet MS, sans-serif"><img border="0" height="640" src="http://3.bp.blogspot.com/-6YF-d0-iVsI/VRYo-oXT71I/AAAAAAAAD2U/mGK6iAFRcXc/w427-h640/romita-ward-sm-p17.jpg" width="427" /></span></a></div>
<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: georgia; font-size: medium;"><i><span><span face="Trebuchet MS, sans-serif">In my estimation, page 17 is a clear indication of a different artist at the helm. While Romita may have provided Ward with rough breakdowns, the choreography of the fight and positioning of the protagonists, particularly in panels one and two, lack Romita's commanding illustrative presence. </span></span></i><i><span><span face="Trebuchet MS, sans-serif"> </span></span></i></span></div></span><div style="text-align: justify;"><br /></div>
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<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;">Page two of the article is worth a close examination, as Romita speaks with great candor, and in a way that surely would have been edited or closely supervised in later years, on the often contentious relationship between editor-writer Stan Lee and co-plotter (later solo plotter) and artist Steve Ditko on Spider-Man. It's important to note that his observations about Ditko are second-hand; based on conversations with either office staff (Sol Brodsky; Marie Severin; Roy Thomas) or from Lee himself, who, like many that collaborate in creative fields, often view their situations in a <i>Roshomon</i>-like prism. What I find most revealing is Romita's statement that it was Ditko's idea to make Norman Osborn the Green Goblin, explaining that he "drew the mags so that Osborn HAD to be the Goblin." This corresponds with Ditko's later accounts that appeared in issues of Robin Snyder's newsletter:</span></div></span><div style="text-align: justify;"><br /></div>
<span style="font-family: georgia; font-size: medium;"><div style="text-align: justify;"><i> <b>“I even used an earlier, planted character associated
with J. Jonah Jameson, he became the Green Goblin.” Steve Ditko, the Green
Goblin, Robin Snyder’s the Comics, July 2001.</b></i></div></span>
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<span style="font-family: Poppins;">Stan Lee's account differed greatly: </span><br />
<span face="Trebuchet MS, sans-serif"><i><br /><div style="text-align: justify;"><i><span><span style="font-family: georgia; font-size: medium;"><b>“The ultimate bone of contention was a recurring villain
called the Green Goblin, whose identity had always been hidden. When it became
time for the long awaited unmasking Lee recalls that Ditko said ‘it should be
somebody they’ve never seen before, just some person’. Lee, on the other hand,
felt that a startling revelation had been promised. ‘Every reader in A<st1:country-region w:st="on"><st1:place w:st="on">merica</st1:place></st1:country-region> is
going to think we’re crazy. They’ll be angry. It’s got to be somebody,
Lee said. Ditko left without drawing the story.” Les Daniels, Marvel, Five Fabulous
Decades of the World’s Greatest Comics, Abrams, 1991. </b> </span></span></i></div></i></span>
<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;">In numerous interviews over the years Lee's declaration about an "argument" with Ditko over the Goblin prevailed, but its possible his memory scrambled together other disagreements with Ditko (the artist had earlier villains, such as Electro, turn out to be "somebody they've never seen before".) In fairness, there is always the possibility that Lee had an initial discussion with Ditko on the character's identity, but no solid evidence leads to that conclusion. Lee's penchant was to embellish accounts with a melodramatic flair, which has often been reported as official comic book history.</span></div></span><div style="text-align: justify;">
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<span face="Trebuchet MS, sans-serif"><i> <span style="font-family: arial;">Amazing Spider-Man # 37, June 1966.</span></i></span><br />
<span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Poppins;">Ditko's penultimate issue of <i>Amazing Spider-Man</i> pointed suspicion directly to a man who had been appearing as a background character in Jameson's men's club for many issues, often in stories that also featured the Goblin, who Lee named Norman Osborn. His son Harry, a fellow student at Peter Parker's college, is seen in panel two.</span> <i> </i></span></div></span>
<span face="Trebuchet MS, sans-serif"><span><br /><div style="text-align: justify;"><i><b><span style="font-family: georgia; font-size: medium;">"I planted the GG’s son (same distinctive hair)
in the college issues for more dramatic involvement and story line
consequences" Steve Ditko, The Ever Unwilling, Robin Snyder’s the Comics, Mar
2009.</span></b></i></div></span></span>
<span face="Trebuchet MS, sans-serif"><span style="font-size: 12pt;"> </span> </span><br /><div style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Poppins;">The importance of Romita's quote from 1966 is that it corroborates Ditko's later pronouncement that he had plotted the stories from the beginning with a specific individual in mind, using the ongoing mystery as a motif that would eventually come to a crescendo. Ditko left before he completed those plans, leaving Lee to unmask the Goblin and devise a backstory in Romita's first two issues (</span><i style="font-family: Poppins;">Amazing Spider-Man</i><span style="font-family: Poppins;"> #'s 39-40). While the character's identity would have been the same under Ditko, the plotline would have undoubtedly been different. It's also a refutation of Lee's narrative. </span></span></div>
<span face="'Trebuchet MS', sans-serif"><br /><div style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Poppins;">In later years,</span><span style="font-family: Poppins;"> R</span><span style="font-family: Poppins;">omita often parroted Lee’s statements; understandable given that he was not directly involved in the situation and had likely long forgotten the original circumstances. But in the pages </span><span style="font-family: Poppins;">of an obscure fanzine produced by young, enthusiastic fans we are privy to an off the cuff, unassuming and revealing conversation at a time when creators were still taken aback that anyone cared. As comic book conventions grew in the mid-1960s and beyond that all changed; by 1975 Marvel ran their own cons, and interviews may have been more reserved and tempered by company PR pronouncements. Whatever the case the <i>Web Spinner</i> article is a look into an unpretentious and historically important period of comic book history. </span></span></div></span>
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For a more detailed account read my article "The Urban Myth of Lee, Ditko and the Green Goblin" in Ditkomania # 82, Oct 2010, an exemplary fanzine devoted to the work of Mr. Ditko which can be purchased through publisher Rob Imes: <a href="https://www.facebook.com/ditkomania">https://www.facebook.com/ditkomania</a>. </i></span><br /></span>
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<span face="Trebuchet MS, sans-serif"><span><br /><div style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Poppins;">On the last two pages Romita discusses many topics, including the upcoming </span><i style="font-family: Poppins;">Marvel Super-Heroes</i><span style="font-family: Poppins;"> cartoon, the Batman TV show (which he could finally watch in color - a big event in that period. You'll note in the piece that author Bob Sheridan helped Romita move his old set from the living room), his former employers, National/DC and Jack Kirby. His admiration for Kirby is obvious, as is his disgust for editors who didn't appreciate his monumental talent.</span></span></div></span></span>
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<span face="Trebuchet MS, sans-serif"><div style="font-size: 12pt;"><span face="Trebuchet MS, sans-serif" style="font-size: 12pt;"><br /></span></div><span style="font-size: 12pt;"> </span><span style="font-family: georgia; font-size: medium;"><i>The above ad</i></span></span><i><span style="font-family: georgia; font-size: medium;"><span style="text-align: justify;"> heralding the Marvel Super-Heroes cartoon appeared in </span><span style="text-align: justify;">Amazing Spider-Man </span></span></i><span style="text-align: justify;"><i><span style="font-family: georgia; font-size: medium;"># 43 along with other Marvel titles dated December, 1966 (but actually on newsstands three months earlier) corresponding to the show's debut. I recall it being shown in the early evenings on Channel 9 in New York, Monday to Friday, starring a different hero every day and hosted by a costumed chap named Captain Universe. Pencils by Jack Kirby, Gene Colan and Marie Severin; inks by Chic Stone, Vince Colletta, Jack Abel and Don Heck. Lettering by Sam Rosen. </span></i><span style="font-family: Poppins; font-size: 16px;"> </span></span><br /><div style="text-align: justify;"><span style="font-family: Poppins; font-size: 12pt;"> </span></div><div style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: Poppins;">The Marvel Super-Heroes cartoon Romita discusses arrived on television screens in September 1966. The animation was minimal, but much of the stories (simplified and truncated) and artwork were taken directly from the comics pages, bringing the visual stylings of Kirby, Ditko, Heck and Colan to a larger audience</span><span style="font-family: Poppins;">. <b>I</b> still have a soft spot for the series, perhaps because I was at <i>just</i> the right age to be enthralled by these characters coming to life in my living room each night. </span></span></div>
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<span><span face="Trebuchet MS, sans-serif"><br /><div style="text-align: justify;"><i><span style="font-family: georgia; font-size: medium;"><span>As a boy John Romita was inspired by Jack Kirby's artistry. In the 1950s he drew Kirby's co-creation, </span><span>Captain America, </span><span>molding together two of his greatest influences; the lush brushwork of master cartoonist Milton Caniff with Kirby's powerful imagery. In 1965 Romita had the opportunity to work with the master on a number of occasions. The splash page above has Romita crafting the finished art over Kirby layouts on a Hulk story. The work speaks for itself. </span><span>Tales To Astonish</span><span> # 77, March 1966. </span></span></i></div></span></span><div style="font-family: Poppins; text-align: justify;"><br /></div>
<span face="Trebuchet MS, sans-serif"><div style="text-align: justify;"><span style="font-family: Poppins; font-size: medium;">John Romita worked at Marvel for decades, as artist, art director and "go-to" guy. His clean, distinctive line, superb sense of storytelling and exceptional, poster-like cover art drew readers in and sold comics month after month. On a personal level Mr. Romita was a true gentleman who loved talking about the business and celebrating the accomplishments of his peers. I've no doubt that Romita's work will continue to be studied, respected and, most importantly - enjoyed. </span></div><div style="font-family: Poppins; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXZJeuAybiyCDhJdX-3Y0BQqAGyxTPp9RuaoRqYBMk3f61BG_2CMm91e4C40v7H-8WSnBW5HZrdI0gRFaBtQGvXyHyHK2lp3YilU78xNh208rb5IyLsIKBeqgKfjbtLG-iu4xhv9tW_gckYANofrTkvdKDuQZANIlYGmXmi78uZ8GhHbAxHnRysAK/s1148/romita-dd-marvelcon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1148" data-original-width="1096" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwXZJeuAybiyCDhJdX-3Y0BQqAGyxTPp9RuaoRqYBMk3f61BG_2CMm91e4C40v7H-8WSnBW5HZrdI0gRFaBtQGvXyHyHK2lp3YilU78xNh208rb5IyLsIKBeqgKfjbtLG-iu4xhv9tW_gckYANofrTkvdKDuQZANIlYGmXmi78uZ8GhHbAxHnRysAK/w612-h640/romita-dd-marvelcon.jpg" width="612" /></a></div><br /><div style="text-align: justify;"><span><i><span style="font-family: georgia; font-size: medium;">At the 1975 Marvel Comics Convention Romita drew this Daredevil sketch for me; fast-forward several decades later at another New York Convention. Romita was on a panel and when it ended fans flocked to him to chat or get autographs. Instead of handing him the one thousandth issue of Amazing Spider-Man to sign, I preferred to find more obscure work. In this instance I gave him a copy of Jungle Action, a short-lived late 50s Atlas comic, of which Jungle Boy was one of the features he drew. I don't recall his exact reaction but he was either amused or flabbergasted! </span><span style="font-family: arial;"> </span></i></span></div><div style="text-align: justify;"><span style="font-family: Poppins;"> </span></div><div style="text-align: justify;"><b><span style="font-family: verdana;"> John Romita passed away on June 12, 2023 at the age of 93. </span></b></div></span>
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<span><i><span style="font-family: georgia; font-size: medium;"><b><br /></b></span></i></span><div><span><i><span style="font-family: trebuchet; font-size: large;"><b>Special thanks to Fearless Frank Mastropaolo for his insight - and for keeping me on my toes! </b></span><span style="font-family: trebuchet;"><span style="font-size: large;"> </span> </span></i></span><br />
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</div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com18tag:blogger.com,1999:blog-2089733759263636022.post-13471675670097739062023-02-17T22:40:00.009-05:002023-02-25T23:54:08.662-05:00Steve Ditko and the Branding of Marvel <p style="text-align: justify;"><span style="font-family: Poppins;">Product branding* is a tool companies have used to remarkable effect dating back to the late 1800s. Just take a stroll to your local supermarket. There you'll encounter many examples, some in existence for over a century. A few that come to mind: Kellogg's Corn Flakes, Skippy Peanut Butter, Ivory Soap, Coca Cola, Maxwell House Coffee and so on. Through a combination of symbols, graphic design, copy, colors and familiar characters (Mr. Peanut; Kellogg's Rooster), consumers - sometimes unknowingly - make their buying choices. Loyalty and confidence is often built up in a product through quality and consistency.<b> </b>This holds true for everything from cars and restaurants to clothing, electronics, movies.... and, of course, comic books. </span></p><p style="text-align: justify;"><i><span style="font-family: Poppins;">*</span><span style="font-family: Poppins;">(If you'd like to learn more about the history of branding I suggest sauntering over to this piece: </span><a href="https://99designs.com/blog/design-history-movements/history-of-branding/" style="font-family: Poppins;">https://99designs.com/blog/design-history-movements/history-of-branding/</a><span style="font-family: Poppins;">)</span></i></p><p style="text-align: justify;"><span style="font-family: Poppins;">In the nascent comic book field material was culled largely from newspaper reprints, so publishers most often appealed to kids by featuring widely-recognized characters on covers </span><span style="font-family: Poppins;">(E.g. <i>Popeye, Dick Tracy,</i> <i>Tarzan) </i>over the need for a company name. This gradually changed when superheroes rose to prominence and new stories were prepared. A few examples include DC's circular image of <i>Superman</i>, <i>Batman</i>, etc, appearing in the upper left corner, accompanied by "A DC Publication" often located on the opposite side; Dell's square logo surrounded by "A Dell Comic" on four sides; "Archie Series" rectangle and the round "EC An Entertaining Publication" colophon. All were located on the top left hand corner in order to easily be seen wherever they were displayed.</span><span style="font-family: verdana;"> </span></p><p><span style="font-family: Poppins;"><span>Pulp magazine publisher Martin Goodman plunged into the business in 1939 with the debut of <i>Marvel Comics</i> # 1. The company was initially dubbed Timely, and occasionally employed an identifying shield with the slogan: "A Timely Publication" on its covers. In the 40s both </span><span>a circular "Marvel Comic" and a triangular "A Marvel Magazine" were utilized at various points. </span><span>In the 1950s Timely was rebranded as "Atlas Comics" (which was also the name of their distributor) with the name encased in a globe. </span></span></p><p><span style="font-family: Poppins;">In the late 1950s, and into the early 60s there were no identifying marks on Goodman's comics line. Five months before <i>The Fantastic Four </i># 1 debuted an almost unnoticeable "MC" surfaced on the covers of <i>Journey into Mystery</i> # 69 and <i>Patsy Walker</i> # 95, both cover-dated June 1961, with the rest of the line closely following suite, but it clearly lacked visual appeal. This all changed when, sixty years ago, during the month of February, 1963, a new look was displayed on newsstands and candy stores, courtesy of a multi-talented freelancer with a keen mind; an artist who understood the importance of a visual identity and a product that stood out from its competitors. </span></p><p style="text-align: justify;"><span style="font-family: Poppins;">Steve Ditko had been drawing and crafting stories at Marvel beginning in 1956, often in collaboration with editor-writer Stan Lee, first on an array of fantasy-oriented titles and, circa 1962, bringing his own unique sensibilities to bear on their co-creations <i>Spider-Man</i> and <i>Doctor Strange</i>. Taking notice of the growing array of superheroes at the company he had a noteworthy idea:</span></p><p style="text-align: justify;"><i><span style="font-family: Poppins; font-size: medium;"> <span style="background-color: #9fc5e8;"> <span style="color: #050505; white-space: pre-wrap;">"I suggested the corner box with a Marvel hero face and drew a face to show Lee and Sol Brodsky how it would </span><span style="animation-name: none; color: #050505; transition-property: none; white-space: pre-wrap;"><a style="animation-name: none; color: #385898; cursor: pointer; transition-property: none;" tabindex="-1"></a></span><span style="color: #050505; white-space: pre-wrap;">look, and more important how and why the Marvel title with a hero face would be quickly seen, recognized, no matter how comic books sold in stores were placed in racks." Steve Ditko "Martin Goodman/Stan Lee," The Avenging Mind, 2008.</span> </span></span></i></p><p style="text-align: justify;"><span style="font-family: Poppins;"><span>A little background for those of you not in the trenches of comic book history (isn't that what you came HERE for??). Sol Brodsky handled production in the early Marvel period and was of vital assistance to Lee in the day-to-day workings of the company. He was also an efficient artist and inked many early stories. Ditko's suggestion had to be approved by Publisher Martin Goodman, who was savvy enough to recognize a valuable idea. Goodman was also particularly fond of the word "Marvel," since it was the title of his first successful comic. </span><span> </span></span><span style="font-family: helvetica;"> </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaq9JF42ui74GpHjgVqrnwDdO_LD6pJ92AKKVHIYXqi8--3jogRXqTwi3dZZ_F1DBuCcRzgLbbTEAurZkTbHMBu3NMSG2UJqLDdh6xmLmsWXjZmIoLKramDLmGyc4wxr5uTNYmn_HZhrocuiTerJdlJI5gsXyn9aqoTLPtyg5vMhjWVqV3-ajeJPhY/s1767/ditko-cornersymbol-asm3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1767" data-original-width="870" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaq9JF42ui74GpHjgVqrnwDdO_LD6pJ92AKKVHIYXqi8--3jogRXqTwi3dZZ_F1DBuCcRzgLbbTEAurZkTbHMBu3NMSG2UJqLDdh6xmLmsWXjZmIoLKramDLmGyc4wxr5uTNYmn_HZhrocuiTerJdlJI5gsXyn9aqoTLPtyg5vMhjWVqV3-ajeJPhY/w316-h640/ditko-cornersymbol-asm3.jpg" width="316" /></a></div><br /><i><b><span style="font-family: Poppins;">Ditko's corner box was heralded on the letters page of Amazing Spider-Man # 3, a month after it appeared on Marvel covers. The heroes' face, with the Marvel Comics Group company name alongside the price, was an attractive design. </span><span style="font-family: helvetica;"> </span></b></i><p></p><p><span style="font-family: Poppins;">Given the go-ahead, Lee and Brodsky brought in Jack Kirby, their top artist-creator, to illustrate most of the new images, which I'll kindly reproduce below, along with the first cover appearance. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjllwQhItgBKQjIA5KjMsADdNHcl6AKv2Is5N2SpGg2l9_pIxiJfTvxE5WmB9zxd-m1mHc8I9Ag_TwUvYm9HCd_5MW2E1Ef-YmLeWhxjQ--om09_SVCXySOys-032V_MmgXtJ-3kbDs2EqZtN0F4Q1APzqdByB5rwo8BHgKlJZMX2t_RCj2nn3Zntwa/s1416/cornerbox-FF15.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="513" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjllwQhItgBKQjIA5KjMsADdNHcl6AKv2Is5N2SpGg2l9_pIxiJfTvxE5WmB9zxd-m1mHc8I9Ag_TwUvYm9HCd_5MW2E1Ef-YmLeWhxjQ--om09_SVCXySOys-032V_MmgXtJ-3kbDs2EqZtN0F4Q1APzqdByB5rwo8BHgKlJZMX2t_RCj2nn3Zntwa/w232-h640/cornerbox-FF15.tif" width="232" /></a></div><div class="separator" style="clear: both; text-align: center;"><b style="font-family: Poppins; font-size: large; text-align: left;"><i>Fantastic Four # 14. Kirby pencils and inks. </i></b></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWe8sB2PDFaLazKtM71vtX4qW_5mX8DYgHWpw2AfnQqrwVfWzyfrc5W91MB79gYMBygNx9HUs6Z3DFJ6EBXNEONnwqhwfjVXmQy5N2HLCtvJgbFu_qzbxgv8cmkVPAanLDHV3W9WWPV2jkSfC3HF-Ju_Mh73r0kMWRVAOWx3VdDv1HIgQnK5pOfLsz/s1378/cornerbox-astonish43.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1378" data-original-width="548" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWe8sB2PDFaLazKtM71vtX4qW_5mX8DYgHWpw2AfnQqrwVfWzyfrc5W91MB79gYMBygNx9HUs6Z3DFJ6EBXNEONnwqhwfjVXmQy5N2HLCtvJgbFu_qzbxgv8cmkVPAanLDHV3W9WWPV2jkSfC3HF-Ju_Mh73r0kMWRVAOWx3VdDv1HIgQnK5pOfLsz/w254-h640/cornerbox-astonish43.jpg" width="254" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><i> </i></span><b style="text-align: left;"><span style="font-family: Poppins;"><i>Tales to Astonish featuring Ant-Man # 43. Kirby pencils and inks</i>.</span></b><span style="text-align: left;"> </span></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnzuHlp4bz9i8xSLM9IimrORXgC6hoHrGCTkrxHNBs9ecYoW-TAsTHXMrnZZkxzFvhq7qpuIjfcEqdqSQwG_kFTXG8r2GT3eBNbYUaLtlCmQr8OzGv6fXLP7chZ4-UBFGz8Sa4_hGmMMNMwCf2FTuu0_f7u6u2ehdxOXv5YwJ3CYLl2olTpW18B3Ic/s566/cornerbox-strangetales108.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="566" data-original-width="264" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnzuHlp4bz9i8xSLM9IimrORXgC6hoHrGCTkrxHNBs9ecYoW-TAsTHXMrnZZkxzFvhq7qpuIjfcEqdqSQwG_kFTXG8r2GT3eBNbYUaLtlCmQr8OzGv6fXLP7chZ4-UBFGz8Sa4_hGmMMNMwCf2FTuu0_f7u6u2ehdxOXv5YwJ3CYLl2olTpW18B3Ic/w298-h640/cornerbox-strangetales108.jpg" width="298" /></a></div><br /><p> <i> <b><span style="font-family: Poppins;">Strange Tales starring The Human Torch # 108. Kirby pencils and inks.</span></b></i></p><p><i><span style="font-family: Poppins;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf7PHM5nnIzNn42Q6Q9iEYsnjfUzB9Xo6CXwZ3_OJujH87CLWfed0SbzmaU1Ep2UENxQMOA2duQMVRrY__3kEoJvfOU9QvWAgEUEBbdy3VShEGOi1ToX3rOq8CwvOBSJ88zpEnQU13gIKpuU3vUyGhaj_2tsl0NrpYnYnDo6hM8SROYODdszWHOwZv/s658/cornerbox-jim91.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="658" data-original-width="234" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf7PHM5nnIzNn42Q6Q9iEYsnjfUzB9Xo6CXwZ3_OJujH87CLWfed0SbzmaU1Ep2UENxQMOA2duQMVRrY__3kEoJvfOU9QvWAgEUEBbdy3VShEGOi1ToX3rOq8CwvOBSJ88zpEnQU13gIKpuU3vUyGhaj_2tsl0NrpYnYnDo6hM8SROYODdszWHOwZv/w228-h640/cornerbox-jim91.jpg" width="228" /></a></span></div><span style="font-family: Poppins;"> <i> <b>Journey into Mystery with Thor # 91. Kirby pencils and inks.</b></i></span><p></p><p><i><span style="font-family: Poppins;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ZmVza8eujlDLmOiYwdqldkRTO-Cn647QsUeKJRNhME4MK6NYWfRW7UM6NYcZ68XOPVbsuP1S9MKY9PX98dTeCU8sYmCBLS7rUrgnbrI7Z2akF43B1-fuGU7svespACuT07cgfMfZKNoO20oUlfHdDtdMOV0FuwrddK_HKGap3eE6gAJHe2MS9PJc/s699/cornerbox-suspense41.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="248" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ZmVza8eujlDLmOiYwdqldkRTO-Cn647QsUeKJRNhME4MK6NYWfRW7UM6NYcZ68XOPVbsuP1S9MKY9PX98dTeCU8sYmCBLS7rUrgnbrI7Z2akF43B1-fuGU7svespACuT07cgfMfZKNoO20oUlfHdDtdMOV0FuwrddK_HKGap3eE6gAJHe2MS9PJc/w228-h640/cornerbox-suspense41.jpg" width="228" /></a></span></div><span style="font-family: Poppins;"><b> <i>Tales of Suspense featuring Iron Man # 41. Kirby pencils; Don Heck inks, taken from the cover of Suspense # 39. (this appears to be the only artwork that was not newly crafted) </i></b></span><p></p><p><span style="font-family: Poppins;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2iVyh32fdSgLcAVq0UjLl3-J1UhIA5B8o601YNAVh3iGRyCj9HjjsT6w3vtGuqaCSbPvPtlgane5tEXxVcpG3hnE3ViALkFdxtymWthTgvKZoQBeK0arZah0DyLS9pNSgeHyR3ahxfBNU9PJB1jdAhrkdFSiI-2PsEZR1w-8-OwsxRCr4kbMltUHc/s325/cornerbox-millie114.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="128" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2iVyh32fdSgLcAVq0UjLl3-J1UhIA5B8o601YNAVh3iGRyCj9HjjsT6w3vtGuqaCSbPvPtlgane5tEXxVcpG3hnE3ViALkFdxtymWthTgvKZoQBeK0arZah0DyLS9pNSgeHyR3ahxfBNU9PJB1jdAhrkdFSiI-2PsEZR1w-8-OwsxRCr4kbMltUHc/w253-h640/cornerbox-millie114.jpg" width="253" /></a></span></div><span style="font-family: Poppins;"><br /><div class="separator" style="clear: both; text-align: center;"><b><i>Millie the Model # 114. Stan Goldberg art.</i></b></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXXg_HozTrNw0uhjJ5jXz23CxlJujRTNqe-ZRzNtXrjtqqv_Ge-Jxs0Wf5x-GrhXzLNdaXx1EbSEcAlxg_TtTfwLoNKk_59EFxYmyGo6JYi-kzoikUcX9Ug9-ZDMvTPFF9HtTjn2K_qs-kKYB_UFdMiVsJfssARuBJfYzA4B4aKVko5D_fg_Azipj9/s360/cornerbox-patsy106.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="141" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXXg_HozTrNw0uhjJ5jXz23CxlJujRTNqe-ZRzNtXrjtqqv_Ge-Jxs0Wf5x-GrhXzLNdaXx1EbSEcAlxg_TtTfwLoNKk_59EFxYmyGo6JYi-kzoikUcX9Ug9-ZDMvTPFF9HtTjn2K_qs-kKYB_UFdMiVsJfssARuBJfYzA4B4aKVko5D_fg_Azipj9/w250-h640/cornerbox-patsy106.jpg" width="250" /></a></div><br /><b><i>Patsy Walker # 106. Art by Al Hartley.</i></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK8_rLOprsioirI6f4ULQO-iiov7oyK8cpRo608eIQp3HCLH-3iiE9AOcoENTIPhh-YAm75Ob5evuy2QWbKHcVdQik6G3BL7zZB_7DzkGdtTCbNzPLD0oyw8-99pL3Vgbd5hz9frybbDkiL93vzYVYA3UtJ5pBq9yQjJhESHl8FcPqIcMVE_pLp1Fk/s3046/ditko-cover-spiderman2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3046" data-original-width="2034" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK8_rLOprsioirI6f4ULQO-iiov7oyK8cpRo608eIQp3HCLH-3iiE9AOcoENTIPhh-YAm75Ob5evuy2QWbKHcVdQik6G3BL7zZB_7DzkGdtTCbNzPLD0oyw8-99pL3Vgbd5hz9frybbDkiL93vzYVYA3UtJ5pBq9yQjJhESHl8FcPqIcMVE_pLp1Fk/w428-h640/ditko-cover-spiderman2.jpg" width="428" /></a></div><div class="separator" style="clear: both; text-align: center;"><b><i>Ditko's corner box debuted on Amazing Spider-Man # 2. Artie Simek lettering, Stan Goldberg colors. </i></b></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;">There were four cover holdouts that did not yet adapt the new design (<i>Kid Colt Outlaw</i> # 110; <i>Kathy </i># 22; <i>Modeling with Millie </i># 22 and <i>Two Gun Kid</i> # 63) most likely because they were on stands in early February and produced before the concept was finalized. By the following month (dated May-June 1963) all of Marvel's comics included the corner symbol. </div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;">Lee made mention of the new look in the Special Announcements Section of <i>Fantastic Four</i> # 16, July 1963:</div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAgAzwsUQryf_CLL-2lOK0iqPdJWUh4-LfSp2jBMQxCClAZPniqErbdIMqdN7g4aCrL87HjZk171a8tqsdmrsQjIGkcNclhTQIl3LW2z7rwFqQ9JS382kbQuX-b-idBKfQ6TibACq2eYBx5T7n-NFFOhyrPmx9Q1C8DQuLrD-eqmyRhFvSP0NdMtH/s1824/cornerbox-FF16.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="1824" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAgAzwsUQryf_CLL-2lOK0iqPdJWUh4-LfSp2jBMQxCClAZPniqErbdIMqdN7g4aCrL87HjZk171a8tqsdmrsQjIGkcNclhTQIl3LW2z7rwFqQ9JS382kbQuX-b-idBKfQ6TibACq2eYBx5T7n-NFFOhyrPmx9Q1C8DQuLrD-eqmyRhFvSP0NdMtH/w640-h184/cornerbox-FF16.tif" width="640" /></a></div><br /><div style="text-align: justify;"> He followed up two issues later, acknowledging Ditko's contribution in reply to a query from fan Paul Weinstein: </div></div><div class="separator" style="clear: both; text-align: justify;"> </div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibaOJa88eGq6L_U_B9zDq2gNSTSJHVTlI5f8o8uRG4uHYVWf2xpeCQYQqki9sg5anCWJTy7BajfM8x_HDm2q0yLxcb8qNlLjLXqBFDhQsVwQDLn1m921Jl4iMsc04QebceLiEc5sNFnTxmS401GStAhe8IyTXmf_2f5nmuXmyRe5IsMm7z66RM_CHw/s1914/ditko-cornerbox-FF18.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="718" data-original-width="1914" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibaOJa88eGq6L_U_B9zDq2gNSTSJHVTlI5f8o8uRG4uHYVWf2xpeCQYQqki9sg5anCWJTy7BajfM8x_HDm2q0yLxcb8qNlLjLXqBFDhQsVwQDLn1m921Jl4iMsc04QebceLiEc5sNFnTxmS401GStAhe8IyTXmf_2f5nmuXmyRe5IsMm7z66RM_CHw/w640-h240/ditko-cornerbox-FF18.tif" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2JRouRV6NJx5sls6QNT4nONRqtuS_P3Y1ZepxQ6A4goQ44VKZuSzGfIGRKhLIoYvbqpwW3AhIqQak-IwHAn4MHskxvGw2jCwNzaZC6-MERw-XZnP_6Hg8jvEs_5X2vZB-14zx-JhplRKHjFs9NuLBDVfXRkCIXCRIRnbTu_8dWlQIMg1HxYkoO4Ei/s1234/mightycomicslogo.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1234" data-original-width="876" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2JRouRV6NJx5sls6QNT4nONRqtuS_P3Y1ZepxQ6A4goQ44VKZuSzGfIGRKhLIoYvbqpwW3AhIqQak-IwHAn4MHskxvGw2jCwNzaZC6-MERw-XZnP_6Hg8jvEs_5X2vZB-14zx-JhplRKHjFs9NuLBDVfXRkCIXCRIRnbTu_8dWlQIMg1HxYkoO4Ei/w454-h640/mightycomicslogo.tif" width="454" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><b><i>By the mid-1960s Marvel' was becoming so popular that rival Archie pilfered Ditko's corner logo and even christened their super-hero line "Mighty Comics Group". Martin Goodman was reportedly not pleased and likely made it known to the publishers in no uncertain terms, since the design was shortly replaced. Art by Paul Reinman. </i></b></div><div class="separator" style="clear: both; text-align: justify;"><b><i><br /></i></b></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6nczjnk0jyjQ1kPy_UxtpjZR71CEpZslc-bVxVq6vBmXJhH0Su0N9ibn93ZnTB2Tdk0f78QzMg4a5WSpLCTTQosjkm8YpiJbHxNwijigoZqVRIJjNMAPuLV5FmgcIc3q1kFS7g-rErjM5Z3McIr9OmK4hW388yiJNFJuGVC865IQbvQT9iW-DgeZ4/s599/MCG-banner-ASM101.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6nczjnk0jyjQ1kPy_UxtpjZR71CEpZslc-bVxVq6vBmXJhH0Su0N9ibn93ZnTB2Tdk0f78QzMg4a5WSpLCTTQosjkm8YpiJbHxNwijigoZqVRIJjNMAPuLV5FmgcIc3q1kFS7g-rErjM5Z3McIr9OmK4hW388yiJNFJuGVC865IQbvQT9iW-DgeZ4/w428-h640/MCG-banner-ASM101.jpg" width="428" /></a></div><i><b>The corner box was phased out with November-1971 dated titles. For a brief period the art was "framed" with copy appearing underneath, as seen above. Ditko's original concept as reinstituted less than five years later. Amazing Spider-Man # 101, Gil Kane pencils; Frank Giacoia inks; Morrie Kuramoto letters. </b><span style="font-weight: bold;"><br /></span></i></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Ditko's corner box was a staple of Marvel's covers for almost a decade, continuing until the summer of 1971. At that point it was decided to entirely revamp the cover layout, replacing the hero face/figure in a box with a less appealing open, and, for a period, circular design, moving the "Marvel Comics Group" logo to a banner atop each cover. This allowed less room for the art and made for a more crowded and cluttered cover. The original concept soon returned with minor tweaks, lasting into the 1990s. </div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRpt-UOpT9QGJ3mLFgHM0IPScVHk1S27PNo9hN8iUoGRq8XnxCnbvNKoZqDTFylMbewQuZnTyZs2IG7lDFY3TAhrQbwfXDP_z6LHmMMFXohSkdsV0B_Fr4y2ZKugeE1x1xtn1T96t0zYLE-5nfdY3VB1Thidx5PMD8JyS4qomCLCNDpdEB5njUxjro/s624/cornerbox-marveltales224.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRpt-UOpT9QGJ3mLFgHM0IPScVHk1S27PNo9hN8iUoGRq8XnxCnbvNKoZqDTFylMbewQuZnTyZs2IG7lDFY3TAhrQbwfXDP_z6LHmMMFXohSkdsV0B_Fr4y2ZKugeE1x1xtn1T96t0zYLE-5nfdY3VB1Thidx5PMD8JyS4qomCLCNDpdEB5njUxjro/w410-h640/cornerbox-marveltales224.jpg" width="410" /></a></div><br /><div style="text-align: justify;"><i><b>Decades later the corner symbol continued to be part of Marvel's cover design, as seen on Marvel Tales # 224, June 1989. Todd McFarlane art. It's worth pointing out that the Ditko-drawn Spider-Man image is taken from Amazing Spider-Man Annual # 2. That classic pose appeared on covers for many years during John Romita's run on the Amazing Spider-Man. </b> </i></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: justify;">While Steve Ditko is justly praised for his contributions at Marvel as artist/plotter on <i>Spider-Man</i> and <i>Doctor Strange </i>and, to a lesser extent, his redesign of <i>Iron Man</i> and revamping of <i>The Hulk</i>, his concept and visualization of their corner trademark is often unnoticed. In a world where branding is an essential tool (and Stan Lee should also be recognized for promoting Marvel with great enthusiasm and success) it is noteworthy that his idea continues to endure into the present day, appearing on hardcover and trade paperback collections<i> </i>and the occasional comic book<i>.</i> It is truly a testament to the myriad levels of Ditko's versatility. </div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqfXWfqRQqWQbP0RBx4CAJJqbP0qqufuXllyZnHDuWyQXvxHGMZDzfXyYZJk1HUzjjUwPbwSITQfFO9kC1MkI2udBGhy_zi7g7G6oSOwA9MgWa0aHXWHUap-K6lXcRUngnRa_Jrf2LVkXBqhYvET0QrUnyKeDyh7BbimkfVKzESUyAXsof6l2nLpfp/s4092/taschen-cornerbox.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4092" data-original-width="1875" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqfXWfqRQqWQbP0RBx4CAJJqbP0qqufuXllyZnHDuWyQXvxHGMZDzfXyYZJk1HUzjjUwPbwSITQfFO9kC1MkI2udBGhy_zi7g7G6oSOwA9MgWa0aHXWHUap-K6lXcRUngnRa_Jrf2LVkXBqhYvET0QrUnyKeDyh7BbimkfVKzESUyAXsof6l2nLpfp/w294-h640/taschen-cornerbox.tif" width="294" /></a></div><i><div style="text-align: justify;"><i><b><br /></b></i></div><div style="text-align: justify;"><i><b>Taschen's monolithic 712 page book, Marvel Comics From the Golden Age to the Silver Screen, authored by Roy Thomas, with contributions by yours truly, accompanied by my friends and fellow comics scholars and wise-guys Barry Pearl and Michael Vassallo, was edited and beautifully designed by Josh Baker. Fittingly, his choice for the book's spine display was Ditko's corner box, using many of the same images that appeared on the covers all those decades ago. </b></i></div></i><div style="text-align: justify;"><i><b><br /></b></i></div><div style="text-align: justify;"><i><b><br /></b></i></div></div><i><b><br /> <br /></b></i><b><i><br /></i><br /></b></span><span style="font-family: helvetica;"><br /></span><p></p><p><span style="font-family: helvetica;"> </span></p>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com8tag:blogger.com,1999:blog-2089733759263636022.post-84851489286837510612022-11-14T01:56:00.016-05:002022-12-30T00:30:33.290-05:00Kirby Inking Kirby<div class="separator"><div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Poppins;"><b>Note: This is a revised and updated piece originally published on September 6, 2011.</b></span></div><div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: helvetica;">One aspect of comic books that I've always been fascinated by - some would say consumed with - is the artwork. From my earliest days I attempted to copy the specific characteristics of artists I grew familiar with, particularly from the nascent Marvel period. This led to an intense scrutiny of Jack Kirby's art (who, in case you didn't know, was a creative force and primary co-creator of Marvel's superhero line). Circa 1959-1963 many talented artists in their own right embellished his pencils, including Chris Rule, George Klein, Dick Ayers, Steve Ditko, Don Heck and Paul Reinman. Not widely known, though, is that Kirby <i>also</i> inked a selection of covers and interior pages. In this piece I will present my findings, aided greatly by the visual aspect of a blog. In burrowing t</span><span style="font-family: helvetica;">hrough comics from over a half-century ago I hope to illuminate</span><span style="font-family: helvetica;"> a largely unknown and fascinating aspect of Kirby's oeuvre. </span> </div></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEOZSTdiuJRvnQ64vz_zlz3EM_xR-6bXrETmutcX8HaMcKlmpBhLyeArewxL3DWFAgO-bNkv3kzctHrPa97zgETavVkoAM3AcTxoSElB3nhJ9vlRou6PsjZBHI_8SyTQvy8EoXCrQRzrf7mgztYmPKErV8kB0rTbFYvfWZNVHg_qq5nA_ssdHVVKwp/s6088/kirbyinksFF7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6088" data-original-width="4088" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEOZSTdiuJRvnQ64vz_zlz3EM_xR-6bXrETmutcX8HaMcKlmpBhLyeArewxL3DWFAgO-bNkv3kzctHrPa97zgETavVkoAM3AcTxoSElB3nhJ9vlRou6PsjZBHI_8SyTQvy8EoXCrQRzrf7mgztYmPKErV8kB0rTbFYvfWZNVHg_qq5nA_ssdHVVKwp/w430-h640/kirbyinksFF7.jpg" width="430" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><b style="font-family: verdana;"> <i>The Fantastic Four # 7, October 1962</i></b></div><div> <div><span style="font-family: helvetica;">While comics historian Mark Evanier has identified the cover of </span><i style="font-family: helvetica;">The Fantastic Four </i><span style="font-family: helvetica;"># 7 as being inked by Kirby (to which I wholeheartedly agree) I contend that there are many other instances in the period from 1959-63 where he completed the art. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">As a starting point I offer a few examples of Kirby's stylistic tics dating back several years before his Marvel tenure. I believe this will provide context to my observations and substantiate my conclusions. </span></div><div><br /></div><div><div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-5_95RPiofEQ/Tma3NS_9-fI/AAAAAAAAAIc/tP5-6RlZ3rs/s1600/kirbyinksunexpected.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: trebuchet;"><img border="0" height="640" nba="true" src="https://3.bp.blogspot.com/-5_95RPiofEQ/Tma3NS_9-fI/AAAAAAAAAIc/tP5-6RlZ3rs/w443-h640/kirbyinksunexpected.jpg" width="443" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: trebuchet; font-size: small;"><em><strong><br /></strong></em></span><span style="font-family: verdana; font-size: small;"><em><strong>"The Mysterious Mr. Vince," Tales of the Unexpected # 21, January 1958.</strong></em> </span></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Fi7xopKBgXM/Tmbr0P8mkWI/AAAAAAAAAIo/NiKfd-o87R8/s1600/kirbyclothing.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-Fi7xopKBgXM/Tmbr0P8mkWI/AAAAAAAAAIo/NiKfd-o87R8/w506-h640/kirbyclothing.jpg" width="506" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;"><i><b>Clothing Folds </b></i></span></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-phvWLd1Kgg8/TmbxmG_rqHI/AAAAAAAAAI8/oIxjxTNqBRs/s1600/kirbyface.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-phvWLd1Kgg8/TmbxmG_rqHI/AAAAAAAAAI8/oIxjxTNqBRs/w506-h640/kirbyface.jpg" width="506" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-8ZqFne1ClKk/Tmbx7J77B2I/AAAAAAAAAJA/RRYc0_fubZ0/s1600/kirbyhands.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://4.bp.blogspot.com/-8ZqFne1ClKk/Tmbx7J77B2I/AAAAAAAAAJA/RRYc0_fubZ0/w506-h640/kirbyhands.jpg" width="506" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-mYHgNzMI138/TmbyTilK4cI/AAAAAAAAAJE/Y71dVsuDyNg/s1600/kirbymachine.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-mYHgNzMI138/TmbyTilK4cI/AAAAAAAAAJE/Y71dVsuDyNg/w506-h640/kirbymachine.jpg" width="506" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;">Machinery Squiggle</span></strong></em></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-66ASez3T9yk/TmbyzHMNUNI/AAAAAAAAAJI/YtQoELgRWEs/s1600/kirbywater.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://2.bp.blogspot.com/-66ASez3T9yk/TmbyzHMNUNI/AAAAAAAAAJI/YtQoELgRWEs/w506-h640/kirbywater.jpg" width="506" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span style="font-size: large; font-weight: bold;">Water Waves</span><br /><div style="text-align: justify;"><em><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span style="font-family: verdana;"><b style="font-size: large;">The above Tales of the Unexpected page and selected panels are all from Kirby-inked stories he produced at DC months before his return to Martin Goodman's company. These examples reference concrete details in Kirby's brushwork which will be increasingly recognizable in the images that follow</b><span style="font-size: large;">. </span></span></span></em></div><div style="font-weight: bold; text-align: justify;"><span style="font-family: verdana;"><span style="text-align: left;"><br /></span></span></div><div style="font-weight: bold; text-align: justify;"><span style="font-family: arial; font-size: medium;"><span style="text-align: left;">(To read more about <span>Kirby's pre-1959 inking I refer you to Harry Mendryk's blog: </span></span><span><a href="https://kirbymuseum.org/blogs/simonandkirby/archives/824" style="text-align: left;">https://kirbymuseum.org/blogs/simonandkirby/archives/824</a><span style="text-align: left;"> )</span></span></span></div></span></em><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"></span></div></td></tr>
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<span style="font-family: helvetica;"><div style="text-align: justify;"><span style="text-align: left;">Dating back to the beginning of his career Kirby could do it all: write, pencil, ink, letter - but going over his art in india ink was not a favorite chore. Paired with partner Joe Simon in the 1940s and 50s, a man who was also multi-talented, the team often collaborated on the art, with Simon inking Kirby's pencils to great effect. When Kirby finished the job he did so competently, with his wife Roz reportedly providing minor assistance from time to time. In several interviews Kirby explained that he felt any professional could complete the job (and, perhaps more telling, his concentration always appeared to focus on telling the next story). While lacking intricate details, since he pays little attention to fine points like fingernails, his depiction of clothing folds to indicate movement, as an example, have a somewhat abstract and organic quality that makes up for any missing elements. More importantly, it presents a glimpse into the undiluted, bare-bones artistry of Kirby; the way one might pit the contributions of The Ramones or Hendrix to Dylan's acoustic renditions. And while the contrast may be a bit more profound in a musical idiom, it is still Kirby working through his own conceptualizations, in much the same fashion as Dylan was doing in his realm. In both cases, I believe insights are gained in terms of the artist's vison. </span></div><div style="text-align: justify;"><span style="text-align: left;"> </span></div></span></div><div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-oZs35hP2H24/TmUh2Rc_vyI/AAAAAAAAAHg/3GoH_cpLOb4/s1600/kirbyinksbattle67.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://3.bp.blogspot.com/-oZs35hP2H24/TmUh2Rc_vyI/AAAAAAAAAHg/3GoH_cpLOb4/w427-h640/kirbyinksbattle67.jpg" width="427" xaa="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: verdana; font-size: small;">Battle # 67, December 1959</span></strong></td></tr>
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif"><i>Battle </i># 67 is the first Pre-Hero Marvel cover I've discovered that points to Kirby inking (Kirby briefly returned to Atlas in 1956-7 and, once again, I suggest you saunter over to Harry Mendrek's blog for an analysis of the stories he delineated in <i>that </i>period: <a href="https://kirbymuseum.org/blogs/simonandkirby/archives/884">https://kirbymuseum.org/blogs/simonandkirby/archives/884</a>.) </span></span><span style="font-family: helvetica;">Editor Stan Lee assigned most of Kirby's penciled art in this period to his regular stable of inkers (Klein, Rule, Ayers, Ditko). The above image bears none of their signature styles. The face of the soldier, the folds of clothing, the hands and backgrounds (including the squiggle line on the second to left enemy helmet) are indicative of his previous inked work.</span></div><div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-cUZLVQwx52M/TmUIMD1AA1I/AAAAAAAAAHc/OhlPtT61s7U/s1600/kirbyinksJIM.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://2.bp.blogspot.com/-cUZLVQwx52M/TmUIMD1AA1I/AAAAAAAAAHc/OhlPtT61s7U/w421-h640/kirbyinksJIM.jpg" width="421" xaa="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span style="font-family: verdana; font-size: small;">Journey into Mystery # 56, January 1960</span></strong></em></td></tr>
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<span style="font-family: verdana;"><span face=""trebuchet ms" , sans-serif">This is the first "monster" cover I've attributed to Kirby's inking. Everything looks as though it was succinctly finished, with no frills added. The sharp lines that denote water compare with Kirby's DC story (as shown above). It also looks as though a few additional blocks of ice were crudely drawn, either by production head Sol Brodsky or art director/editor Stan Lee. It should be noted that in this period Martin Goodman's comic book division was small, so anyone in the office (including freelancers) might be called on to lend a hand in emergency situations</span>.</span><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ripfIqgdYdE/TmUmWhQ9LcI/AAAAAAAAAHk/BfyNZN6HIt4/s1600/kirbyinksbattle68.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://3.bp.blogspot.com/-ripfIqgdYdE/TmUmWhQ9LcI/AAAAAAAAAHk/BfyNZN6HIt4/w427-h640/kirbyinksbattle68.jpg" width="427" xaa="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: verdana; font-size: small;">Battle # 68, February 1960</span></strong></td></tr>
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif"><i>Journey into Mystery </i>was followed by another <i>Battle</i> cover. Inking here looks more precise than usual, perhaps indicating that Kirby labored on this piece a little longer. While there are enough elements pointing to Kirby as the leading suspect (clothing folds, hands, etc.) the possibility that someone else was involved is not out of the question.</span><br /></span>
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<div> <span style="font-family: verdana;"><b>Journey into Mystery # 58, May 1960</b></span></div><br />
<span style="font-family: helvetica;">Here is an instance where Kirby inked an interior story page. While Don Heck drew the rest of this seven page thriller from<i> Journey into Mystery</i> # 58, May 1960, Lee had Kirby illustrate the splash page, undoubtedly replacing Heck's original version. In all likelihood Heck's creature and startled bystanders lacked the immediacy and over-the-top drama Kirby was known for<b>.</b> He was, after all, king of the monsters! The technique here constitutes minimal details, so I wouldn't be surprised if Kirby rushed this out while dropping off work to Lee in the office (and it still packs a punch!). </span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-HSlV9DaoDWM/TmUqXQT-q_I/AAAAAAAAAHs/rdILwnEU_xU/s1600/kirbyinksTTA.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://2.bp.blogspot.com/-HSlV9DaoDWM/TmUqXQT-q_I/AAAAAAAAAHs/rdILwnEU_xU/w421-h640/kirbyinksTTA.jpg" width="421" xaa="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: verdana; font-size: small;">Tales to Astonish # 20, June 1961</span></strong></td></tr>
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">I originally credited Dick Ayers with the inking on this cover, but there are a number of Kirby tropes that made me reconsider, specifically his handling of the clothing, wheel squiggle (foreground) and brushstrokes on the water. </span><br /></span><br />
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif"><b>The Incredible Hulk # 1, May 1962. Image from the Grand Comics Database.</b> </span><br />
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<span style="font-family: helvetica;"><i>The Incredible Hulk</i> # 1 has been attributed to several inkers over the years, including George Roussos and Paul Reinman, but I'm convinced Kirby is the actual inker. As evidence I'd point-out the short strokes on Banner's lab coat,<b> </b>lack of delineation on the Hulk's feet and face, and overall simplicity. There is neither Roussos' heavy use of blacks, Reinman's more precise line, or Ayers' thickness here. Again, it was probably a case of deadlines and Kirby being available (and a speed demon). At the time of the Hulk's debut no one knew the character would survive over half a century later and become recognized through cartoons, television and movies. It was another job in-between the next <i>Fantastic</i> <i>Four</i> and <i>Rawhide Kid</i> . </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: verdana; font-size: small;">Journey into Mystery # 81, June 1962</span></strong></td></tr>
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<div class="separator" style="clear: both; text-align: center;"><span face=""trebuchet ms" , sans-serif"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;">This cover is generally ascribed to Paul Reinman or George Roussos, but the reductive fleeing figures and the ink-slashes on the robot are indicative of Kirby inks.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8zzGrT0fprB5RXyiMnLHwafAWX8P525ZFlwk4Zg8JPBPySPfsPv3P_QvzSt2ZW_DAz0gs-FQIkYGR_pT9SCiRSqpTv-12V8nRITtchIdaj7ZE7aA8SExu4TAggFolZnokA-MukwxkIMFjtFsGTlt96R3gX4pFiJ1jKCnLh7UYlHIYI5kLFV6HBXn/s3092/kirby-strangetalesann1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3092" data-original-width="2022" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8zzGrT0fprB5RXyiMnLHwafAWX8P525ZFlwk4Zg8JPBPySPfsPv3P_QvzSt2ZW_DAz0gs-FQIkYGR_pT9SCiRSqpTv-12V8nRITtchIdaj7ZE7aA8SExu4TAggFolZnokA-MukwxkIMFjtFsGTlt96R3gX4pFiJ1jKCnLh7UYlHIYI5kLFV6HBXn/w418-h640/kirby-strangetalesann1.jpg" width="418" /></a></div><br /><span style="font-family: verdana;">Strange Tales Annual # 1, 1962</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBU0BN-Ap9pkY0er16eOjpQGzWLXa1GzHgc7dgn1LFQcJ8UcdF5xlS-qDSq6fOGEfE1shYPUem-zY1eiTK8_ORXMM-Xzkqozto5pQptlQSG_ivMHhXzD0h6xB_Tuku_Sk-C7rlPeZP3ZS46r9y0WZBFDXj31pEkyf7BHpsatw568TPV35PukZbDzwq/s2895/kirby-strangetalesann1-unpub.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2895" data-original-width="1896" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBU0BN-Ap9pkY0er16eOjpQGzWLXa1GzHgc7dgn1LFQcJ8UcdF5xlS-qDSq6fOGEfE1shYPUem-zY1eiTK8_ORXMM-Xzkqozto5pQptlQSG_ivMHhXzD0h6xB_Tuku_Sk-C7rlPeZP3ZS46r9y0WZBFDXj31pEkyf7BHpsatw568TPV35PukZbDzwq/w420-h640/kirby-strangetalesann1-unpub.jpg" width="420" /></a></div><span style="font-family: verdana;">Unpublished cover, Dick Ayers inks.</span><span style="font-family: helvetica;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: "Times New Roman"; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: helvetica;"><i>Strange Tales Annual </i># 1 features Kirby inks, which makes complete sense when a rejected cover was discovered several years ago. The original cover was inked by Dick Ayers, one of Kirby's primary delineators on the monster stories and during the first few years of his superhero work. Ayers' thick, solid inking was perfect for the genre and some of his work was retained on Kirby's version (the Shadow Thing vignette, noticeable on the brickwork). Lee apparently wanted the monsters to threaten humans, which Kirby included in the published version. A replacement would likely be rushed out in the office, so it makes sense that Kirby, instead of Ayers, inked the cover. </span></span></td></tr></tbody></table></span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-imz1PZriCg8/TmWYqnOpDYI/AAAAAAAAAH8/2sLojS5hLDg/s1600/kirbyinksRK31.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-imz1PZriCg8/TmWYqnOpDYI/AAAAAAAAAH8/2sLojS5hLDg/w429-h640/kirbyinksRK31.jpg" width="429" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span face=""verdana" , sans-serif" style="font-size: small;">Rawhide Kid # 31, December 1962</span></strong></em></td></tr>
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<br /><span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">Another cover that screams "Kirby" to me. The use of basic strokes to denote hands and blocky inking on the Rawhide Kid's attire, along with the way the buttons are drawn - bigger and closer together - add up to a simple but attractive cover.</span></span></div><div><span style="font-family: helvetica;"><br />
</span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana; text-align: left;"> </span><a href="https://2.bp.blogspot.com/-3_HR2wFL-t0/WLyWy4O55CI/AAAAAAAAFhM/-FcDSy28ENcjuKVYjfLSltycQpkpbhP2QCLcB/s1600/kirbyinks-suspense36.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-3_HR2wFL-t0/WLyWy4O55CI/AAAAAAAAFhM/-FcDSy28ENcjuKVYjfLSltycQpkpbhP2QCLcB/w464-h640/kirbyinks-suspense36.jpg" width="464" /></a></div><div class="separator" style="clear: both; text-align: center;"><b style="font-family: verdana; text-align: left;"> Tales of Suspense # 36, December 1962</b></div></div><div><span face="Verdana, sans-serif" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><br /></span></span></div><div><span style="font-family: helvetica;"><span face="Verdana, sans-serif" style="font-size: 12.8px;"><span style="font-size: small;">This Kirby fantasy cover clearly has the same distinguishing inking characteristics. Note the policeman in the foreground and the brusque lines on his face and clothing (and don't you just adore the dog!) </span></span><br /></span>
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<b><span style="font-family: verdana;">Rawhide Kid # 33, April 1963</span></b><br />
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<span style="font-family: helvetica;"><span face=""trebuchet ms", sans-serif">I long suspected <i>Rawhide Kid </i># 33 to be an Ayers inked cover but upon closer examination, particularly the clipped strokes on hats, made me reassess this to be Kirby's inking.</span><b> </b></span><br />
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<span style="font-family: helvetica;">May 1963 cover-dated titles feature what I believe are a total of three Kirby-inked covers. Lee apparently handed out assignments in batches, so on a given month you would notice Paul Reinman or Sol Brodsky inking two or three covers, with another four assigned to Dick Ayers.<b> </b>My guess is that Lee needed these covers completed in a hurry and assigned them to Kirby, who was sure to finish the work on time.</span></div>
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<tr><td style="text-align: center;"><img border="0" height="640" nba="true" src="https://2.bp.blogspot.com/-2oJg_N_G5TA/TmWbipTbTmI/AAAAAAAAAIA/s6ThZcwX_CM/w424-h640/kirbyinksFF.jpg" style="margin-left: auto; margin-right: auto;" width="424" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana; font-size: small;"><b>Fantastic</b><strong> Four # 11, February 1963</strong></span></td></tr>
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<span style="font-family: helvetica;">While the cover of FF # 11 was altered in places, likely by Al Hartley (mainly the figure of Sue), the inking is another matter. In studying this cover some years ago I asked Dick Ayers if he inked it. He emailed me, informing me that the record books he checked indicated it was not his handiwork. Since the coloring is very dark it's hard to decipher details, but the bottom<b> </b>character faces, as well as the Torch's flame pattern - similar to his features on FF # 7, strongly suggest that Kirby completed the art. </span><br />
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<a href="https://3.bp.blogspot.com/-uJh_iaq8nhU/WLyLd4NC1gI/AAAAAAAAFgo/etbCtD5iIvwX9Q0gwiFhKU2C4d-9ZkCgQCLcB/s1600/kirbyinks-suspense38.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://3.bp.blogspot.com/-uJh_iaq8nhU/WLyLd4NC1gI/AAAAAAAAFgo/etbCtD5iIvwX9Q0gwiFhKU2C4d-9ZkCgQCLcB/w426-h640/kirbyinks-suspense38.jpg" width="426" /></a></div>
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<strong><span face=""verdana" , sans-serif" style="font-size: small;"><i> <span style="font-family: verdana;"> </span></i><span style="font-family: verdana;">Tales of Suspense # 38, February 1963</span></span></strong><span style="font-family: verdana;"><br /></span>
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<span style="font-family: helvetica;">This cover has all the earmarks of Kirby inking. Notice the simple lines on the background figures and the slashing technique. This looks nothing like Ayers' work, nor the other inkers of the period. While it is true that Ayers followed Kirby's line closely in a few instances, it was highly unusual and Ayers' signature style is hard to completely miss.</span><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-mTs0b6ALlJs/TmWe4_cglPI/AAAAAAAAAII/Z1QxcrQBX_c/s1600/kirbyinksastonish.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://4.bp.blogspot.com/-mTs0b6ALlJs/TmWe4_cglPI/AAAAAAAAAII/Z1QxcrQBX_c/w419-h640/kirbyinksastonish.jpg" width="419" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: verdana; font-size: small;">Tales to Astonish # 40, February 1963</span></strong></td></tr>
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">Kirby's inking of machinery was effective, giving it a cold metallic look<b>.</b> Ant-Man's costume is recognizable without any frills, as are the pedestrians, but Kirby was accomplished enough to make it all work.</span><br /></span>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-E1SbvehoEaU/TmWiIZGs3bI/AAAAAAAAAIM/SPDm_RNGJMA/s1600/kirbyinthor.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://3.bp.blogspot.com/-E1SbvehoEaU/TmWiIZGs3bI/AAAAAAAAAIM/SPDm_RNGJMA/w429-h640/kirbyinthor.jpg" width="429" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span style="font-family: verdana; font-size: small;">Journey into Mystery # 92, May 1963</span></strong></em></td></tr>
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<span style="font-family: helvetica; text-align: left;">While the backgrounds are a little more distinctive and Ayers-like than Kirby's style, Loki's hands and costume barely have any black areas and Thor's helmet has a simple squiggle. Kirby also likely inked the smiling Thor corner trademark, which was soon changed to a more dour expression.</span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-TqflYCrHVKk/TmWkD4YErlI/AAAAAAAAAIQ/rkVb3ztWu7E/s1600/kirbyinksironman.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-TqflYCrHVKk/TmWkD4YErlI/AAAAAAAAAIQ/rkVb3ztWu7E/w429-h640/kirbyinksironman.jpg" width="429" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span style="font-family: verdana; font-size: small;">Tales of Suspense # 41, May 1963 </span></strong></em></td></tr>
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<span style="font-family: helvetica; text-align: left;">Iron Man's armor has the same choppy lines that accompany Kirby's inking of machinery, and Dr. Strange's outfit again makes use of a few lines to denote clothing folds. </span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-N_0BlMq5A-w/TmWl6_qIYsI/AAAAAAAAAIU/hW4RBYX7uTw/s1600/kirbyinksstrangetales.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-N_0BlMq5A-w/TmWl6_qIYsI/AAAAAAAAAIU/hW4RBYX7uTw/w429-h640/kirbyinksstrangetales.jpg" width="429" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span style="font-family: verdana; font-size: small;">Strange Tales # 112, September 1963</span></strong></em></td></tr>
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<span style="font-family: helvetica;">The characters and background elements all point to Kirby's sparse inking. The Human Torch's "flame lines" appear different enough than those of Dick Ayers or George Roussos (the two primary inkers of the character in the Fantastic Four in this period) to suggest Kirby's hand. </span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-D0b5HyCYSeQ/TmWnpwLePsI/AAAAAAAAAIY/t8YnaaUGDi0/s1600/kirbyinkssgtfury.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" nba="true" src="https://1.bp.blogspot.com/-D0b5HyCYSeQ/TmWnpwLePsI/AAAAAAAAAIY/t8YnaaUGDi0/w429-h640/kirbyinkssgtfury.jpg" width="429" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><strong><span style="font-family: verdana; font-size: small;">Sgt. Fury # 3, September 1963. Kirby or Ditko inks?</span></strong></em></td></tr>
</tbody></table><br /><span style="font-family: helvetica;">I'm still on the fence regarding this cover</span><span style="font-family: helvetica;">. I</span><span style="font-family: helvetica;">n the Grand Comicbook Database the possibility of Steve Ditko as inker was brought up, and while I was initially skeptical, I clearly see him as a possibility. There are instances where Ditko literally traced Kirby's pencils, such as the "Giant-Man" story in </span><i style="font-family: helvetica;">Tales to Astonish </i><span style="font-family: helvetica;"># 50. The lack of definition in the hands and the soldier's garb looks like typical Kirby inking, but there's something about Fury's face (and, oddly enough, his canteen) that has a touch of Ditko.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI7RrFirDfLi35fKAliQlo0FyxlZjlk6h9jTthXE-gJgfi5B4KFi8WYEGzuL8Uwke0AjPHG4vpVtMFEbGE1GDo2x-IijTcoKj7AWesCf8owh1CfmQjAfAn1KXm6By3KnzozPS4NfIfXHZbel57TZ1LUhFPuWARojgr5qCGTSaB1oQLZipqqxYc5Ksc/s6088/kirbyinksromance.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6088" data-original-width="4088" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI7RrFirDfLi35fKAliQlo0FyxlZjlk6h9jTthXE-gJgfi5B4KFi8WYEGzuL8Uwke0AjPHG4vpVtMFEbGE1GDo2x-IijTcoKj7AWesCf8owh1CfmQjAfAn1KXm6By3KnzozPS4NfIfXHZbel57TZ1LUhFPuWARojgr5qCGTSaB1oQLZipqqxYc5Ksc/w430-h640/kirbyinksromance.jpg" width="430" /></a></div><br /><span style="font-family: helvetica;"> </span><span style="font-family: verdana;"><b>Love Romances # 96, November 1963</b></span></div><div><span style="font-family: helvetica;"><br /></span><span face=""trebuchet ms" , sans-serif"><span style="font-family: helvetica;">This is the only Kirby inked romance cover I've discovered thus far. The face and hair of the woman in the foreground has a distinctive Kirby touch. Is this Kirby's last "unknown" inked cover of the period? Stay tuned!</span></span></div><div><span face=""trebuchet ms" , sans-serif"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbej90q8vtdza7t_EfuogM-F8G0uu5_N-JBfk9uiMEI4VseBBmPh-b3PDKMpdrrL8y78Mo98D0r2nrmfX9s1VSsBvHGxkML5H4EmqSSvPWaEoJ4KPZrOBPPrnVHN7Si3-PsUQPN0tN9nCjssNtp7dAT8Gyi2PriOUpLbhswYUqL1gKOY4CrDPY4KXN/s1493/kirbyinks-moleman-ffan1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1493" data-original-width="940" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbej90q8vtdza7t_EfuogM-F8G0uu5_N-JBfk9uiMEI4VseBBmPh-b3PDKMpdrrL8y78Mo98D0r2nrmfX9s1VSsBvHGxkML5H4EmqSSvPWaEoJ4KPZrOBPPrnVHN7Si3-PsUQPN0tN9nCjssNtp7dAT8Gyi2PriOUpLbhswYUqL1gKOY4CrDPY4KXN/w402-h640/kirbyinks-moleman-ffan1.jpg" width="402" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWE0HHZR-Q4DwdvaF5Xy-uvmVC-kFgORSjaXVbmnuJtFTQ2NqIbY6oeFJPuNnH4Qp7AfSGHayEYePlHlYydOtjcz66O7VLg3Vjr2U00VxyNYaK2lf3jrN-MsOunCLYuQQSRXxx5TOEUexJSbYNZSyq8GPlndzpXBxxDIjh501dMtSj-j8ixZj9ndqH/s1600/kirbyinks-skrulls-ffan1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWE0HHZR-Q4DwdvaF5Xy-uvmVC-kFgORSjaXVbmnuJtFTQ2NqIbY6oeFJPuNnH4Qp7AfSGHayEYePlHlYydOtjcz66O7VLg3Vjr2U00VxyNYaK2lf3jrN-MsOunCLYuQQSRXxx5TOEUexJSbYNZSyq8GPlndzpXBxxDIjh501dMtSj-j8ixZj9ndqH/w416-h640/kirbyinks-skrulls-ffan1.jpg" width="416" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdd46zucePSVAfQIYxsz6RvnTzQH7bLX2AY_XLi2ZZhPDNLQdxFC1ahpvglBDhz-GVhBl3sln4dk8EZI7QUtFw8dvHB28n_D1MRHbJ6MifBjKMrTRR8yLIK0vmCFsH677FJhkz6txpA42gpi4lxYjh_qlAPKv8iYfm1S1hdxZ26t_Zyl3ED84UfVGK/s1600/kirbyinks-miracle-ffan1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdd46zucePSVAfQIYxsz6RvnTzQH7bLX2AY_XLi2ZZhPDNLQdxFC1ahpvglBDhz-GVhBl3sln4dk8EZI7QUtFw8dvHB28n_D1MRHbJ6MifBjKMrTRR8yLIK0vmCFsH677FJhkz6txpA42gpi4lxYjh_qlAPKv8iYfm1S1hdxZ26t_Zyl3ED84UfVGK/w416-h640/kirbyinks-miracle-ffan1.jpg" width="416" /></a></div></span><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiue7ultSEll5lRBiTRvXHuABDiGa_RpReSLjKHVoI3DC5_hiZb6UnFfn7uZIqm55MfC-9QzLMWoDrlI87DMGjFG1gUivP2VWLrGkaWFX_hnz8eFgywxy_rq2nZ4tsF2Zfm-cY4rxOl-gikE7ORCuiehjFGD4Hrq43bHqxPQ28lSUykXUfFD9RM-PMJ/s1600/kirbyinks-impy-ffan1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiue7ultSEll5lRBiTRvXHuABDiGa_RpReSLjKHVoI3DC5_hiZb6UnFfn7uZIqm55MfC-9QzLMWoDrlI87DMGjFG1gUivP2VWLrGkaWFX_hnz8eFgywxy_rq2nZ4tsF2Zfm-cY4rxOl-gikE7ORCuiehjFGD4Hrq43bHqxPQ28lSUykXUfFD9RM-PMJ/w416-h640/kirbyinks-impy-ffan1.jpg" width="416" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Ul1lzrmB_XNuF2sWPRlyTWGnonqKCd2_xti9yoPG9DQrUSnk8Z2bRdCETP4Y5h1u0OXUI01Fie_yXhwsOzQ74IBTvQClKzBgm2Q0SB5PcBsGfZC__a-vh7TNR5mUwW9mb2Op6B43qZcBrHZChS3I3DWonefjwIW5VPs8KG5cD-imZhyea2ZEbixk/s1600/kirbyinks-hulk-ffan1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Ul1lzrmB_XNuF2sWPRlyTWGnonqKCd2_xti9yoPG9DQrUSnk8Z2bRdCETP4Y5h1u0OXUI01Fie_yXhwsOzQ74IBTvQClKzBgm2Q0SB5PcBsGfZC__a-vh7TNR5mUwW9mb2Op6B43qZcBrHZChS3I3DWonefjwIW5VPs8KG5cD-imZhyea2ZEbixk/w416-h640/kirbyinks-hulk-ffan1.jpg" width="416" /></a></div></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4IMu2uIwC7ERF_gBOKrsDjILLMuzfbkd_BrlpTIo76j_XW5ycBlHfnIkDIBbxHihhBg1CnnDBirSn4sxzgGS9G-dfyabqFrm_T4B946yNI66ckjOvEMo3qs0JIA3Xl92QuVqRbgCztdWDWpe8ROfUhz1_J2wlq7tgbixH7DMPEmvF_tJgoZq4id1W/s1600/kirbyinks-redghost-ffan1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4IMu2uIwC7ERF_gBOKrsDjILLMuzfbkd_BrlpTIo76j_XW5ycBlHfnIkDIBbxHihhBg1CnnDBirSn4sxzgGS9G-dfyabqFrm_T4B946yNI66ckjOvEMo3qs0JIA3Xl92QuVqRbgCztdWDWpe8ROfUhz1_J2wlq7tgbixH7DMPEmvF_tJgoZq4id1W/w416-h640/kirbyinks-redghost-ffan1.jpg" width="416" /></a></div></div><div>In addition to covers I believe Kirby also inked all but one of the pin-ups in <i>Fantastic Four Annual</i> # 1, 1963. Dick Ayers clearly inked the Mad Thinker, the only illustration that was <i>not</i> lettered by Ray Holloway (Artie Simek did the honors). Since the Annual was triple the length of an ordinary comic more time was afforded to complete the assignment; it's a likely assumption that pages were penciled and inked at different stages. . </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><span face=""trebuchet ms" , sans-serif"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEWdjrbgGYDCwBJic72yqYlYMutksafU8A4zXK_op4uer0bFckQc2Cxg0A09V_BtuB0kb36-OtNE6B-AmLlwu4gnjcNAkSv2MFmsQ73b4QWK6dFFHa7-5QXhnxJuxGPL8abhgZMtRXVNg0JWF-gP4CY_gOxPeIZeezuYQBE1-4IAU7shs4DsfLnrhN/s4800/kirbyinksfantasymaster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4800" data-original-width="3800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEWdjrbgGYDCwBJic72yqYlYMutksafU8A4zXK_op4uer0bFckQc2Cxg0A09V_BtuB0kb36-OtNE6B-AmLlwu4gnjcNAkSv2MFmsQ73b4QWK6dFFHa7-5QXhnxJuxGPL8abhgZMtRXVNg0JWF-gP4CY_gOxPeIZeezuYQBE1-4IAU7shs4DsfLnrhN/w506-h640/kirbyinksfantasymaster.jpg" width="506" /></a></div><b> D</b><span face=""verdana" , sans-serif" style="font-size: small;"><b>etail to the cover of <i>Fantasy Masterpieces </i># 4, August 1966<span style="font-size: medium;"> </span></b></span></span></div></span></span></div><br /><div style="text-align: center;"><div style="text-align: justify;"><span style="font-family: helvetica;">In the following years Kirby was a whirlwind of production and creativity, with Dick Ayers, George Roussos, Vince Colletta and most notably, Chic Stone and Joe Sinnott embellishing his pencils. With Lee getting requests from fans asking Kirby to ink a cover or story, the artist did the honors in </span><span style="font-family: helvetica;"><i>Fantasy Masterpieces</i> # 4, illustrating his co-creation Captain America. It was to be his last ink-job at Marvel. In a business sense it was understandable. Kirby was too valuable as a penciller and had no interest in going over them, still, it would have been interesting to see how Kirby would have inked an entire issue of <i>FF, Thor, Captain America</i> or <i>the Hulk</i>. </span></div><span face=""trebuchet ms" , sans-serif"><br /><div style="text-align: justify;"><span style="font-family: helvetica;">Kirby's efforts as an inker is a small part of his enormous contributions to the world of comic art. Nevertheless, it deserves attention. Like his pencil art, his inking had a raw, unfinished feel that, while not technically perfect, packed a wallop similar to a two minute rock song: fast: furious and wildly exuberant. </span></div><div style="text-align: justify;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: justify;"><span style="font-family: helvetica;"><i> Special thanks to Frank Mastropaolo for his "minimal" assistance (it's an IN joke!)</i></span></div></span></div></div></div></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com41tag:blogger.com,1999:blog-2089733759263636022.post-42096974796755425872022-07-18T20:48:00.017-04:002022-12-23T17:41:43.339-05:00A Kaleidoscopic View of the Annuals and Giants in '62 <p><span style="font-family: Poppins;">Since the earliest days of the industry, when most comics cost 10 cents, publishers experimented with different formats and prices. In 1939 National (later know as DC) published <i>New York World' s Fair Comics</i>, a tie-in to the famous event that took place in Flushing, Queens that same year. Priced at 15 cents with 96 pages of content, it resurfaced as <i>World's Best Comics # 1 (spring 1941)</i>, starring popular characters <i>Superman </i>and<i> Batm</i></span><i style="font-family: Poppins;">an</i><span style="font-family: Poppins;"> alongside an assortment of other costumed heroes. The title was tweaked to </span><i style="font-family: Poppins;">World's <b>Finest</b> Comics</i><span style="font-family: Poppins;">, retaining the same price, although the page count was cut to 72 (and later 64) pages, until 1954 when it reverted to standard size.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL47wRoBH0M0zc93JR6R6PAQXE16KtQeI-TLcRBT4xlqTn_F8E50vA5oCBbQ3KpRAWn4DalD0F-uRy0zXXuupXZdoDWgwOLLO-n_Ei8_DDYVuirMSVdvCE5-5DZCX5AcqC2nzdsTpA4FVsrpDoJZjch_ctdEA3Xrqz-S_XNsfymgSio4gf35vJzImY/s576/raboy-Americasgreatest1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL47wRoBH0M0zc93JR6R6PAQXE16KtQeI-TLcRBT4xlqTn_F8E50vA5oCBbQ3KpRAWn4DalD0F-uRy0zXXuupXZdoDWgwOLLO-n_Ei8_DDYVuirMSVdvCE5-5DZCX5AcqC2nzdsTpA4FVsrpDoJZjch_ctdEA3Xrqz-S_XNsfymgSio4gf35vJzImY/w444-h640/raboy-Americasgreatest1.jpg" width="444" /></a></div><br /><span style="font-family: verdana;"><i>Clocking in at 100 pages, Fawcett's premiere issue of America's Greatest Comics was on newsstands circa 1941. One of DC's biggest competitors, their Captain Marvel even outsold Superman for a period of time. Mac Raboy cover art. </i></span><span style="font-family: Poppins;"> </span><p></p><p><span style="font-family: Poppins;">Other publishers took note of DC's success, particularly Fawcett with <i>America's Greatest Comics</i>, starring top-seller <i>Captain Marvel, </i> joined by <i>Spy Smasher</i>, <i>Bulletman</i> and various second-tier protagonists. Another heavy-hitter, MLJ, originally focused its attention on superhero fare, but the character of Archie Andrews surpassed expectations and soon became their primary focus, so much so that the company was eventually rebranded as "Archie Comic Publications." An array of 25-centers starring Archie and his teenage gang followed. While these comics sold at various times during the year, the summer months were often a period when extra titles proliferated; in all likelihood maximum sales were attained due to many youngsters being out of school. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXFXGKNBk-Q5nWEXI9zJ8JhX4UYX0fGz3IABbtJB7bQhmpD1_NINbeVu98Lcyo7uWi4PNTcataVbl4hlIbR4-tyBX6t1B_lWxHsO69otnzrl2hZ_i3BQ9oGYiGx46ZgHRqqK9rZtsGJBityWCwA_UOQfiw2t9CzJC3OpDPWCAPuWWyCel-7t6CW9V/s568/montana-archieann1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="568" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXFXGKNBk-Q5nWEXI9zJ8JhX4UYX0fGz3IABbtJB7bQhmpD1_NINbeVu98Lcyo7uWi4PNTcataVbl4hlIbR4-tyBX6t1B_lWxHsO69otnzrl2hZ_i3BQ9oGYiGx46ZgHRqqK9rZtsGJBityWCwA_UOQfiw2t9CzJC3OpDPWCAPuWWyCel-7t6CW9V/w450-h640/montana-archieann1.jpg" width="450" /></a></div><br /><span style="font-family: verdana;"><i>Fall 1949 saw the debut of Archie's first Annual. At a whopping 116 pages this comic must have been a boon to parents going for long car rides with their children! Bob Montana cover art. </i></span><p></p><p><b><span style="font-family: Poppins;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LQpKZyCGH7GB1dccxYYpup1yVKqWkCL0dqnNHG02syoYz2Vd2WoZE-UmyXAHCS7PGdJebOJdNXioAYEi4sPONpLFR1ZByr9QaaOFHyLkrWWikkBXizAHmGIx1nQz3uHYccISKlvBO_RW_PpZkzsSmWcmnJcKCDeD4aj2hZAKmg_slgD1cUeKKpBY/s572/thriller1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LQpKZyCGH7GB1dccxYYpup1yVKqWkCL0dqnNHG02syoYz2Vd2WoZE-UmyXAHCS7PGdJebOJdNXioAYEi4sPONpLFR1ZByr9QaaOFHyLkrWWikkBXizAHmGIx1nQz3uHYccISKlvBO_RW_PpZkzsSmWcmnJcKCDeD4aj2hZAKmg_slgD1cUeKKpBY/w448-h640/thriller1.jpg" width="448" /></a></span></div><span style="font-family: Poppins;"><br /> <i>Boris Karloff's Thriller was based on the anthology TV show of the same name. This 80 page comic was available on newsstands sometime around July, 1962, and included stories by Leo Dorfman and art by Mike Sekowsky, Ray Bailey, Tom Gill, Alberto Giolotti, Giovanni Ticci and Jerry Robinson. To mimic a phrase host Karloff began each show with: "As sure as my name is Nick Caputo, I can assure you this post is a Thriller!" </i></span><p></p><p><span style="font-family: Poppins;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9_NwA2ZDjxTL1_l-8bFlFz2WnOqWNNwMCrsIpDrQw_ELCn_yYfAM_D9glH8si778iwhGWZItSfaIWnA5zY1fVcpgbdbNjUYI4hYLuMJG9noog3v7otMHdir0LOMdjl7TBcRM0lICXZbIR0KPu0YdIfZ-vNRv2bVxa2Sqo1BGibJTIYJ4yBdHP7Wh7/s571/tripp-luluannual.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9_NwA2ZDjxTL1_l-8bFlFz2WnOqWNNwMCrsIpDrQw_ELCn_yYfAM_D9glH8si778iwhGWZItSfaIWnA5zY1fVcpgbdbNjUYI4hYLuMJG9noog3v7otMHdir0LOMdjl7TBcRM0lICXZbIR0KPu0YdIfZ-vNRv2bVxa2Sqo1BGibJTIYJ4yBdHP7Wh7/w448-h640/tripp-luluannual.jpg" width="448" /></a></span></div><span style="font-family: Poppins;"><br /><i>Dell's Little Lulu was a tremendous success headlined by author John Stanley, who had an affinity for writing about children from their point of view. Cover art by Irving Tripp. Marge's Little Lulu and Tubby at Summer Camp # 5, July 1957. </i></span><div><span style="font-family: Poppins;"><i><br /></i></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihUILspELu7i5pAAZjVWEd7P4JZFy2PIdTFVTQFx-zYDLISqpKjuJmUjJM2SS5OJFhxvaY-mofZncsFDUiUl0_QBrkxylFemdb1HFHvB5QTMMZD4TNvmbLXrpuRXTa8KyJ7R9j7_KGVOFmWlJvg7b0AIaOJu1uAAiRza0oQhCWiEZ2KeEcgtorpS35/s594/batmanannual1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihUILspELu7i5pAAZjVWEd7P4JZFy2PIdTFVTQFx-zYDLISqpKjuJmUjJM2SS5OJFhxvaY-mofZncsFDUiUl0_QBrkxylFemdb1HFHvB5QTMMZD4TNvmbLXrpuRXTa8KyJ7R9j7_KGVOFmWlJvg7b0AIaOJu1uAAiRza0oQhCWiEZ2KeEcgtorpS35/w430-h640/batmanannual1.jpg" width="430" /></a></i></span></div><span style="font-family: Poppins;"><i>DC had success with their 80 page Annuals many of which featured reprinted stories. Cover art by Sheldon Moldoff, Dick Sprang and Curt Swan; inks by Charles Paris, lettering by Ira Schnapp. Batman Annual # 1, June, 1961. </i></span><p></p><p><span style="font-family: Poppins;">By 1961 National/DC focused much of their attention on superhero-related content. This led to them crafting 25 cent versions of <i>Superman,</i> <i>Batman, the Flash and Justice League of America, </i>selecting contents from their archives. Archie publications, another powerhouse in the field, published <i>The World of Jughead</i>, <i>Betty and Veronica Summer Fun</i>, <i>Little Archie</i> and <i>Madhouse</i>. Western also embraced the trend with a huge selection of titles such as <i>Hanna Barbera Summer Fun</i>, <i>Popeye</i>, <i>Little Lulu</i> and <i>Boris Karloff's Thriller</i>. Harvey included extra-length presentations of their most successful comics such as <i>Richie Rich</i>, <i>Sad Sack, Little Audrey, Spooky, Little Dot</i> and <i>Blondie</i>. </span></p><p><span style="font-family: Poppins;">The comics spotlighted below filled the nation's newsstands in the summer of 1962, offering hours of entertainment for children trekking to the beach or going for long rides on vacation. Into the mix came the beginning of Marvel's Annuals. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXbXRIGELeBq6fpQj51tW9eBkRfPjasDQEjOAfzdu7RMpiI2fBM5GqzO5ao6QmvT_AI8D47TLPoqwLj-mgxPJDn_m2xWxrEAw34qeW8-xx4qvpuuFlr4aZgVYSwJQYCd0Etnbg_hbaoE-DWR13C8CDXlHTNCPzj7axvGeaDVMwFBuVzrmqA7uszVu/s2975/annual-millie1.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2975" data-original-width="2016" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXbXRIGELeBq6fpQj51tW9eBkRfPjasDQEjOAfzdu7RMpiI2fBM5GqzO5ao6QmvT_AI8D47TLPoqwLj-mgxPJDn_m2xWxrEAw34qeW8-xx4qvpuuFlr4aZgVYSwJQYCd0Etnbg_hbaoE-DWR13C8CDXlHTNCPzj7axvGeaDVMwFBuVzrmqA7uszVu/w434-h640/annual-millie1.jpg" width="434" /></a><span style="font-family: Poppins; text-align: left;"> </span></div><div class="separator" style="clear: both; text-align: center;"><i style="font-family: Poppins; text-align: left;"><br /></i></div><div class="separator" style="clear: both; text-align: center;"><i style="font-family: Poppins; text-align: left;">Millie the Model Annual # 1. Pencils (and likely colors) by Stan Goldberg; inks by Sol Brodsky; lettering by Artie Simek. </i></div></div><div><span style="font-family: Poppins;"><br /></span><div><span style="font-family: Poppins;">That same summer Martin Goodman, publisher of Timely-Atlas (soon to become known as Marvel), aware of his competitor's profitability with higher-priced comics, tasked editor Stan Lee to follow their lead</span><span style="font-family: Poppins;">. </span></div><div><span style="font-family: Poppins;"><br /></span></div><div><span style="font-family: Poppins;">It may have been Goodman's decision in choosing what titles to publish, based on sales of their ongoing series. <i>Millie the Model</i>, which began in 1945, was an obvious choice, since the character was extremely popular, appearing in her monthly comic book and <i>Life With Millie</i>. This Annual<i> </i>was the first to include all-new material, written and drawn by the regular team of Stan Lee and Stan Goldberg. </span><span style="font-family: Poppins;"><b> </b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sZbpU2s5BMUH4r-9mxB-QvImO9QHjNQKy3pLwzPJvb2UYcoiIgikPYJGNay8GfW5r-RdmUjIpAXSLdC1p5vzWfYJwguWIOCOtrbxKIAF9yrDiKNBduVzyn2KUQdza9W-yCkvsk8Xp3TqknPK3aCD2DqpeUo9PEJQGF7LbaBwudDzVIbyYWUuzxwz/s2815/millieann1-perfer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2815" data-original-width="1878" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sZbpU2s5BMUH4r-9mxB-QvImO9QHjNQKy3pLwzPJvb2UYcoiIgikPYJGNay8GfW5r-RdmUjIpAXSLdC1p5vzWfYJwguWIOCOtrbxKIAF9yrDiKNBduVzyn2KUQdza9W-yCkvsk8Xp3TqknPK3aCD2DqpeUo9PEJQGF7LbaBwudDzVIbyYWUuzxwz/w426-h640/millieann1-perfer.jpg" width="426" /></a></div><i><span style="font-family: Poppins;">Stan Lee was known to ask his audience for input - but it didn't start in the superhero titles - as this page reflects. </span> </i><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPTvUlGVR_yFFkZrkJKk72uCUTg4dlJoKVE0C_XJ1CzoPLuiOaJ6rqfFkHk5ftXIu6gxcsPlAvez1FzUJS5JYKzfwaH_sSAqdyuQHzY7mK9-2sZplwp3vl1DSEEN98A6r0F-eJNAsvYxkOp4Z8WVJsxVZp0T33xONUn_2QhG3EAlEElbeIwTUdY9VJ/s2715/millieann1-lee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2715" data-original-width="1932" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPTvUlGVR_yFFkZrkJKk72uCUTg4dlJoKVE0C_XJ1CzoPLuiOaJ6rqfFkHk5ftXIu6gxcsPlAvez1FzUJS5JYKzfwaH_sSAqdyuQHzY7mK9-2sZplwp3vl1DSEEN98A6r0F-eJNAsvYxkOp4Z8WVJsxVZp0T33xONUn_2QhG3EAlEElbeIwTUdY9VJ/w456-h640/millieann1-lee.jpg" width="456" /></a></div><span style="font-family: Poppins;"><i>Lee promoted both himself and artist Stan Goldberg on this feature page. He would continue that practice throughout the Marvel line. <br /></i></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzfFEFqE07SsIhgWi47j8fwLvH-Eiz-bqteYMI4cxLC7BqLMxLL2wqhkyYj4TWqIdUQXPPeZvqbp5spEGpYX6GnguxDvb_WhRY9X-ALM9VkGTKXpPd4zB1pwsU5d4EuT7cPD9jepQvkASyPEMJvDzQCYKn7y9ZxVYrYT9O2-E_0tWKJObIFA3OwBO/s2917/millieann1-ad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2917" data-original-width="1890" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzfFEFqE07SsIhgWi47j8fwLvH-Eiz-bqteYMI4cxLC7BqLMxLL2wqhkyYj4TWqIdUQXPPeZvqbp5spEGpYX6GnguxDvb_WhRY9X-ALM9VkGTKXpPd4zB1pwsU5d4EuT7cPD9jepQvkASyPEMJvDzQCYKn7y9ZxVYrYT9O2-E_0tWKJObIFA3OwBO/w414-h640/millieann1-ad.jpg" width="414" /></a></div><br /><span style="font-family: Poppins;"><i>While cross-promotion became prominent during the Marvel superhero expansion, evidence points to Lee always being inclined to move in that direction, likely inspired by radio programs such as The Jack Benny and Fred Allen Shows, where the comedians had a running "feud" and supporting characters were often referenced or interacted with each other. </i></span></div><div><p></p><p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDneO57ppC5XdDScL9yVnAdhxSBBZlpBapTsQfUKnX5ozztDxW3NsvZJWCTv5bpfImmZpq3fESofl1954jnDYNnBVJohxVo29oQregcHXc0ZeAGS4MF6z70WbGCnWUUmfXurUGvmJMayj8V3Ew5OvhlE-3kgMVCL1wX-cO2Ue4X6Cdz3mrDLQLRuxH/s589/schaffenberger-loislanean1.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="589" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDneO57ppC5XdDScL9yVnAdhxSBBZlpBapTsQfUKnX5ozztDxW3NsvZJWCTv5bpfImmZpq3fESofl1954jnDYNnBVJohxVo29oQregcHXc0ZeAGS4MF6z70WbGCnWUUmfXurUGvmJMayj8V3Ew5OvhlE-3kgMVCL1wX-cO2Ue4X6Cdz3mrDLQLRuxH/w434-h640/schaffenberger-loislanean1.jpg" width="434" /></a></p><i><span style="font-family: verdana;">One month before Millie was in candy stores rival DC comics debuted Lois Lane Annual # 1 (June 1962). It starred the feisty reporter who was recognizable to fans of both Superman comics and the TV show. Her core audience was likely young girls, a demographic that overlapped with Millie's buyers. Cover by Kurt Schaffenberger; lettering by Ira Schnapp. As an aside, I discovered the cover of this Annual on the floor of a closet in my house; an early childhood memory I've retained all these years later. </span></i><p></p><p><span style="font-family: verdana;">The other title Marvel chose for extra-length treatment was <i>S</i></span><span style="font-family: Poppins;"><i>trange Tales</i>,</span><span style="font-family: Poppins;"><i> </i>an ongoing anthology series in publication since 1952, originally consisting of horror material, but toned down to lighter fantasy fare when the Comics Code came into effect, and finally settled into monster-oriented stories in the early 1960s. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx4XLjDakRVIY2nufcjQVPzkwpTtImhJ-ZuA09vmKDuPnhIDY1Z0SG_I45aYnUHg7SyZdCcF_ARA1999w2i9wBJZiqlRdXdJFt_BTvvyUwVghqLCwBmpcmAzdqfqKCeWKrso-rPI41ynMLGyd__3bHfo6vvdz4fI4z-IMvNkkCqI0PQL7lhHXvJqBn/s3092/kirby-strangetalesann1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3092" data-original-width="2022" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx4XLjDakRVIY2nufcjQVPzkwpTtImhJ-ZuA09vmKDuPnhIDY1Z0SG_I45aYnUHg7SyZdCcF_ARA1999w2i9wBJZiqlRdXdJFt_BTvvyUwVghqLCwBmpcmAzdqfqKCeWKrso-rPI41ynMLGyd__3bHfo6vvdz4fI4z-IMvNkkCqI0PQL7lhHXvJqBn/w418-h640/kirby-strangetalesann1.jpg" width="418" /></a></div><i><span style="font-family: Poppins;">Strange Tales Annual # 1 was on stands the same day as Millie, although it differed in that it consisted of material published just 2-3 years earlier. Jack Kirby pencils and inks (along with a touch of Dick Ayers; see the following caption); Artie Simek letters and (likely) Stan Goldberg colors. </span></i><p></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsqoMDPbScPR9smoSGuh6aopbodO_e3WNLHOy-wUChBZrggLWQtbXA9FOka8qmZkgIosL1TXvtuszQ_wEDEShxrkOxuM9vhtpFk3WpBP0UrA6jhsIG-tBX2DB7smczWER9Nost-d0-kxB2r3dPuIcIBUW96-QVNYty7EjCM65Bc18Cwy4H2I_xlFL0/s2895/kirby-strangetalesann1-unpub.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2895" data-original-width="1896" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsqoMDPbScPR9smoSGuh6aopbodO_e3WNLHOy-wUChBZrggLWQtbXA9FOka8qmZkgIosL1TXvtuszQ_wEDEShxrkOxuM9vhtpFk3WpBP0UrA6jhsIG-tBX2DB7smczWER9Nost-d0-kxB2r3dPuIcIBUW96-QVNYty7EjCM65Bc18Cwy4H2I_xlFL0/w420-h640/kirby-strangetalesann1-unpub.jpg" width="420" /></a></i></div><i><br /><span style="font-family: Poppins;">This was Kirby's original cover to Strange Tales Annual # 1. Stan Lee obviously felt the monsters needed to be menacing humans, so he instructed Kirby to revise each scenario. It was probably rushed out in the office; Kirby's pencils and inks on the second version being a telltale clue. Since I love minutia I noticed that the bottom right "Shadow Thing" figure and background were utilized (and slightly repositioned) with Kirby adding the fearful citizen, so a trace of Dick Ayers' inking can be seen on the published cover.</span></i><p></p><p><span style="font-family: Poppins;"></span></p><div class="separator" style="clear: both; font-style: italic; text-align: center;"><span style="font-family: Poppins;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-bxQ1sPUjuIwWpoi5HXodYz-t7dIor2wANrV3GD7Z8xtu2Q7yAw4-YSTfnyDCp1rg9fa0GBlswlhsjcNKTxnrSl_LGbeg1SZUH_JheX5G9iXYY4q4MMpAsVJsLTtPE_b9S1oFEkPdAkPezW1-Iy4MZAzrZ8peTMA-VnfzBSmQ18N4ESfRZ4zegxY/s2833/kirby-strangetalesann1-grottu.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2833" data-original-width="1908" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-bxQ1sPUjuIwWpoi5HXodYz-t7dIor2wANrV3GD7Z8xtu2Q7yAw4-YSTfnyDCp1rg9fa0GBlswlhsjcNKTxnrSl_LGbeg1SZUH_JheX5G9iXYY4q4MMpAsVJsLTtPE_b9S1oFEkPdAkPezW1-Iy4MZAzrZ8peTMA-VnfzBSmQ18N4ESfRZ4zegxY/w432-h640/kirby-strangetalesann1-grottu.jpg" width="432" /></a></span></div><span style="font-family: Poppins;"><br /><div style="font-style: italic; text-align: justify;"><i><span style="font-family: Poppins;">As noted, all the stories were reprints from the monster titles. Grottu originally appeared in Strange Tales #73, February, 1960. Plot likely by Stan Lee; Script likely by Larry Lieber; Jack Kirby pencils; Bill Everett inks; Artie Simek letters and Stan Goldberg the likely suspect as colorist.</span></i></div><div style="font-style: italic; text-align: justify;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvVpRjq5EGQdn3rFLkceaC9G_17HoFGobc7LkJJi3V5VSwSEl34VRCuFOTwF2ROLHnatsZX4j9vYM3QZF6Zcg0JtpiSlOF_tfEeg8KJZEHPK7qY5fDPBZsLJN_hO76cagePFkY5G2FHdzCv131N3wzp_n492Pj6puqwgONqWTXE8O-SPUj_E7aLfG7/s2733/ditko-strangetalesann1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2733" data-original-width="1854" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvVpRjq5EGQdn3rFLkceaC9G_17HoFGobc7LkJJi3V5VSwSEl34VRCuFOTwF2ROLHnatsZX4j9vYM3QZF6Zcg0JtpiSlOF_tfEeg8KJZEHPK7qY5fDPBZsLJN_hO76cagePFkY5G2FHdzCv131N3wzp_n492Pj6puqwgONqWTXE8O-SPUj_E7aLfG7/w434-h640/ditko-strangetalesann1.jpg" width="434" /></a></div>Originally from Tales to Astonish # 6, November 1959. Steve Ditko art; Artie Simek letters; Stan Goldberg colors (?). Writer unknown. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgOgZqfmGhLi_-v4wNY9JqTmIGfpQ7oFq32d1s1YmazIpv6yzWhW_waGOYtV4tNzoQpqoNhlfO7Q3uqRuTLTMwkAzKqzUBiJg-PWvY6rXFeAMAk4jmfXdunZ8F9FuORo1SGoEpb2DayX7VHTb69GDsBiItiiRSZHxzTLChNIqVxFKHHEuvYtycIAvF/s2769/heck-strangetalesann1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2769" data-original-width="1896" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgOgZqfmGhLi_-v4wNY9JqTmIGfpQ7oFq32d1s1YmazIpv6yzWhW_waGOYtV4tNzoQpqoNhlfO7Q3uqRuTLTMwkAzKqzUBiJg-PWvY6rXFeAMAk4jmfXdunZ8F9FuORo1SGoEpb2DayX7VHTb69GDsBiItiiRSZHxzTLChNIqVxFKHHEuvYtycIAvF/w438-h640/heck-strangetalesann1.jpg" width="438" /></a></div>"I Saw the Serpent that Saved the World!" originally presented in Journey into Mystery # 55, November 1959. Possible Lee plot; Lieber script; Don Heck pencils and inks; Artie Simek letters and Stan Goldberg colors (I think!) </i></div><div style="font-style: italic; text-align: justify;"><i><br /></i></div><div style="text-align: justify;"><i>Strange Tales Annual</i> # 1 included monster/fantasy/sci-fi stories by two of their top artists (Kirby and Ditko; each represented by four stories) closely followed by the talented Don Heck (three) along with solo outings by John Forte and Paul Reinman. It was a fine sampling of their monthly output. <i style="font-style: italic;"> <span style="font-family: Poppins;"><br /></span></i></div></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN3aFfS9VF7qjpwpq23ACkhXU1pv1Wo2c1TMyKCXxpFRIYkKIizlPmy12i94nIDvkimdOaiBh5PfryWUBjaA460hM2K5oWB2bi4xmpXTfoAA9U3oiVxzWqrmTPOE4mjKTlt8v7BpKVb3it6YsjCt76gMi3JdU_b90yrqs3cwQThhwqfcgvAaxgafPD/s567/popeye66.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN3aFfS9VF7qjpwpq23ACkhXU1pv1Wo2c1TMyKCXxpFRIYkKIizlPmy12i94nIDvkimdOaiBh5PfryWUBjaA460hM2K5oWB2bi4xmpXTfoAA9U3oiVxzWqrmTPOE4mjKTlt8v7BpKVb3it6YsjCt76gMi3JdU_b90yrqs3cwQThhwqfcgvAaxgafPD/w452-h640/popeye66.jpg" width="452" /></a></div><p><i><span style="font-family: Poppins;"> </span></i><i><span style="font-family: verdana;">Popeye and his cast of characters occupy this impressive cover by Bud Sagendorf, who wrote and drew all the interior stories. This was the first issue published by Western (aka Gold Key) with the numbering continued from Dell's series. Popeye # 66, July 1962. </span></i></p><p></p><p><i><span style="font-family: verdana;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8VoQiQFg8nt7bgwcYIDRRyM3oa4CvkEkZ_59NPtG9ADaAzVP3ONRa_qDmleCHfvkgXD0vRqxEtaU8tP3Y5niTPqP_-irebOjyviVk4iCrg1ZltCa__Ym-9oAOrKcVeE4cxTpe710uIrlvsJpmTaZlezV-4XWMvIMm1IpieZg1GrJOVdhSYmUlWcWH/s567/flintstones-boulder.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8VoQiQFg8nt7bgwcYIDRRyM3oa4CvkEkZ_59NPtG9ADaAzVP3ONRa_qDmleCHfvkgXD0vRqxEtaU8tP3Y5niTPqP_-irebOjyviVk4iCrg1ZltCa__Ym-9oAOrKcVeE4cxTpe710uIrlvsJpmTaZlezV-4XWMvIMm1IpieZg1GrJOVdhSYmUlWcWH/w452-h640/flintstones-boulder.jpg" width="452" /></a></span></i></div><i><span style="font-family: verdana;"><br />Western had the rights to many animated cartoons, including Warner Brothers, Hanna-Barbera and Jay Ward. They produced giants for many of them during the summer, including Bugs Bunny, Yogi Bear, Huckleberry Hound and Terrytoons. This attractive cover is attributed to Pete Alvarado and Norm McGary. </span></i><p></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYAv1llRPVwI4n11bdPiJd4yUFW3e7itiknDvF3Xh5i9VFUE901UHGB9tV2uZJ5BY_2jIreEKRd5eK2I7abvy_7692MVha530K-c_53aEq5PTIvrSExE5E2A9kKlVfUKC9VAUS3yErAy9iQFb40NxYfSjX5jw7yElXXd0Defe1syGFXIh9qij5nvbZ/s587/sadsackspecial.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYAv1llRPVwI4n11bdPiJd4yUFW3e7itiknDvF3Xh5i9VFUE901UHGB9tV2uZJ5BY_2jIreEKRd5eK2I7abvy_7692MVha530K-c_53aEq5PTIvrSExE5E2A9kKlVfUKC9VAUS3yErAy9iQFb40NxYfSjX5jw7yElXXd0Defe1syGFXIh9qij5nvbZ/w436-h640/sadsackspecial.jpg" width="436" /></a></i></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQ6qzDtLLvPUDIyH69cBCzRe_ksfTC9rCgdmFxB6gcfzX0YHBHU93Qtp2VqXrv1wjR-aAJWgrUYsYA4i0yKbsdSWe2TF_Ob1e72_uSzKMlxiTdwxQh9c9YTMosohYiokbTWBv7qMPTNEKToyiRC29_KqrjYUYBAQ886Z1qEoB5Qr_yDUHBMECYdzD/s588/richierichmillions.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQ6qzDtLLvPUDIyH69cBCzRe_ksfTC9rCgdmFxB6gcfzX0YHBHU93Qtp2VqXrv1wjR-aAJWgrUYsYA4i0yKbsdSWe2TF_Ob1e72_uSzKMlxiTdwxQh9c9YTMosohYiokbTWBv7qMPTNEKToyiRC29_KqrjYUYBAQ886Z1qEoB5Qr_yDUHBMECYdzD/w436-h640/richierichmillions.jpg" width="436" /></a></i></div><i><br /></i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJibqKKZFkkFdvNkYbrZAjuiq0xNI3v8R4uU6emMoapZV9_qFECIBkVkHUGH8NEo2FzHGauh1wa0iuBCFxTcoSr-vA0Pa4wMCl8ofdxssPPjPV_6t_QJ994uB3sq1r-4gLbN8-P4-_EfIUa50GySXqn4Ln699W_Wgkm1tR4tXlWiAx2qfUXrMDMfFf/s586/kremer-casper.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJibqKKZFkkFdvNkYbrZAjuiq0xNI3v8R4uU6emMoapZV9_qFECIBkVkHUGH8NEo2FzHGauh1wa0iuBCFxTcoSr-vA0Pa4wMCl8ofdxssPPjPV_6t_QJ994uB3sq1r-4gLbN8-P4-_EfIUa50GySXqn4Ln699W_Wgkm1tR4tXlWiAx2qfUXrMDMfFf/w436-h640/kremer-casper.jpg" width="436" /></a></div><p></p><p><i><span style="font-family: verdana;">Harvey specialized in comics for the small-fry, as the above trio of titles reflect, all of which were on sale during June-July of 1962. Sad Sack cover by George Baker, Richie Rich is uncertain and Casper is by Warren Kremer. </span></i></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzmeI1y_C9hM6EoEJ5_DPesSeHKaT6WRU7XWyjAPkJVG5SfTs-gVMZcbhrAFENjVn3gVM81sl4Yj5dPfPfEepv_YIaWONw8z2xu0Hati98zQ0KF722xHQ55hOWncIQ6JSgi0gytMuYL1bTfx7bLdXbgwxoPxq6BKFyg0yat3EcHkx2UUo60R-cO-xd/s591/elias-blackcat63.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzmeI1y_C9hM6EoEJ5_DPesSeHKaT6WRU7XWyjAPkJVG5SfTs-gVMZcbhrAFENjVn3gVM81sl4Yj5dPfPfEepv_YIaWONw8z2xu0Hati98zQ0KF722xHQ55hOWncIQ6JSgi0gytMuYL1bTfx7bLdXbgwxoPxq6BKFyg0yat3EcHkx2UUo60R-cO-xd/w434-h640/elias-blackcat63.jpg" width="434" /></a></i></div><i><span style="font-family: Poppins;">Harvey produced one giant-sized adventure book in 1962, Black Cat, a character that dated back to 1942. Lee Elias cover art; Joe Rosen lettering. Interior stories were reprints drawn by Elias, with some scripted by Bob Haney. In later years Harvey's Giant's spotlighted Will Eisner's Spirit and Simon and Kirby's Fighting American. <span><br /></span></span></i><p></p><p><span style="font-family: Poppins;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggIZVj-o6dWixAxarzOcuJjG7Wusg5gMGoOiHzYU6bByXfOscei4c7-bmV1fDMaIiQPvHOuD413Z-DbRfqG-ZnnptnKL-7MWb4kQOpzbNmxPDdgSGrgHpKug8r2s_qYH2JAZHciQOBolTZY093ct5mb8HuNSpubUuAxtQpMSiPhi_cYpcaZ0wB_mel/s579/bettyandveronicaspecial.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggIZVj-o6dWixAxarzOcuJjG7Wusg5gMGoOiHzYU6bByXfOscei4c7-bmV1fDMaIiQPvHOuD413Z-DbRfqG-ZnnptnKL-7MWb4kQOpzbNmxPDdgSGrgHpKug8r2s_qYH2JAZHciQOBolTZY093ct5mb8HuNSpubUuAxtQpMSiPhi_cYpcaZ0wB_mel/w442-h640/bettyandveronicaspecial.jpg" width="442" /></a></i></div><span><div style="font-style: italic;"><i><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="font-family: Poppins;">Archie Giant Series # 18: Betty and Veronica Summer Fun. Pencils by Dan DeCarlo; inks by Rudy Lapick. On sale in July, 1962. </span></i></div><div class="separator" style="clear: both; font-family: verdana; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdDP02ty7kOmLZ6PrMmUh7Xhru7TwFwAbE59wMDLUcFzjyQgB0ODCwX-syyVWfDvpQj5JNbymQSXk-Luj09OYm6Nt1kWiQSGQUwOSgrtBzxUQYOaok7Z2WwKAvP-3Xnh40g3QDrrYt1_XyfmQCSBtrIh75P6VHmNC22sTuMaVrl3T1w7qlI6r83Io/s579/bolling-littlearchie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdDP02ty7kOmLZ6PrMmUh7Xhru7TwFwAbE59wMDLUcFzjyQgB0ODCwX-syyVWfDvpQj5JNbymQSXk-Luj09OYm6Nt1kWiQSGQUwOSgrtBzxUQYOaok7Z2WwKAvP-3Xnh40g3QDrrYt1_XyfmQCSBtrIh75P6VHmNC22sTuMaVrl3T1w7qlI6r83Io/w442-h640/bolling-littlearchie.jpg" width="442" /></a></div><br /><span style="font-family: verdana;">The Adventures of Little Archie # 24. Bob Bolling art and lettering; Victor Gorelick colors. Interior stories and art by Bolling; Joe Edwards, Joe Harold and Dexter Taylor. You could have purchased this comic in August, 1962.</span></i></div><div style="font-style: italic;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mUJB1AkbsUGBeuSILIMbnrSvJeSfGEmdfGJrFg3v2p2LNkwfE_D97HAKWDmQJsHcW448wLzATO_DE8tOBuOFtNmqsSSAKuNMiyywZQ4OJm-3wKzV10A4XaNOIhqg-c_dPZZHt5au0G_4pZjRy8vklhcCuyYhgtKGxqOVeSsWhlRiJleIs0hGWpRK/s592/jughead-giant.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mUJB1AkbsUGBeuSILIMbnrSvJeSfGEmdfGJrFg3v2p2LNkwfE_D97HAKWDmQJsHcW448wLzATO_DE8tOBuOFtNmqsSSAKuNMiyywZQ4OJm-3wKzV10A4XaNOIhqg-c_dPZZHt5au0G_4pZjRy8vklhcCuyYhgtKGxqOVeSsWhlRiJleIs0hGWpRK/w432-h640/jughead-giant.jpg" width="432" /></a></div><br /><span style="font-family: verdana;">I'd be remiss if I skipped over my favorite character, Jughead, who predated Kramer by half a century or so! Archie Giant Series # 19: The World of Jughead; Samm Schwartz art. If you could time travel back to the late summer of 1962 this comic would be available at your local candy store.<b> </b></span></i></div><div style="font-style: italic;"><i><span style="font-family: verdana;"><br /></span></i></div><div style="font-family: verdana;">Archie and his teenage pals were hugely successful, with their popularity overlapping on radio, television, music and animation. </div><div style="font-family: verdana;"><br /></div><div style="font-family: verdana;">The 1962 Annuals/Giants consisted of an assortment of subject matter, although, as one can clearly see, the majority were mainly geared towards pre-teens. In that period humor, girl-oriented titles and cartoons, particularly the recognizable Saturday morning and afternoon syndicated programs, were extremely popular. Fantasy and superhero material were also gaining ground, and from 1963-68 Marvel often crafted new, longer stories and special features, the best arguably being the Lee-Kirby-Ditko <i>Fantastic Four,</i> <i>Journey into Mystery/Thor</i> and <i>Amazing Spider-Man</i> Annuals. </div></span><p><span style="font-family: verdana;">Since there has been much written about <i>that </i>period (including on this blog) I believe its important to look at the bigger picture and get a realistic perspective of what was selling 60 years ago. Mainstream comics were readily available in candy stores, newsstands, luncheonettes, railway stations and many other locations that kids, either on their own or with family, could easily access. Unfortunately, in the decades that followed, the audience for comic books decreased, with children being lured away by a veritable avalanche of diversionary entertainment options. The remaining audience is marginal and consists of many older hard-core superhero fans, or those interested in adult-oriented fare. Gone, for the most part, is the ability - or inclination - to reach out to younger readers. Thus, comics have become of interest primarily to the indoctrinated. Annuals, once a special presentation, produced with care, have been overtaken with superhero pyrotechnics, and such anthologies as <i>Thriller</i> are a thing of the past. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUPXqnswXcWLY127N6WF6lZNWhiYjbGCQuDHNVaz9AXF9pHBe-ssVtLqeKenzvf8ER9ijucE32bjguI798bEUS9K46fu8pQlFlz1Pd6iOBzCxtJ4fyUEnuaA-wn5aXeEMtzq0XpVfkIz5cHwUn5bD1wrmS9SbmgpJfMwaKVu-Cjw5rXvE5c2ZWzDlu/s1600/stang-millieann12.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1042" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUPXqnswXcWLY127N6WF6lZNWhiYjbGCQuDHNVaz9AXF9pHBe-ssVtLqeKenzvf8ER9ijucE32bjguI798bEUS9K46fu8pQlFlz1Pd6iOBzCxtJ4fyUEnuaA-wn5aXeEMtzq0XpVfkIz5cHwUn5bD1wrmS9SbmgpJfMwaKVu-Cjw5rXvE5c2ZWzDlu/w416-h640/stang-millieann12.jpeg" width="416" /></a></div><br /><span style="font-family: verdana;"><i>Surviving the superhero explosion of the 1960s and the monster-horror era of the 1970s, Millie's Annuals remained in publication for a healthy run of 13 years, the final issue appearing in 1975. Stan Goldberg pencils (and possible inks), Morrie Kuramoto letters. </i> </span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2BauQD8G5hKcC1k1gUWrt1AMkaZcy9sdwDYM04-2iVoALPj4JHgkRHDhZ8nrzMtTacWcrrZ6XjVt3pc20f_lY1USzeSKMzWz7feEMsQ0cjf4t-4HI_3R3Yhmq0TAEWn8A7uY_mscf392KIRdhg1NI9w70DWXNZAM5h2Q6Sm3Cpsi9A39yEOvgqAsg/s558/horses-dell.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="558" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2BauQD8G5hKcC1k1gUWrt1AMkaZcy9sdwDYM04-2iVoALPj4JHgkRHDhZ8nrzMtTacWcrrZ6XjVt3pc20f_lY1USzeSKMzWz7feEMsQ0cjf4t-4HI_3R3Yhmq0TAEWn8A7uY_mscf392KIRdhg1NI9w70DWXNZAM5h2Q6Sm3Cpsi9A39yEOvgqAsg/w458-h640/horses-dell.jpg" width="458" /></a></div><i><span style="font-family: Poppins;">Back in the day comics were published that appealed to a wide range of tastes, which I believe was a good thing. A Treasury of Horses, July, 1955. Cover painter unknown.</span></i><p></p><p><span style="font-family: verdana;">Looking at it from an adult perspective I can appreciate the quality of work that went into the various titles. Each company had its own distinct style and the material in general was well-crafted. Many Annuals sold in the hundreds of thousands. Even at Marvel during the superhero boom of the 1960s, </span><i style="font-family: verdana;">Millie the Model </i><span style="font-family: verdana;">remained a solid seller into the 1970s. That audience is largely gone now, and it's doubtful it will ever return. The present generation has many choices with new technology, and the world moves much faster than it did decades ago. Still, those days can be reflected on as a distinct period in time, when comics were truly a part of our popular culture. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1XlQjHhsq6CJuve9TOvJ2C6DHC6kHlQQzxrRgzih5DLBtRUGZdZPLZaSQ37eDgoon1P4S_BPvqMm08Sy8ZzqSTtj4ghPfOt2Ke02I35C-3aklr7b3lj1iVCWsF3Z3zRIqut30YIIv18YuXYUFU_wg_HaIFhXAFLleec-OYVoQi29s2FnkbG7bzhFV/s564/ray-worldsfines3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1XlQjHhsq6CJuve9TOvJ2C6DHC6kHlQQzxrRgzih5DLBtRUGZdZPLZaSQ37eDgoon1P4S_BPvqMm08Sy8ZzqSTtj4ghPfOt2Ke02I35C-3aklr7b3lj1iVCWsF3Z3zRIqut30YIIv18YuXYUFU_wg_HaIFhXAFLleec-OYVoQi29s2FnkbG7bzhFV/w454-h640/ray-worldsfines3.jpg" width="454" /></a></div><br /><span style="font-family: verdana;"><i>There were GIANTS in those days! 96 pages worth! A charming baseball-oriented cover by Fred Ray, from World's Finest Comics # 3, Fall 1941</i></span><p></p><p><span style="font-family: verdana;"> </span></p><div><i><span style="font-family: verdana;"><br /></span></i></div><p><i><span style="font-family: verdana;"> </span></i></p></div></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com7tag:blogger.com,1999:blog-2089733759263636022.post-51700963623002933422022-06-22T18:11:00.006-04:002022-06-24T22:31:54.025-04:00Ditko and the Kid: Guest Post by Bernie Bubnis<div class="separator"></div><div class="separator"><div class="separator" style="clear: right; display: inline; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWDgT25jZUhY4mqRtFRfBboVCfkv2vyAWd4-2_o5ZOWwgG7jQ4W2yTzLLmdWvOhoeXFZWrsYcz2ieMdJ9tBwYeO09Gi92UoFLLEuI8xctj9NvWhwavj2TPJKRuuOBZfS8cEj9G2gAuMbCvSZJSDTyaah1KkCbHr3ONmyfvblEO8-oltyckDFOwA3f3/s733/Bernie.jpeg" style="font-size: 20pt; margin-left: 1em; margin-right: 1em;"></a></div></div><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNT4Blg_ZZr2S4BDHd0jPg4M6eEdunVd8Ve8rz2YROiLPs2tFuPfrdlgfBAjYl0Rj-xE8wWzWqVvMO7EulrjRcVw9uzeuNpeQXYN09W02VFOzlpyVSal8T2CWrRJJDPQTckKUH_mH5LZHW5QDLak9OIXMICk_pGGcATEMyv3xCuqt_LVPQ5NyqU_0/s733/Bernie.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="733" data-original-width="212" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNT4Blg_ZZr2S4BDHd0jPg4M6eEdunVd8Ve8rz2YROiLPs2tFuPfrdlgfBAjYl0Rj-xE8wWzWqVvMO7EulrjRcVw9uzeuNpeQXYN09W02VFOzlpyVSal8T2CWrRJJDPQTckKUH_mH5LZHW5QDLak9OIXMICk_pGGcATEMyv3xCuqt_LVPQ5NyqU_0/w116-h400/Bernie.jpeg" title="Bernie Bubnis" width="116" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;"><b>Bernie Bubnis</b></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDk7nXvdW7-PfgsNMcAw1_QexIQiyb7hV1DM9IfMs6K1xe6q-YFbOqRX_E-JWDJsiP3orG041Zj0ptTDz795URSkzVHrewUInKhq5J2Txiv7X2RQ8V8hf94iARrF4UbB3tNdSO9EnOUYmmpcFzOOGXO4lIuc1uXslc9UAVPqIs80xnuygEGcEVUB-/s1781/ditko-photo.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1781" data-original-width="1253" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDk7nXvdW7-PfgsNMcAw1_QexIQiyb7hV1DM9IfMs6K1xe6q-YFbOqRX_E-JWDJsiP3orG041Zj0ptTDz795URSkzVHrewUInKhq5J2Txiv7X2RQ8V8hf94iARrF4UbB3tNdSO9EnOUYmmpcFzOOGXO4lIuc1uXslc9UAVPqIs80xnuygEGcEVUB-/w284-h400/ditko-photo.jpeg" width="284" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica;"><b> Steve Ditko image </b></span><b style="font-family: helvetica;">copyright Amber Stanton</b></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"></div><p></p><p style="text-align: justify;"><span><span><i><span style="font-family: Poppins; font-size: medium;"><span><b><br /></b></span></span></i></span></span></p><p style="text-align: justify;"><span><span><i><span style="font-family: Poppins; font-size: medium;"><span><b>I'm honored and delighted to present this special post, written by Bernie Bubnis, who orchestrated the first New York Comic Book Convention in 1964. Much like Steve Ditko's Spider-Man, the teenaged Bernie struggled against insurmountable odds and turned his dream of a fan gathering into reality. Its historical context relates to artist Steve Ditko, who made his first - and only - appearance at such an event. What follows is Bernie's heartfelt look back on his encounters with the inimitable Ditko.</b></span></span><span><span><span style="font-family: Poppins; font-size: medium;"><b> </b></span> </span><span style="font-family: arial; font-size: 20pt;"> </span></span></i></span></span></p><p style="text-align: justify;"><span style="font-family: helvetica; font-size: medium;"><span>Mr. Tough Guy </span><span> </span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Article © Bernie Bubnis 2022<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"...Mr. Tough Guy...? I assume meaning <b>me."</b>
Those words are from a letter Steve Ditko sent me. I had written to him when I
was in an angry mood and his return note quoted every word I penned, along <span style="mso-bidi-font-style: italic;">with</span><b style="mso-bidi-font-weight: normal;"> </b>his angry reaction to <i style="mso-bidi-font-style: normal;">my</i>
remarks. Neither of us was very sensitive that day. Let me give you some
background first and <span style="mso-bidi-font-weight: bold;">then</span> I will
discuss those letters.</span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;">The year was 1962 and I was a fourteen year old
chasing a dream. I wanted to draw comic books and made a pest of myself
interviewing comic book artists at their work place, home or even at a private
studio located in the Hell's Kitchen section of New York City. It was that year
and that place when I first met Steve Ditko.</span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: large;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">His studio was located at 276 West 43rd Street in
NYC, right next to the Dixie Hotel. The street and hotel had seen better times.
The Dixie Hotel became the center of numerous exchanges between Steve and
visitors. He once said: "You wouldn't want to be buried there." At
least nine people were murdered or committed suicide at the Dixie. </span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="font-size: 20pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQAWXTWPvPsVI2KIgZ53Gd8oqHkFHu0wA-ZvIFxiyUmN2kLN4cBs1UBO4SOcU0AE714zNwZTB6D21DLz_VsUvZyeMD-lmrisTURLLny6v_46_1WEi0fEig6W82mdNEOne607Ek8rHZOBV7EIzuSRXErPohlj5Eb2Khr-MS6B968EeUKeUYNKlx7dQc/s2561/dixiehotel-1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2561" data-original-width="1670" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQAWXTWPvPsVI2KIgZ53Gd8oqHkFHu0wA-ZvIFxiyUmN2kLN4cBs1UBO4SOcU0AE714zNwZTB6D21DLz_VsUvZyeMD-lmrisTURLLny6v_46_1WEi0fEig6W82mdNEOne607Ek8rHZOBV7EIzuSRXErPohlj5Eb2Khr-MS6B968EeUKeUYNKlx7dQc/w418-h640/dixiehotel-1.JPG" width="418" /></a></div><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><span style="font-size: 26.6667px;"><br /></span></div><span style="font-family: Poppins;"><div style="text-align: justify;"><span style="font-size: 20pt;"> </span><i><span style="font-size: medium;"><b>The Dixie Hotel in much better days.</b></span></i></div></span></span><p></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;">The largest
bus depot in NYC once occupied the basement and ground floor. The bus fumes
infiltrated most of the hotel's rooms above. Steve seemed to enjoy the Dixie's
eerie presence next to his work place. He added a sketch of it to one of his
reference books.</span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"></p><div style="text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIr-vm5pmRsCHeg1nVo1jUPde5WDLNTc67S5mEL04e1fiwnz91cpVppfrASoRIgzQ33aPUwb2vRt9uBkkjlBBMOeQ1aE8SeNSIIEfKYzwoWlMBjJWuL-Kpt2YtlozmlI5M1K-es8cTS1nnYZdAoqAmUXVRaq-OeOCQU3qz9fHtZnoTskJnhI9eGFDH/s2708/dixiehotel-2.jpeg"><span style="font-family: helvetica; font-size: medium;"><img border="0" data-original-height="1505" data-original-width="2708" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIr-vm5pmRsCHeg1nVo1jUPde5WDLNTc67S5mEL04e1fiwnz91cpVppfrASoRIgzQ33aPUwb2vRt9uBkkjlBBMOeQ1aE8SeNSIIEfKYzwoWlMBjJWuL-Kpt2YtlozmlI5M1K-es8cTS1nnYZdAoqAmUXVRaq-OeOCQU3qz9fHtZnoTskJnhI9eGFDH/w640-h357/dixiehotel-2.jpeg" width="640" /></span></a></div><div style="text-align: justify;"><span style="font-family: helvetica; font-size: medium;"><br /></span></div><span style="font-size: medium;"><div style="text-align: justify;"><span style="font-family: verdana;"><span><i> <b>The </b></i></span><i><b><span>aforementioned</span><span> bus depot under the Dixie Hotel. </span></b></i></span></div></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Steve's studio was the size of a single car
garage, maybe 20 feet wide by 10 feet deep. On my first visit I could not
believe the amount of paper that seemed to cover anything flat…. including the
floor. He had dueling drawing tables at each end and enough glass to light 8th
Avenue on a sunny day.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Steve shared the studio with a fellow student
from the Cartoonist and Illustrator's School. Born Ernesto Stanzoni, Jr. and
later changed to simply Eric Stanton, they shared art projects since at least
1953. I’m not sure if it was a joint lease they signed in 1958, but the two
were quickly establishing themselves as working artists. Steve's comic book art
could be found at the corner drug store. Eric's fetish art was usually found
under the counter at various Times Square bookstores or through the mail. It
was never much of a secret that they worked together on a number of projects that
were available both above and below the counters.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg81icA2GmncY4yy-fS8gtOo_IZz-aMAQKUbt_dAMfH962hegUP9CBhVTnU2ZAeb2PfLTZJBis5_5OIWGNd1FE2V55u7J0Mr8CcNJ2GesjJfKpi8ZK5DLpeEAbzCkqwV8-d84WTXP3c4UHF4h3Q7oP6T2BZIAkz2W4ywOuFcNDIl2tKDqzdNI3oIsPe/s1721/stanton1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1721" data-original-width="1711" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg81icA2GmncY4yy-fS8gtOo_IZz-aMAQKUbt_dAMfH962hegUP9CBhVTnU2ZAeb2PfLTZJBis5_5OIWGNd1FE2V55u7J0Mr8CcNJ2GesjJfKpi8ZK5DLpeEAbzCkqwV8-d84WTXP3c4UHF4h3Q7oP6T2BZIAkz2W4ywOuFcNDIl2tKDqzdNI3oIsPe/w637-h640/stanton1.jpeg" width="637" /></a></span></span></div><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><br /></div><span><div style="text-align: justify;"><i> <b>A young Eric Stanton surrounded by two models. </b></i></div></span></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">When I visited their studio in the 1960s I always
called Eric " Mr. Stanton." Steve called him "Ernie" but I
never used his first name. It was clear that Eric wanted to be called
"Eric" and not "Ernie". I could tell by his facial
expressions when Steve continued to <b><i style="mso-bidi-font-style: normal;">not</i></b>
call him Eric.<span style="mso-spacerun: yes;"> </span>It was the only discord I
ever noticed between these two companions who shared in each other's art and
writing.<span style="mso-spacerun: yes;"> </span>I knew they not only respected
each other but also were true friends. When I visited their studio Steve could
be introverted and quiet until Eric would say something loudly and they would
share the same laugh. I was always happy when Eric was there. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Years later, when I noticed Eric Stanton at a
1970s NY Comicon I rushed over to say hello.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"Mr. Stanton, wow, what are you doing here ?"<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">"Why do I think I know you?"</span></i><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">I was no longer the kid who practically lived in his
studio.<span style="mso-spacerun: yes;"> </span>I gained a few pounds, had more
hair on my head and a lengthy beard, but my voice still had the same staccato
delivery from my younger days. On the other hand Stanton did not seem to have
changed at all. He was about 5' 7", but his confident stance made him <i>seem</i>
taller. He had the same quick smile that looked like he was about to laugh. I always
felt comfortable around him, like at this moment. I tried to explain who I was
and suddenly he grabbed my arm:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"You're the kid who drove Steve <b>crazy </b>!"<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">I did not expect that. My mouth must have fallen
open.<span style="mso-spacerun: yes;"> </span>I felt very embarrassed at that
moment and he quickly added:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"You know...<span style="mso-spacerun: yes;"> </span><span style="mso-bidi-font-style: italic;">We had secrets.</span> "<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Yes, he said "we".<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfvx30ER6n4e9JaLQDY-H2svGQ2aSsd5HeMfLD_NNrJNP6K66P_g8JtI0_OuUaJCBDFGW5ySolltuXI5X10BGbLFalojvUNAJPCfctfzrgSpSZuZJS-6cZMOjMSAsCeV2-EHwICog4oUPV-mfRb6Qe46rjyUU5XLHTT0fXF0wl5cCG3KtxVtyxz9y/s2627/stanton-2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2019" data-original-width="2627" height="493" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfvx30ER6n4e9JaLQDY-H2svGQ2aSsd5HeMfLD_NNrJNP6K66P_g8JtI0_OuUaJCBDFGW5ySolltuXI5X10BGbLFalojvUNAJPCfctfzrgSpSZuZJS-6cZMOjMSAsCeV2-EHwICog4oUPV-mfRb6Qe46rjyUU5XLHTT0fXF0wl5cCG3KtxVtyxz9y/w640-h493/stanton-2.JPG" width="640" /></a></span></span></div><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><i><b>An older (and still cheerful) Stanton at his drawing board. Image copyright Eric Stanton estate.</b></i></div></span><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">From my very first visit to their studio Steve
knew I was trying to write an article about him. He made sure to tell me more
than once to "not write about Ernie." He would say it loud enough
that Eric could also hear him. Once I remember Eric chiming in with:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">"The invisible Man is <b>sitting</b>
right here."<span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Steve made me promise to show him the finished
article before I submitted it for publication. Unlike Eric, Steve never looked
like he was about to laugh at anything, so I sure did not want to disappoint
him.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><span style="mso-spacerun: yes;"> </span>At that
time I had no idea what "Mr. Stanton" was doing there. I originally
had the impression he was just Steve's assistant. I saw more Marvel work in
that office than anything else. It was easy <i style="mso-bidi-font-style: normal;">not</i>
to include him in the article. As I spent more time there I had a better
understanding of their “partnership ".<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">(For many more details on these "secrets" I recommend the
fantastic book by Richard Perez Seves<span style="mso-bidi-font-style: italic;">
Eric Stanton & the History of the Bizarre Underground, </span>available
above the counter). <o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">We talked a bit about me being the proverbial fly
on the wall more than once. One instance had Eric joking around shortly after
Steve was politely turned down for a lunch date by Stan Lee's secretary Flo
Steinberg. The kidding was funny in a locker room type way, but Eric told me he
later tried to intercede for his friend:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">" I called her up..."<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">I did not know that part of the story and was
surprised to hear he would get involved.<o:p></o:p></span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK3qpoFHTD72weDCcbb45MwfeFaLK8CZwtuHfd8-LZaN8-acIIqLvHRYWGe24UlsOmLSrkK3Bo-L5SbkD5NIFS_nAG_WxWB-j3euA8Nj_2LjKn0g76XwdTEo19G2lFCsssoVFQvI2iU-OasMyc1OdwHiq1CejqlbS8V-Th42hZnzii4IySQ-NbzBEh/s1401/ditko-flo.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="1401" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK3qpoFHTD72weDCcbb45MwfeFaLK8CZwtuHfd8-LZaN8-acIIqLvHRYWGe24UlsOmLSrkK3Bo-L5SbkD5NIFS_nAG_WxWB-j3euA8Nj_2LjKn0g76XwdTEo19G2lFCsssoVFQvI2iU-OasMyc1OdwHiq1CejqlbS8V-Th42hZnzii4IySQ-NbzBEh/w640-h314/ditko-flo.jpeg" width="640" /></a></span></div><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"> <i><b>Ditko's reaction to the news of Flo Steinberg's passing.</b></i></div><span><div style="text-align: justify;"><br /></div></span></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">At the time of the incident I was maybe fifteen
and <b>did</b> ask her about Steve's lunch proposal. At fifteen you could ask a
dumb question and get a serious answer. I remember being put in my place and
the sound of her squeaky, sandpaper voice saying:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"It's none of your business. This is my personal life. Don't ever ask
me again."<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Case closed at the time, but now and I wanted to
hear Eric's version.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"Wow ! What'd you say to her ? She never told me anything about
it."<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">" I called, told her who I was and tried to explain why I was calling <b>and</b>
she F*****G hung up on me !"<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">He immediately started laughing loud, long and
hard. I started to recall all the times he would make Steve laugh.<span style="mso-spacerun: yes;"> </span>Steve would smile often, but a real laugh <i>only
</i>came after Eric's laugh was so loud you could not ignore it. They were the
perfect studio-mates.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Eric had one more "secret" to share. When
he finished laughing he said: <o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">" Ahh, he did ok. He was seeing one of my models for a
while."<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></i></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></i></p><div class="separator" style="clear: both; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc9SWhsbbVLGaihS_h4Pq0NiZczN8jxDy6nC3WFPTyS-afVgInQmkOwve3EwuhWCanFsG4kPKRDO8SmkvZ-RzArzifGoe2buKKyzG2PRVIzHnWToJItDhzG6YbqxIOQlM_vnt_I2o5eXC2xbyJlrrDHjbDLSmcdlyzPc-CmQwdnUI-8VI3rUKcs4Ok/s2959/ditko-spidey-asm23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2959" data-original-width="2028" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc9SWhsbbVLGaihS_h4Pq0NiZczN8jxDy6nC3WFPTyS-afVgInQmkOwve3EwuhWCanFsG4kPKRDO8SmkvZ-RzArzifGoe2buKKyzG2PRVIzHnWToJItDhzG6YbqxIOQlM_vnt_I2o5eXC2xbyJlrrDHjbDLSmcdlyzPc-CmQwdnUI-8VI3rUKcs4Ok/w438-h640/ditko-spidey-asm23.jpg" width="438" /></a></div><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><b>An example of what may have been on Ditko's drawing board around the time Bernie was visiting his studio. Pin-up from The Amazing Spider-Man # 23, April 1965.</b></span></span></i></div></i><p></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><span>I visited their studio many times between 1962
and 1964 and I never saw any "models." I assumed I just showed up on
the wrong days. Years later Stanton's biographer told me that </span><span style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">IF</span></span><span>
this story is true it would have been one of the cheesecake models who posed
for Eric when he worked at Satellite Publishing in 1961. Fetish fans would take
their own photos of posed models in lingerie with ropes that bound their
arms... or legs... or both. Satellite offered this service to fans of this
genre for a fee. I never verified the validity of Eric's words.</span></span></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">I noticed Eric's absence from "their"
studio by early 1964 and it sure seemed quiet without him. Another fan who
visited during that time period was Ron Fradkin, organizer of the 1964 NY
Comicon. He never saw Eric either. Years later, at my final meeting with Steve
in 2017, I asked him exactly <i>when</i> Eric moved out of the studio. He said
simply:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"I don't keep track of those things."<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">It was Steve's way of saying: "None of your
business." It was not the first time he came straight to the point with
me. As a kid I once asked for his opinion on something and I got a very blunt
response. Gordon Love, editor/publisher of the fanzine <i style="mso-bidi-font-style: normal;">Rocket's Blast</i> had asked me to contribute to another fanzine he was
planning which would be devoted to fan created art and stories. He named it <i style="mso-bidi-font-style: normal;">Fighting Heroes</i> and I wanted to
participate.<span style="mso-spacerun: yes;"> </span>I created and named my
super hero "Helios, the Sun God" and built a story around that name. It
wasn’t too creative, but it was earnest. This would be my first
"strip" effort and I was excited enough to show Steve my work.<span style="mso-spacerun: yes;"> </span>I must have picked the wrong day.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"Do you think I did okay ?"<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">He flipped through the pages, looked at me,
grinned and nodded his head. He then handed them back to me. As he reached for
his pencil I continued to stand next to his desk. I stood there speechless long
enough to insure I would get an answer.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">“I'm not your critic. You're good, you're not so good, you're bad-decide
for yourself."<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">At that moment I wished Eric was there. He would
have leveled the tension with a wisecrack. I stood there and just stared. Steve
turned his head to face me and said:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">" If you want to make a living doing <span style="mso-bidi-font-style: italic;">this</span>...,"</span></i><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> he motioned to the mounds
of paper and cardboard laying around the studio, <i style="mso-bidi-font-style: normal;">"be prepared to work long and hard and then work harder."</i><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">He went back to drawing. As much as I enjoyed
visiting him and Eric at their studio...I had the feeling I may have stayed too
long.</span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1QRlccIG22EGm10-a4fSM8f5QE9GnnesbAVLMjsEa14gJyHZxUAg_H7pVrSB33OrX3rLT5PDZ0Pxzu9Z2pXxVRJ11FDTKdjT24XmeSwzTE38FZ2tc16SMk48ZZ4NN-x8AIUqhemU2OkncQMr4E492TsELa1JGNvsabct_6PyUsCjLMv6i5PhOa9u/s2356/bernie-helios.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1653" data-original-width="2356" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1QRlccIG22EGm10-a4fSM8f5QE9GnnesbAVLMjsEa14gJyHZxUAg_H7pVrSB33OrX3rLT5PDZ0Pxzu9Z2pXxVRJ11FDTKdjT24XmeSwzTE38FZ2tc16SMk48ZZ4NN-x8AIUqhemU2OkncQMr4E492TsELa1JGNvsabct_6PyUsCjLMv6i5PhOa9u/w640-h450/bernie-helios.jpeg" width="640" /></a></span></div><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><br /></div><span><div style="text-align: justify;"><i><b>As described above, Helios, the Sun God was the first comic story Bernie produced and subsequently showed to Ditko. It appeared in the fanzine Fighting Hero Comics # 11, published by G.B. Love. </b></i></div></span></span><p></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span>My </span><i>almost</i><span> final visit with Steve was in
August, 1964.</span><span style="mso-spacerun: yes;"> </span><span>My father died in May,
1963. My love affair with comic book fandom and chasing a dream was about to
end. I had to start bringing in more money to help my mother pay bills and keep
a roof over our heads. I had to stop acting like a kid. We may not be certain
when Eric moved out, but that August visit with Steve was the month </span><b><i style="mso-bidi-font-style: normal;">I</i></b><i style="mso-bidi-font-style: normal;">
</i><span>moved on.</span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">We <i>sort</i> of kept in touch after that
encounter. A phone call here or a letter there, but It got to the point where I
felt I <b><i style="mso-bidi-font-style: normal;">had</i></b> to introduce myself
every time. <b>That </b>much time would accumulate between calls. After a while
it was mail contact only. Sporadic New York convention trips always ended with
me feeling I should pay Steve a visit.<span style="mso-spacerun: yes;"> </span>I
feared facing him because I owed him so much more than <i>fear</i>.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Every lecture or advice he ever gave me was
etched in my memory. I repeated his words to so many others that they soon
became my words. One incident involved my father bouncing my head off a wall so
hard that I could not hide the bruises. Steve was incensed, wanting to confront
him and put him in his place. I never gave him the chance, fearing the outcome.
Steve <b>was</b> willing to stand up to him and the realization of <b>my</b>
fear to do so stayed with me forever. I swore I would never be afraid of anyone
again. I'm sure he did not know it at the time, but Steve Ditko taught me to
finally stand up...for myself.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">I should have made more of an effort to visit
him. That was my mistake and I still regret it.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">By 1964 organized comic book fandom thought it
was time to establish a permanent yearly gathering of fans.<span style="mso-spacerun: yes;"> </span>All these years later and the relationship
between that first attempt and today's mega-circus conventions are difficult to
equate. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Originally, around 50-60 people were stuffed into
an overheated room in downtown New York City. Fans were <a style="mso-comment-date: 20220617T2329; mso-comment-reference: c_1;">content</a></span><span class="MsoCommentReference"><span style="line-height: 115%;"><span style="mso-special-character: comment;"> </span></span></span><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> to meet like-minded kids, dealers were ready to meet new customers and
professionals were wading into unchartered waters. It was simple compared to
today's conventions, and if not for one individual's attendance<span style="mso-spacerun: yes;"> </span>it may have been entirely forgotten.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Steve Ditko remembered that day well:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">"Stan did <a style="mso-comment-date: 20220617T2334; mso-comment-reference: c_2;"><u>NOT</u></a></span></i><i style="mso-bidi-font-style: normal;"><span style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> <span lang="EN">send me to the convention. I was
surprised to see Flo there, that Stan even knew about the convention. I sat
with Flo, watched, listened to what went on up front--remember Tom Gill, a pile
of original art pages given by DC editors, my talking with questioning fans
about other artists I never met, about companies I had no information
about."<o:p></o:p></span></span></i></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Not <b><i style="mso-bidi-font-style: normal;">everyone</i></b>
was there to ask questions that could not be answered. One youngster (and
future author) named George R.R. Martin from New Jersey just wanted to
meet him . My wife Lucille asked George if he got to speak with Steve at the
convention. He replied on his blog in June, 2017:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">"Yes, I spoke with Steve Ditko at that convention, and even got his
autograph (I just wish I could find it).<span style="mso-spacerun: yes;"> </span>I recall him being a very quiet man, shy...and since I was a</span></i><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> <i style="mso-bidi-font-style: normal;">pretty shy kid, I'm afraid we didn't
have much of a conversation. I just told him how much I love Spider-Man and
Doctor Strange and he thanked me, and said that Doc Strange was a favorite of
his as well. "<o:p></o:p></i></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><o:p><span style="font-family: helvetica; font-size: medium;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxn_zSw6zlfcKBmQJyKzYUwrEWNQbf1zCU6pMbRXWsF1E6vFMyON_0TDoKG8gDKt6JwUdGpJrLQPLhBXsiJQGogPs1iFnqiLv3aoC8Ev-VnnYZXNKiciEtSrgh2yfFquZrIoW4aG3a_lov9nHlZQAUq8miBkcFSRUlQwVgmKf-95qJ_Vx5PTPBIVy4/s2716/georgemartin.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2493" data-original-width="2716" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxn_zSw6zlfcKBmQJyKzYUwrEWNQbf1zCU6pMbRXWsF1E6vFMyON_0TDoKG8gDKt6JwUdGpJrLQPLhBXsiJQGogPs1iFnqiLv3aoC8Ev-VnnYZXNKiciEtSrgh2yfFquZrIoW4aG3a_lov9nHlZQAUq8miBkcFSRUlQwVgmKf-95qJ_Vx5PTPBIVy4/w400-h368/georgemartin.jpeg" width="400" /></a></span></span></div><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><i><b>George R.R. Martin was a fan whose letters often appeared in comic books, including one published in Fantastic Four # 20, November 1963. Martin </b></i><i style="font-weight: bold;"><b>would go on to become a renowned fantasy/science fiction author. Image copyright J. Ballman. </b></i></div></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Steve spent quite a bit of time surrounded by
those "questioning fans". Every time I looked over to see if he was
still in the room he was talking and actually <b>smiling</b>.<span style="mso-spacerun: yes;"> </span>He drew sketches for some, signed autographs,
granted interviews for others and promised to send two fans art for their
fanzines. He stayed the entire five hours at the convention. </span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-YOrUMlYz1W-qzRYjYpFS1GeQ5ni8aNH_OYCAZWb2pZ6GUxHPHFXpaRzTy0_Z1zqChTuTVT6fTOsslFwLc1KNtkF1AgfIg58Tn60SYnhYxxLCcS-aLENHcObvlNyIG8eDiL2yx58I8qn1p3Ckuc8QuGIPSS4GT05viKes1A55AjRBDyXJmb3RT7Qd/s1653/ditko-dr-strange-sketch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1653" data-original-width="1044" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-YOrUMlYz1W-qzRYjYpFS1GeQ5ni8aNH_OYCAZWb2pZ6GUxHPHFXpaRzTy0_Z1zqChTuTVT6fTOsslFwLc1KNtkF1AgfIg58Tn60SYnhYxxLCcS-aLENHcObvlNyIG8eDiL2yx58I8qn1p3Ckuc8QuGIPSS4GT05viKes1A55AjRBDyXJmb3RT7Qd/w404-h640/ditko-dr-strange-sketch.jpg" width="404" /></a></span></div><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><br /></div><span><div style="text-align: justify;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span><i> <b>A Dr. Strange sketch Ditko drew for a fan at the 1964 Con. Many years later it was sold on Ebay. I wonder who has it </b></i></span></span><span><i><b>now? </b></i></span></div></span></span><p></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;">I'm not a mind
reader or a psychologist but I think he found himself enjoying the attention. An
incident would soon take place that soured his memory of the day and fifty-one
years later he finally told me.</span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggElGTati2lpWPUFojGFlN7nYonlLTJTfYAFBwghksbkXlBdfLtxK7RU7eTsnPS00IIjbwhQNwaedb6ngHTNzsyPhLsdhPIaoN4A76Mg6kSe3Vdk02dqu0Kc6kmeyb70gwhErHKnwm-4RfrRhiTJc9RUsdVBC0WXy_KoPVIgo56el7ncl0U7baOx8v/s1392/ditko-spidey64con.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1392" data-original-width="992" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggElGTati2lpWPUFojGFlN7nYonlLTJTfYAFBwghksbkXlBdfLtxK7RU7eTsnPS00IIjbwhQNwaedb6ngHTNzsyPhLsdhPIaoN4A76Mg6kSe3Vdk02dqu0Kc6kmeyb70gwhErHKnwm-4RfrRhiTJc9RUsdVBC0WXy_KoPVIgo56el7ncl0U7baOx8v/w456-h640/ditko-spidey64con.jpg" width="456" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgclknXh82TzRs_75m0LRlrrbtax-khYA-XJrLBDc5qpnQjiU0hPkRUXNPiBmMOgcLguxOye5qvNSv5XcVpjer-kyD0EbEIM3Y8trUtwEolXjqBX2EZDT92JmvIkcdlBEOKRWkGrmnf-wAEfQ5PMat5Ex0NJ1esG7CYkrxvnK4OorLGF2gCq-B8vBhB/s2345/dito-drstrange-64con.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2345" data-original-width="1888" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgclknXh82TzRs_75m0LRlrrbtax-khYA-XJrLBDc5qpnQjiU0hPkRUXNPiBmMOgcLguxOye5qvNSv5XcVpjer-kyD0EbEIM3Y8trUtwEolXjqBX2EZDT92JmvIkcdlBEOKRWkGrmnf-wAEfQ5PMat5Ex0NJ1esG7CYkrxvnK4OorLGF2gCq-B8vBhB/w516-h640/dito-drstrange-64con.jpg" width="516" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><i style="font-family: helvetica; font-size: large; text-align: justify;"><b>Ditko provided Bernie with both a Spider-Man drawing for the cover of the 1964 New York Comicon Program Booklet (which was actually published after the con) and an interior Dr. Strange illo. Only 120 copies were printed. Dr. Strange image from J. Balllmann's detailed book, The 1964 New York Comicon: The True Story Behind the World's First Comic Convention which is available on Amazon. </b></i></div><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Well, not just me...he told a lot of people. Ditko's
<i style="mso-bidi-font-style: normal;">The Four-Page Series</i> # 7, March 2015,
is titled: <i style="mso-bidi-font-style: normal;">The 1st New York City Comic
Book Convention</i>, copyright S. Ditko, and when he calls himself
"S." you know he’s serious!</span><span class="MsoCommentReference"><span style="line-height: 115%;"><span style="mso-special-character: comment;"> </span></span></span><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"DC editors had given the con stacks of ORIGINAL story/art pages by
various writers and artists.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Some CBFs (abbreviation for Comic Book Fans) took art pages and laughingly
TOSSED then UP into the air and over their heads.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">It IS the mindless, valueless, purposelessness of a GROUP'S pseudo-values
and ENJOYMENT.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">They are free to mindlessly, laughingly, abusively, reject , toss all real
life values, facts and truth, claim that "all is gray", NO A is
always A, there is NO true/false, etc." <o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span>He continues for another twenty seven paragraphs,
but he had me at "TOSSED." No one paid more attention to what was
going </span><i>right</i><span> or </span><i>wrong</i><span> at that first convention than me. I would
give a fan a piece of original art as a "door prize" and it was as if
I gave them a piece of Tiffany jewelry. J. Ballmann interviewed every surviving
attendee of that 1964 Comicon for his 300 page book devoted to it. No one recalled
anything about the throwing of original art into the air.</span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">I think I know the incident that Steve
"remembers" with such clarity, but keeping this to himself for fifty
one years multiplied the gravity.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">This brings us directly back to the start of my
article. I shot off a letter to Steve quickly and this was his reply: <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"So" fans tossing art pages into the air is just fiction
and fantasy like the comic book stories I write and draw ? ...so one can see
how you now choose to defend the can do no wrong comic book fans." <o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">I never weighed the venom in my words. Why did it
matter a half century later to me...<i>or</i> him? The explanation is so
simple I almost overlooked it. Steve remembered it as if it were yesterday, and
told me in his return <a style="mso-comment-date: 20220617T2350; mso-comment-reference: c_4;">letter</a></span><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"The art pages were piled on a front desk. An art page I saw was a Joe
Kubert Viking Prince." <o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">The <b><i style="mso-bidi-font-style: normal;">only</i></b>
Viking Prince art was one I owned. I brought it along IN CASE so many fans attended
that we would run out of the DC "door prize" contributions (We didn't.)
It was the same Kubert original art I gave to fan/pro Larry Ivie when he
"returned" the Tom Gill art I gave him.<span style="mso-spacerun: yes;"> </span>Larry rightfully thought of himself as a
professional comic book artist and preferred to not accept a "door
prize" as if he were <i>just</i> a fan. I'm sure Larry never realized when
he looked at me and shook his head as if to say "not necessary" what
would happen next. He flipped it towards the table and this air-less oven we
were in somehow allowed it to sail past the table and nearly land on the
floor.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7jWCfnlsR1iHrUmL7C9jDOhyezAiWhE9gzTGL5MQcQ8SmNorPhEc3x-oltOu3NlBaQRn2r4e8ZgtuSzRI0-RedznhHbgBGxbr6iXMniABligqrzxSBOCk5F7CgOKf_8fXdO8JFEY8rqsjmwmbYqCJV5_784ZTDcqtjTreWl6La7VVR9erNhfsFpSQ/s1226/laryivie.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="998" data-original-width="1226" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7jWCfnlsR1iHrUmL7C9jDOhyezAiWhE9gzTGL5MQcQ8SmNorPhEc3x-oltOu3NlBaQRn2r4e8ZgtuSzRI0-RedznhHbgBGxbr6iXMniABligqrzxSBOCk5F7CgOKf_8fXdO8JFEY8rqsjmwmbYqCJV5_784ZTDcqtjTreWl6La7VVR9erNhfsFpSQ/w640-h520/laryivie.jpeg" width="640" /></a></span></span></div><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><br /><span style="mso-spacerun: yes;"> <b>Fan/Author/Artist and creator of Monsters and Heroes magazine Larry Ivie</b></span></span></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Steve never forgot that original Tom Gill
cardboard airplane flying by. This was coupled with the fact that he listed the
Viking Prince art in his letter and I'm sure he never forgot that dopey grin on
Larry’s face for 51 years. I think I’ve solved the mystery. (By the way, Larry
reverted to being <i>just</i> a fan for that moment and <b>kept</b> the Kubert
art.) <o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">When I read Steve's essay years later and saw my
name attached to the "event" I shot that letter off to him so quickly
that I never even read it before sending it out.<span style="mso-spacerun: yes;"> </span>At the same time I wrote another letter to Robin
Snyder for publication in his fanzine, <i style="mso-bidi-font-style: normal;">The
Comics</i>, a publication Robin shared with Steve...it seemed. That one
contained my "Mr. Tough Guy" remark, so Steve was answering both
letters. I thought better of my place in this craziness and asked Robin to not
print my letter. I believe my request was honored, but I was challenged to
verify this. My "subscription" to <i style="mso-bidi-font-style: normal;">The
Comics</i> was immediately terminated.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></p><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><span style="mso-spacerun: yes;"> </span></span></span><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEPO98e3BTgr4U-C1C-9NyusLRu3ryzjUkBGA35UNKVymJwJ5VkiI0o8MXeMjrlc0prEhB6nsIlgFkSeYWP89nDUbJCqV75jiHprXy3HuCEMUIhgjnUoOaA0PHZ57XH_AJoi6xRkqZYXth1QEq5W8ANV868fXd_DKozPLLrcYjShkpUTn_Ajt2q3LU/s2566/bernieletter-comics.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2566" data-original-width="1982" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEPO98e3BTgr4U-C1C-9NyusLRu3ryzjUkBGA35UNKVymJwJ5VkiI0o8MXeMjrlc0prEhB6nsIlgFkSeYWP89nDUbJCqV75jiHprXy3HuCEMUIhgjnUoOaA0PHZ57XH_AJoi6xRkqZYXth1QEq5W8ANV868fXd_DKozPLLrcYjShkpUTn_Ajt2q3LU/w494-h640/bernieletter-comics.JPG" width="494" /></a></span></span></div><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;"><br /><span style="mso-spacerun: yes;"><b>This is NOT the letter mentioned above but another missive Bernie wrote as requested by SD so he could present a first-hand account of the 64' con. Robin Snyder's The Comics, Vol 25, # 10, October 2014.</b></span></span></span><p></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span>I don't know why I called him "Mr. Tough
Guy". My father was that and Steve bore no resemblance to him in any way.
When my father's unexpected death threw my life into a downspin Steve coached
me through my depression. He did the same when I doubted my ability to complete
a fanzine celebrating the '64 Comicon. He always had the patience to let a lost
kid steal </span><i>his </i><span>time.</span><span style="mso-spacerun: yes;"> </span><span>No wonder I
tried to keep in touch with him all these years.</span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Months later I sent Steve another letter where I
included a few personal notes to him about things we never discussed before and
I reminded him of the Ivie incident. His hand written reply was polite and the
"Mr. Tough Guy" letters were ignored. One of his responses to that
"update" letter from me:</span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4CZuhHIPLvTD0An2EUWlETFMJhL4C9UPQvPiacZcK8MwIsUKwxZCftK6lterfJ477Bq8QkOAvQz_kyAHWoxSub2iuHY-ywKRb5DNHr6-wjIn7Je5aMO9cMUoylbYsy2CihB48ks7fFmIMZsST6K2THm4X_W5xg08FYGIEAAuJQgdWXHZ-k5krfE3/s1387/ditko-bernie-kids.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="246" data-original-width="1387" height="114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4CZuhHIPLvTD0An2EUWlETFMJhL4C9UPQvPiacZcK8MwIsUKwxZCftK6lterfJ477Bq8QkOAvQz_kyAHWoxSub2iuHY-ywKRb5DNHr6-wjIn7Je5aMO9cMUoylbYsy2CihB48ks7fFmIMZsST6K2THm4X_W5xg08FYGIEAAuJQgdWXHZ-k5krfE3/w640-h114/ditko-bernie-kids.jpeg" width="640" /></a></span></div><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;">I always tried to keep my letters personal and purposely
side-stepped any political discussions.</span></p></span></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">My wife was with me when I visited him for the
last time in October, 2017. We were attending the New York Comic Con and his
studio at 1650 Broadway was close by.<span style="mso-spacerun: yes;"> </span>We
called and I felt like I time-traveled back to my first meeting with him in
1962. My knees were shaking.<span style="mso-spacerun: yes;"> </span>We entered
his studio and he immediately looked at her and said:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"So how are your daughters doing ?"<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">My wife had no idea that I told him anything about
our family in that letter from two years before, and this was just moments
after he loudly told her to not take photos in his studio. Stunned briefly, she
thanked him for asking and then filled him in our children's history. He
politely listened to her every word, just like he always did for me when I was
a kid visiting him at his studio next to the Dixie Hotel. I'm sure he did the
same for dozens of others who knew him. He was a man of many moods, but always
respectful and concerned. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">Perhaps "many moods " is an
understatement. This last visit with Steve covered a wide range of subjects and
I gave him a few chances to show those moods. We both laughed when I reminded
him of the day I showed him original art Joe Kubert had given me. Before I
finished explaining that Joe and other comic book artists would give fans art
as a token after visiting with them Steve said:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">"I'm not giving you anything."</span></i><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> <o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">BAM!<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: helvetica; font-size: medium;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-hansi-font-family: Calibri;">He<b> </b></span><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">said it<b style="mso-bidi-font-weight: normal;"> </b><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">SO</span></i> matter of fact
that Eric quickly banged his fist on the table and yelled:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">"<span style="mso-bidi-font-weight: bold;">NOTHING...YOU GET NOTHING !! "<o:p></o:p></span></span></span></i></b></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">The laughter started immediately and was so
intense that my eye glasses slid off the bridge of my nose to the floor. Steve
started to laugh just as hard and Eric continued to pound the table.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica; font-size: medium;">It is a fun memory and even though Steve said he
remembered "something" like that happening it was a bittersweet
moment. That is why we celebrate <i>memories</i>. Enjoy others while you can. <o:p></o:p></span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCgMGg71mQkIQ15HmLX2AjLo3xSdtMsWsyJ9BRLLy7uZ6DMGwRli4tU0JgxC5INru0ne5_napjoMh-HHLJm8tjeAw4HciRjHdGj3lEGoxWxfHZl7tv7Q89j2RY14SXctsKztrMaVJc-4_pH0zmT_-isJS0GG_WZrGy4OVhLh6pc9UALwgnoxeozKUh/s1855/ditko-bernie-con.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="1855" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCgMGg71mQkIQ15HmLX2AjLo3xSdtMsWsyJ9BRLLy7uZ6DMGwRli4tU0JgxC5INru0ne5_napjoMh-HHLJm8tjeAw4HciRjHdGj3lEGoxWxfHZl7tv7Q89j2RY14SXctsKztrMaVJc-4_pH0zmT_-isJS0GG_WZrGy4OVhLh6pc9UALwgnoxeozKUh/w640-h160/ditko-bernie-con.jpeg" width="640" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPlW7Oo00lMXZeXpJCxLu9URZnlWB5TfeIjZxLhTPx2dgp-R_h1D0xno_iv0vvZnhxSVlp1rdHHEA23tXaRIcYCrzwfmRmBtLHkn7fC1BSwUIeuxnwpo9-TIsv6FQ4kQV3bLA3Y8T3Y1MinCsCkpFnWUhtkxtp4cGCcI3jsI2YQ674HtQcPXaQR9kD/s2107/ditko-bernie-con2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="2107" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPlW7Oo00lMXZeXpJCxLu9URZnlWB5TfeIjZxLhTPx2dgp-R_h1D0xno_iv0vvZnhxSVlp1rdHHEA23tXaRIcYCrzwfmRmBtLHkn7fC1BSwUIeuxnwpo9-TIsv6FQ4kQV3bLA3Y8T3Y1MinCsCkpFnWUhtkxtp4cGCcI3jsI2YQ674HtQcPXaQR9kD/w640-h180/ditko-bernie-con2.JPG" width="640" /></a></span></div><span lang="EN" style="font-family: verdana; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><b>Part of Ditko's letter to Bernie, dated October 26, 2014, expressing his thoughts on modern Comic Book Conventions.</b></span><p></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="font-family: helvetica;">Steve Ditko passed away eight months later and I
never did get another chance to share a laugh with him. I am grateful for the
time as a young man I </span><b style="font-family: helvetica;"><i style="mso-bidi-font-style: normal;">did</i></b><span style="font-family: helvetica;"> get
to spend with Steve. He was both a guide to me in my lowest moments and a hero
that I will always admire and love.</span><span style="font-family: helvetica; mso-spacerun: yes;"> </span><span style="font-family: helvetica;">A
"tough guy" with a heart. I will miss him.</span></span></p><p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span lang="EN" style="font-family: helvetica; font-size: medium; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFUhWQTLknKCRgfgkfXwrduOogewXFK7Hbyuyqx3JzTTHXzWjhO-wEEMiVRsFWGNxrlwURBYnI06louwZzsHasU00vwgSr1Ycv7Ft1wA3q04sWUUqEhW5kMpbR_H3hEiu5cM_W5umffnMlUxFnKIzrTrj2DT1R71HuGNBw0DgqumL_AkXqbAzkbWtO/s3264/bernie-doc.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFUhWQTLknKCRgfgkfXwrduOogewXFK7Hbyuyqx3JzTTHXzWjhO-wEEMiVRsFWGNxrlwURBYnI06louwZzsHasU00vwgSr1Ycv7Ft1wA3q04sWUUqEhW5kMpbR_H3hEiu5cM_W5umffnMlUxFnKIzrTrj2DT1R71HuGNBw0DgqumL_AkXqbAzkbWtO/w480-h640/bernie-doc.jpeg" width="480" /></a></span></div><span lang="EN" style="line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div style="text-align: justify;"><i><span style="font-family: helvetica; font-size: medium;"><br /></span></i></div><div style="text-align: justify;"><i><span style="font-family: verdana;"><span><b>I thought it fitting to end this piece with a photo of author Bernie Bubnis at a Comic Con from a few years back, standing next to a fan dressed as Doctor Strange. For any of us who have attended and enjoyed conventions, Bernie was the kid who started the wheels turning over 60 years ago.</b></span><span style="font-size: medium;"> </span><span style="font-size: medium;"> </span></span></i></div><span style="font-family: verdana;"><div style="text-align: justify;"><span style="font-size: 26.6667px;"><i><br /></i></span></div></span></span><p></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="font-family: verdana; font-size: 20pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><o:p><i> </i></o:p></span></p>
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<p class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN" style="font-size: 20pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><o:p> </o:p></span></p>
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</div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com15tag:blogger.com,1999:blog-2089733759263636022.post-60549823412529871762022-04-08T21:32:00.009-04:002022-05-15T21:12:31.534-04:00 Sgt. Fury # 35's Mystery Cover Artist <p><span style="font-family: verdana;">As someone who has studied the techniques of comic book artists with what some would refer to as an obsessive nature (and I wouldn't argue it) I can often distinguish minutiae that some may overlook. I suspect this innate sensibility had its origins in my formative years, when I strived to copy the work of my favorite artists, particularly Jack Kirby and Steve Ditko. This necessitated a closer analysis of the DNA unique to every cartoonist. In time even subtle nuances are discerned. I also observed the distinctive contributions that inkers added to the finished product. It's akin to listening to a song and hearing a particular vocal intonation or guitar lick and knowing exactly who the artist is. I love many aspects of comics - as anyone reading this blog knows - but delving into (and occasionally solving) mysteries regarding comic art is one of the most rewarding areas for me. Some may think it a frivolous pastime, but consider this: the use of drawings to tell a story have been with us since our beginnings, from the earliest illustrations on caves to Michelangelo's sequential pictures adorning the ceiling of the Sistine Chapel. From then to the present they carry weight and depth and meaning - and I see no signs of <i>that</i> going out of style. </span></p><p><span style="font-family: verdana;">The cover to <i>Sgt. Fury and his Howling Commandos</i> # 35 is one of those art mysteries which I believe I've finally solved. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsGp85f4478rXFsXnrPx3BU-cxCv-eKye_fqc1sBiADmyFhF7-iNGpw950P3EuZO1m5a8IjV4FmHa5QtFsavfQT59ad6hpTxG0Aa0Zk5PU5X5FtebjO2yn80p2RE62RQf1s8phD8M_fFlT9Li-oPtUfs3-PVfHzBSRGqqEkHtw3bGliOU__5AbwJIL/s3056/grandenetti-sgtfury35.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3056" data-original-width="1950" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsGp85f4478rXFsXnrPx3BU-cxCv-eKye_fqc1sBiADmyFhF7-iNGpw950P3EuZO1m5a8IjV4FmHa5QtFsavfQT59ad6hpTxG0Aa0Zk5PU5X5FtebjO2yn80p2RE62RQf1s8phD8M_fFlT9Li-oPtUfs3-PVfHzBSRGqqEkHtw3bGliOU__5AbwJIL/w408-h640/grandenetti-sgtfury35.jpg" width="408" /></a></div><br /><span style="font-family: Poppins; font-size: medium;"><b><i>The cover to Sgt. Fury and his Howling Commandos # 35, October 1966. Inks by John Tartaglione, lettering by Sam Rosen, pencils by...Stay Tuned!</i></b></span><p></p><p><span style="font-family: helvetica; font-size: medium;"><i>Sgt. Fury</i> began publication in 1963 under the aegis of writer/editor Stan Lee and artist-co-plotter Jack Kirby. The war strip starred a band of soldiers representing a diverse ethnic mix (African-American, Italian, Irish, Jewish) in stories tinged with drama, adventure and humor. Kirby drew issues # 1-7 and 13, followed by Dick Ayers, who illustrated the majority of stories until the title went to reprint material in 1974. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKU8YhEqXp47TyqiLdDp2Z2X3O2AklJXVxmpcMezB7uviWXbehe-7XqSH6wpbBmV2ej6_dVCDC6jGEuHZUzKwpM2Fh6a0p7SiADpAkYr8D8FOUhwpxAIIAlGv_WBKEowIck-4FBHTThc34Z1SPGBM7Lqr4u9fiixHgJfmVHS8c5LgWXXk-xTRNfv3/s3092/kirbysgtfury16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3092" data-original-width="2072" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKU8YhEqXp47TyqiLdDp2Z2X3O2AklJXVxmpcMezB7uviWXbehe-7XqSH6wpbBmV2ej6_dVCDC6jGEuHZUzKwpM2Fh6a0p7SiADpAkYr8D8FOUhwpxAIIAlGv_WBKEowIck-4FBHTThc34Z1SPGBM7Lqr4u9fiixHgJfmVHS8c5LgWXXk-xTRNfv3/w428-h640/kirbysgtfury16.jpg" width="428" /></a></div><span style="font-family: Poppins;"><i><b>Jack Kirby produced many exciting covers for Sgt. Fury but this one was arguably his most emotionally powerful, inked with finesse by Chic Stone. Sam Rosen letters, Stan Goldberg colors. Sgt. Fury # 16, March 1965. </b></i></span><p></p><p><span style="font-family: Poppins;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhA8iAcuKlZsfIeXPWHdUgjPtYbVfHrIh1gbwu8z00n_z426DC7E8C1CAVnMP4F6x2V9-HUGhrv4Awdtyd4A961MlGa9-_LfMemRIivV1lwtALJbRMjBe2L_72w4aq-UGf-JYus5Ax7vgzb_v1Diwj3KW3t05pDaWqTrmknojcQBUpy9o3dNHA4JFG/s3076/ayerssgtfury38.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3076" data-original-width="2008" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhA8iAcuKlZsfIeXPWHdUgjPtYbVfHrIh1gbwu8z00n_z426DC7E8C1CAVnMP4F6x2V9-HUGhrv4Awdtyd4A961MlGa9-_LfMemRIivV1lwtALJbRMjBe2L_72w4aq-UGf-JYus5Ax7vgzb_v1Diwj3KW3t05pDaWqTrmknojcQBUpy9o3dNHA4JFG/w418-h640/ayerssgtfury38.jpg" width="418" /></a></i></span></div><span><i><b><span style="font-family: Poppins;">Sgt. Fury was a regular gig for artist Dick Ayers that lasted almost a decade. He co-plotted with Stan Lee, Roy Thomas and Gary Friedrich and crafted many compelling covers, such as this one from Sgt. Fury # 38, January 1967. Sam Rosen lettering. </span></b><br /></i></span><p><span style="font-family: helvetica; font-size: medium;">Jack Kirby drew the covers of #'s 1-8, 10-20 and 25; Ayers penciled all the non-Kirby efforts (#'s 9, 21-24 and 26-34) and continued in that position for several years - but <i>not</i> the one that is the subject of this piece. Since Ayers was the regular Fury cover artist it was natural to suspect that he did the honors on issue 35 as well. While aspects of the work suggest his involvement, I've concluded that is due to inker John Tartaglione, who performed the same function on Ayers' interior pencils, and had been doing so regularly for many months. Taking a more comprehensive look will reveal another artist at work.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMRO8ZsKpkA6-IUGs49yur0DniCHFxnm-FbphnNt_80QFc-QbifIYSpaHV5ywhcEMzS-ibGQwGgy0ECDe-y2SKW6x7bo8DeSMz1UKfEq5bjx-O_vSWlrD8uBQ2qg3U8TQPfcwOPHRwm-wUQFxgQY6Tsngvk0fz8cr-T7bihCK_sdzzuaE9iMD03eWq/s1936/grandenetti-fury-closeup.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1936" data-original-width="1194" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMRO8ZsKpkA6-IUGs49yur0DniCHFxnm-FbphnNt_80QFc-QbifIYSpaHV5ywhcEMzS-ibGQwGgy0ECDe-y2SKW6x7bo8DeSMz1UKfEq5bjx-O_vSWlrD8uBQ2qg3U8TQPfcwOPHRwm-wUQFxgQY6Tsngvk0fz8cr-T7bihCK_sdzzuaE9iMD03eWq/w394-h640/grandenetti-fury-closeup.jpg" width="394" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana; text-align: justify;">Both Fury and the Nazi soldier were awkwardly posed and did not at all resemble the look of Ayers' broad-shouldered, weightier figures. I originally thought someone on staff redrew/altered the foreground characters, but the art doesn't point to the usual suspects (John Romita, Marie Severin, Sol Brodsky) so maybe I wasn't thinking outside the box.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: verdana;">Perhaps the culprit was someone I wouldn't normally associate as a cover artist. In his role as editor Stan Lee chose - in this period - to often have the interior illustrator perform the same chore on covers, thus John Romita on <i>Spider-Man</i>; Gene Colan on <i>Daredevil</i>; Don Heck on <i>Avengers</i>; Werner Roth on <i>X-Men</i>; Larry Lieber on <i>Rawhide Kid</i> and Kirby on <i>FF</i> and <i>Thor. </i>There were exceptions, likely due to either deadlines or the rejection by Lee and possibly Publisher Martin Goodman of a submitted cover. The speedy and reliable Kirby often stepped into the fray, but Lee would try out others from time to time. For example Gil Kane, one of DC's top artists (<i>Green Lantern</i>, <i>The Atom</i>) drew a few covers for Lee in 1966, including <i>Sgt. Fury</i> # 37. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijW5znoV0NYosONPZ8WFdXNXlBxgkuhIlqKW3I666bkXJXTc6GlHVtCv_xTgYuta9D0JikFqrJFbBHh4YfyMPOuG40JkU95BkjXpZpg7gNJwkKP1fyXnuqbhLVxk1wyn5_tHD75Dj1T12PkSogGyGLt1POyRCwcy3jYMuV3-v0t5joqTETf-g3HRIq/s594/kane-sgtfury37.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijW5znoV0NYosONPZ8WFdXNXlBxgkuhIlqKW3I666bkXJXTc6GlHVtCv_xTgYuta9D0JikFqrJFbBHh4YfyMPOuG40JkU95BkjXpZpg7gNJwkKP1fyXnuqbhLVxk1wyn5_tHD75Dj1T12PkSogGyGLt1POyRCwcy3jYMuV3-v0t5joqTETf-g3HRIq/w430-h640/kane-sgtfury37.jpg" width="430" /></a></div><b><i><span style="font-family: Poppins;">Gil Kane's cover to Sgt. Fury # 37, December 1966. Kane worked for Lee sporadically in the mid-1960s, drawing several covers and also a few brief runs on the Hulk and Captain America. By the 1970s he would become one of Marvel's primary cover artists. </span><br /></i></b><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: verdana;">Lee was also seeking out seasoned veterans, attempting to acclimate them to the "Marvel method" (drawing a story from a plot synopsis) including a few creators he was familiar with during the company's earlier incarnation as Timely/Atlas in the 1940s and 50s. John Romita was one success story, taking over </span><i style="font-family: verdana;">Daredevil</i><span style="font-family: verdana;"> from Wally Wood and then being assigned to </span><i style="font-family: verdana;">Amazing Spider-Man</i><span style="font-family: verdana;"> when Steve Ditko quit. John Buscema was also persuaded to return after working in advertising; he was initially utilized on "the Hulk" and "SHIELD" strips and would quickly achieve great acclaim as one of Marvel's top illustrators, noted for his runs on </span><i style="font-family: verdana;">The Avengers</i><span style="font-family: verdana;">, </span><i style="font-family: verdana;">Silver Surfer</i><span style="font-family: verdana;">, </span><i style="font-family: verdana;">Sub-Mariner,</i><span style="font-family: verdana;"> </span><i style="font-family: verdana;">Thor</i><span style="font-family: verdana;"> and </span><i style="font-family: verdana;">Conan the Barbarian,</i><span style="font-family: verdana;"> to name a few standouts. There were some very good artists that didn't make the grade; either they were uncomfortable working from a plot instead of a complete script or Lee wasn't satisfied with their storytelling dynamics. A few that come to mind are Bob Powell, an exceptionally talented artist who drew "Giant-Man", "the Hulk" and "the Human Torch," and Ogden Whitney, who illustrated SHIELD and the </span><i style="font-family: verdana;">Two-Gun Kid</i><span style="font-family: verdana;">. The artist I'll be discussing also passed through the halls of Marvel briefly and with little fanfare.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpMGGBveeY2EYTSGqVY3ey3wvv_fDozKKcJ2URl7R4Cpqp_WKHe3e2C2JIBIEboawO15jaL6JGOSM-3tXWLCZI6rBpMkEXfU6_Ut_pSaQZhMtPl0RoD4q9zlOBeXgLSJIb0xVTMtWBAPEr_PNjaUEc-8II_r5pn5dZJDXyjKIzkATLukD93Cp35sf0/s3007/randenetti-astonish84.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3007" data-original-width="2004" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpMGGBveeY2EYTSGqVY3ey3wvv_fDozKKcJ2URl7R4Cpqp_WKHe3e2C2JIBIEboawO15jaL6JGOSM-3tXWLCZI6rBpMkEXfU6_Ut_pSaQZhMtPl0RoD4q9zlOBeXgLSJIb0xVTMtWBAPEr_PNjaUEc-8II_r5pn5dZJDXyjKIzkATLukD93Cp35sf0/w426-h640/randenetti-astonish84.jpg" width="426" /></a></div><br /><span style="font-family: verdana;">One month before he drew the cover to <i>Sgt. Fury</i>, the mystery artist was also unidentified on the Hulk story in <i>Tales to Astonish</i> # 84, October 1966. In an unusual move Lee's splash page credits read: "Art - Almost the whole blamed Bullpen." I would speculate that Lee refrained from detailing the participants due to the complicated nature of comic book production. The list would have been lengthy and some names might have been omitted. For instance, Bill Everett drew and/or altered the Hulk and Rick Jones' faces while assisting Sol Brodsky and John Tartaglione on inks. Several Gene Colan/Dick Ayers panels derived from the Sub-Mariner opening tale were also incorporated. Another hurdle was the fact that stories were lettered <i>before</i> they were inked, which meant that, if deadlines loomed, Lee might be unable to add those names to the comic before it went to the printer. This page appears to have been inked by Sol Brodsky, with Everett doing those chores on the Hulk and Rick (see how complicated it is!). At the very least, Artie Simek got his due! <b> </b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><br /></div></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdtwQS9Ic7Ure6PxHF9sNVq2pZdvFdVWCiVnMDwKc6Sa4M4kOjSdFYbgMv6VUDvWDv8TnCExMG7VlPVJuYhcxrK4irERBTr3BnsVxDy8irjkucmOcA9SO1N3Y1-mXsC30EtQEzRByQno1Jqw6rMNv_Zd5TRDn1aZhGIWG8C6ZvDIdUAi3LeFj9--ZV/s2905/grandenetti-astonish86-page.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2905" data-original-width="1908" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdtwQS9Ic7Ure6PxHF9sNVq2pZdvFdVWCiVnMDwKc6Sa4M4kOjSdFYbgMv6VUDvWDv8TnCExMG7VlPVJuYhcxrK4irERBTr3BnsVxDy8irjkucmOcA9SO1N3Y1-mXsC30EtQEzRByQno1Jqw6rMNv_Zd5TRDn1aZhGIWG8C6ZvDIdUAi3LeFj9--ZV/w420-h640/grandenetti-astonish86-page.jpg" width="420" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZ-uKfj5D2-Q-0R6gBGR_9RJKVJHbU7rJTaZNdDSQeGrnnTo3enQXNwsHLCK90g9TPOsX5l0MFnJd4k_1VNaSXeETHnFQAvyHF22WRa5ERvw1v_fbx5rrEH9gWANR5GYiF8i2cGHLoLJufOR6-U28T1wY8sZaK0H1uZ-1oYikJrrH1XOVRgVvHAdr/s2929/grandenetti-astonish86-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2929" data-original-width="2028" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZ-uKfj5D2-Q-0R6gBGR_9RJKVJHbU7rJTaZNdDSQeGrnnTo3enQXNwsHLCK90g9TPOsX5l0MFnJd4k_1VNaSXeETHnFQAvyHF22WRa5ERvw1v_fbx5rrEH9gWANR5GYiF8i2cGHLoLJufOR6-U28T1wY8sZaK0H1uZ-1oYikJrrH1XOVRgVvHAdr/w444-h640/grandenetti-astonish86-2.jpg" width="444" /></a></div><div><span style="font-family: Poppins;"><b><i>"The Wrath of Warlord Krang!" Stan Lee script, Bill Everett inks, Artie Simek letters, Tales to Astonish # 86, December 1966. </i></b></span></div><p><span style="font-family: helvetica; font-size: medium;"><span>Diligently studying every line of that </span><span><i>Sgt. Fury</i></span><span> cover an artist suddenly came to mind and I had a Sherlock Holmes moment of revelation! But was I mistaken? Did the dates coincide? I checked </span><i>Mike's Amazing World of Comics</i><span> website </span><a href="http://www.mikesamazingworld.com/mikes/">http://www.mikesamazingworld.com/mikes/</a><span> which lists the publication dates of comics, and it quickly confirmed my suspicions. Can you guess who it is? The answer is revealed in the next image/paragraph (don't cheat!)</span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9zLokAF4tFWCZRt-MgKJ3lnYNjrafmBfZ0JXtQOCXD3u_7MO38oPysbdOgvw89e6CQM6t9TvjUw7SICfFbJpt5IcqqCpzEAS7a6KPANPIciYfTeLhyGWCTTbne-ZeBMuRR19N3vnOxSNVYnoipch-tQmkTLoh8P31Bnb52ob4Qgxf__ZvzFNHewzs/s2767/grandenetti-astonish86-splash.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2767" data-original-width="1878" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9zLokAF4tFWCZRt-MgKJ3lnYNjrafmBfZ0JXtQOCXD3u_7MO38oPysbdOgvw89e6CQM6t9TvjUw7SICfFbJpt5IcqqCpzEAS7a6KPANPIciYfTeLhyGWCTTbne-ZeBMuRR19N3vnOxSNVYnoipch-tQmkTLoh8P31Bnb52ob4Qgxf__ZvzFNHewzs/w434-h640/grandenetti-astonish86-splash.jpg" width="434" /></a></div><span style="font-family: helvetica;"><p><span style="font-size: medium;">Jerry Grandenetti was a veteran artist who had assisted Will Eisner on his classic strip <i>The Spirit.</i> Acclaimed for his work on DC's war line he later turned out pages of impressive thrillers for Warren's horror magazines. Grandenetti was credited on the "Sub-Mariner" story in <i>Tales to Astonish</i> # 86, which went on sale a month after SF # 35. Every page/panel was filled with awkwardly positioned figures, distinctive hands and askew camera angles.</span><span style="font-size: large;"> </span></p></span><p></p><p><span style="font-family: helvetica; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmVvKf0Qop0oDNHbzw_9kia49tRBcFpK1QuGAUCr-4gHWLr8vqfIIQ99xRZ_IvLsl35zi6pYtKX0ZVSoR-JPxSe9eebweK4TlYXgpnhli9Oqo7tJH6xPxN0bJtvppvHXikReXiAnJE--n5t3wOgvIrJnPai5TJkkVX_tS6QNsuRTnQmKXBAqQPNT7a/s594/grandenetti-ourfighting.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmVvKf0Qop0oDNHbzw_9kia49tRBcFpK1QuGAUCr-4gHWLr8vqfIIQ99xRZ_IvLsl35zi6pYtKX0ZVSoR-JPxSe9eebweK4TlYXgpnhli9Oqo7tJH6xPxN0bJtvppvHXikReXiAnJE--n5t3wOgvIrJnPai5TJkkVX_tS6QNsuRTnQmKXBAqQPNT7a/w430-h640/grandenetti-ourfighting.jpg" width="430" /></a></span></div><span style="font-family: Poppins; font-size: medium;"><i>An intense scene dramatized by Grandenetti, one of many superior covers he provided (along with interior stories) for DC's war line over many years. Our Fighting Forces # 11, July 1956. Ira Schnapp lettering. </i></span><p></p><p><span style="font-family: Poppins; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEQuGNguOTZTAQlVk3qlv6hMmZmA909kBkY4iSWk2PIgRU4QD-GeoCE7821OMtj1AaNkdEN4KSTu9rz_izuee-nuaw5cXL7I1Y9uIy85J_HRXuIl5ILXeCj_Cc9n4TfNHTmHsEM2L8-EEKfuRK3HP2edZodCgTj3TQJncO5ROMoxsAQWkfVuVerDY/s1570/Grandenetti-creepy13.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1570" data-original-width="1150" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEQuGNguOTZTAQlVk3qlv6hMmZmA909kBkY4iSWk2PIgRU4QD-GeoCE7821OMtj1AaNkdEN4KSTu9rz_izuee-nuaw5cXL7I1Y9uIy85J_HRXuIl5ILXeCj_Cc9n4TfNHTmHsEM2L8-EEKfuRK3HP2edZodCgTj3TQJncO5ROMoxsAQWkfVuVerDY/w468-h640/Grandenetti-creepy13.jpeg" width="468" /></a></span></div><span style="font-size: medium;"><br /><i><span style="font-family: Poppins;">Grandenetti enjoyed experimenting in Warren's black and white horror titles. He employed wash tones to great effect and his characters conveyed a sense of unease in a surreal atmosphere. "Early Warning!," Archie Goodwin script, Ben Oda lettering, Creepy # 13, February 1967. </span></i></span><p></p><p><span style="font-size: medium;"><span style="font-family: helvetica;">Grandenetti's turn at Marvel was short-lived, perhaps for the best. Genre material, which focused on more natural situations and people, played to his strengths; not muscle-bound superheroes. Lee, perhaps aware of his contributions to DC's war line, considered using him on <i>Sgt. Fury</i> and moving Ayers to another title. A year later Grandenetti might have been a good fit on Marvel's new combat title, <i>Captain Savage</i>, but it was not to be. At DC he had a turn on two of their supernatural-themed characters, <i>The Spectre</i> and T<i>he Phantom Stranger</i>, but I personally prefer his more outré renditions.</span><i><span style="font-family: helvetica;"> </span><span style="font-family: verdana;"> </span> <b style="font-family: verdana;"> </b></i></span></p><p><span style="font-family: helvetica; font-size: medium;">Discovering the identity of a previously unknown artist is rewarding and it gives one the opportunity to give credit where it's due. Another benefit is that it often takes you on a divergent path. I originally intended to write specifically about the cover of <i>Sgt. Fury</i> # 35 and nothing more, but I was compelled to look back on the career of Jerry Grandenetti, an artist I always found intriguing. Grandenetti's time at Marvel was a minor moment in his career, but it gave me an incentive to praise the singular efforts of an often neglected cartoonist. <b> <i> </i></b></span></p><p><span style="font-family: verdana; font-size: medium;"><i><b> </b></i></span></p><p><span style="font-family: verdana; font-size: medium;"><b><i><br /></i> </b></span></p><p><span style="font-family: verdana; font-size: medium;"><b><br /></b></span></p><p><br /></p><p><br /></p><p><span style="font-family: verdana;"> </span></p><p><span style="font-family: verdana;"> </span></p>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com11tag:blogger.com,1999:blog-2089733759263636022.post-36845113053623312822022-03-24T21:05:00.011-04:002022-05-18T00:27:45.329-04:00FF Big Little Book Mysteries<div><span style="font-family: helvetica;"><b> Note: This is a revised post that was originally published on November 30, 2013</b></span><span style="font-family: verdana;"> </span></div><span style="font-family: verdana;"><div><span style="font-family: verdana;"><br /></span></div>Big Little Books began publication in 1932, telling stories with pages of alternating prose on the left side and a single illustration on the right. The books were geared to children and starred popular characters from comic strips, cartoons, movies and television, including <i>Popeye, Dick Tracy, Little Orphan Annie, Tarzan, Donald Duck, Lassie, Flipper, Voyage to the Bottom of the Sea, Man from Uncle, Bugs Bunny,</i> <i>Yogi Bear and many others</i>.</span><br />
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<span style="font-family: arial;">You can read more about the history of Big Little Books here:</span><br />
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<a href="http://www.biglittlebooks.com/learning.html"><span face="Trebuchet MS, sans-serif">http://www.biglittlebooks.com/learning.html</span></a><br />
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<span style="font-family: verdana;">William Johnston is credited with writing the 1968 Big Little Book featuring <i>the Fantastic Four,</i> which was distributed by Whitman Publishing. Curious about Johnston's background I searched online and discovered his fascinating history:</span><br />
<span face="Trebuchet MS, sans-serif"><br /></span><span face="Trebuchet MS, sans-serif"> <a href="http://iamtw.org/wp-content/uploads/2013/06/news-1-10.pdf">http://iamtw.org/wp-content/uploads/2013/06/news-1-10.pdf</a></span><br />
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<span style="font-family: verdana;">The first four pages provide you with Johnston's bibliography. He was a prolific writer whose books included a plethora of television tie-ins. His most successful run was on <i>Get Smart</i>, but other titles included <i>Dr. Kildare, Room 222, Bewitched, Ironside</i> and novelizations of movies such as <i>Klute</i>. Surprisingly, he left the field of writing and became a bartender in the 1970's.</span><br />
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<a href="http://4.bp.blogspot.com/-1JAjYZzdlqo/UpqBscD-t2I/AAAAAAAACA8/ccwK146SljA/s1600/FF-biglittlecover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-1JAjYZzdlqo/UpqBscD-t2I/AAAAAAAACA8/ccwK146SljA/w469-h640/FF-biglittlecover.jpg" width="469" /></a></div>
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<i><span style="font-family: helvetica;">All the images of the FF Big Little Book are taken from my copy, which I've owned since its original publication way back in 1968! If memory serves correctly, my Mom bought this first edition at Woolworth's in our local neighborhood, the Bushwick section of Brooklyn, where we resided. </span></i><i><span style="font-family: helvetica;">For the youngsters in the audience it was a popular chain of retail/variety stores that existed throughout the United States, similar to Wal-Mart. It is one of the earliest comics-related items I own; the paperback version of All In Color For A Dime is a close second. Herb Trimpe pencils, John Verpoorten inks.</span></i><div>
<i><br /></i><span style="font-family: verdana;"><span face="Trebuchet MS, sans-serif">Johnston, who is credited as author, had no association with Marvel and was assigned the book by Whitman's editors as one of his typical freelance assignments. It's quite possible he was unfamiliar with <i>Fantastic Four</i> lore, but became exposed or brought up to speed on Lee and Kirby's material, since, although greatly simplified for a young audience, Johnston did a worthy job of retaining their characteristic quirks; in particular the Thing, whose wisecracks remained intact. </span></span><div><span style="font-family: verdana;"><span face="Trebuchet MS, sans-serif"><br /></span></span></div><div><span style="font-family: verdana;"><span face="Trebuchet MS, sans-serif">Two artists from Marvel's bullpen were<b> </b>recruited, although they did not receive credit in the book. Herb Trimpe, who penciled the story, was a relative newcomer to the field (see my sensational sidebar post: <i>Werner Roth, Herb Trimpe and Kid Colt Outlaw</i>) and one might wonder how he got the job when Jack Kirby, the co-creator and artist of <i>The Fantastic Four,</i> did not. I asked him that question once and he explained quite simply that Kirby was too busy on his monthly titles and didn't have the time to produce outside work. Trimpe was readily available and had the ability to mimic Kirby's style. It's worth noting that Trimpe's efforts on this project was the first instance of a non-Kirby FF story (guest appearances in other titles notwithstanding) until John Romita took over the monthly title upon Kirby's departure from Marvel in 1970. </span></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">John Verpoorten, who was then production assistant at Marvel (and would later become head of production, replacing Sol Brodsky, who moved up to VP of Special Projects) inked Trimpe's pencils. Verpoorten's ink-line mirrored that of Kirby's monthly FF delineator, Joe Sinnott. Trimpe and Verpoorten were solid craftsman and produced a professional job. <br /></span>
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<a href="http://3.bp.blogspot.com/-F505TFQeVL8/UpqGGoIibSI/AAAAAAAACBI/KPgWLmEpAxM/s1600/ff-biglittlebook.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-F505TFQeVL8/UpqGGoIibSI/AAAAAAAACBI/KPgWLmEpAxM/w477-h640/ff-biglittlebook.jpg" width="477" /></a></div>
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<span face="Trebuchet MS, sans-serif"><br /></span></div><div><span face="Trebuchet MS, sans-serif"><i style="font-family: arial;">Trimpe's illustration from the FF BLB was re-used by Whitman for a jigsaw puzzle produced around the same time. The image of the team approaching an ominous gothic house may have been inspired by the success of the supernatural daytime serial Dark Shadows, which was overwhelmingly popular with the youth market, selling an array of related bubble gum cards, games and magazines. I bought the puzzle too, although, sadly, it has been lost to the ages.</i></span></div><div><br />
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<a href="http://2.bp.blogspot.com/-rILnNwiFD9c/UpqJOKgkTbI/AAAAAAAACBk/26jSqDpnvFU/s1600/biglittle-ff-trimpe1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-rILnNwiFD9c/UpqJOKgkTbI/AAAAAAAACBk/26jSqDpnvFU/w440-h640/biglittle-ff-trimpe1.jpg" width="440" /></a></div>
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<span style="font-family: arial;"><i>A Kirby-esque image of Reed and Sue by Trimpe and Verpoorten. Although he was originally inspired by the more cartoonish Jack Davis, Trimpe was encouraged to follow Kirby's storytelling techniques early on. He would take that straightforward approach to great heights, most notably on his long and successful run on the Incredible Hulk.</i><br /></span>
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<a href="http://4.bp.blogspot.com/-wDwfjD6o9aE/UpqJ7acYa-I/AAAAAAAACBs/jjE1CUkKI1M/s1600/biglittle-ff-trimpe3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-wDwfjD6o9aE/UpqJ7acYa-I/AAAAAAAACBs/jjE1CUkKI1M/w491-h640/biglittle-ff-trimpe3.jpg" width="491" /></a></div>
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<span style="font-family: arial;"><i>As can be seen by his illustration of the Torch, Trimpe understood dramatic focus, putting the reader in the center of the action. While some of his drawings were not as confident, and he occasionally relied on Kirby swipes, overall the nascent artist rode the wave with gusto! </i><br /></span>
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<a href="http://3.bp.blogspot.com/-9hbgz3QsFPw/UpqLE2NzPGI/AAAAAAAACB4/X2xcbNrpG5E/s1600/biglittle-ff-stat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-9hbgz3QsFPw/UpqLE2NzPGI/AAAAAAAACB4/X2xcbNrpG5E/w466-h640/biglittle-ff-stat.jpg" width="466" /></a></div>
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<span style="font-family: verdana;"><i>There were a few drawings of the FF throughout the book that were replaced with stats of Kirby artwork. This was likely due to the editor striving to keep the characters more closely aligned with Marvel's bombastic approach</i>. </span><br />
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<a href="http://1.bp.blogspot.com/-ppOvd5xBbmc/UpqM5nGKBaI/AAAAAAAACCU/tTOrCNNN4Mk/s1600/biglittle-ffswipe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-ppOvd5xBbmc/UpqM5nGKBaI/AAAAAAAACCU/tTOrCNNN4Mk/w436-h640/biglittle-ffswipe.jpg" width="436" /></a></div>
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<i><span style="font-family: arial;"><span face="Trebuchet MS, sans-serif">The above Jack Kirby/Joe Sinnott figures of the Thing, Reed and Johnny were originally presented on page 3, panel 3 of Fantastic Four # 77, August 1968. For the BLB Trimpe and/or Verpoorten likely added Sue and produced additional art. </span><br /></span></i>
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<a href="http://4.bp.blogspot.com/-MXnuauCJOSk/UpqNpA28y6I/AAAAAAAACCg/-RYU5w5jEP4/s1600/biglittle-kirby.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-MXnuauCJOSk/UpqNpA28y6I/AAAAAAAACCg/-RYU5w5jEP4/w480-h640/biglittle-kirby.jpg" width="480" /></a></div>
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<span style="font-family: verdana;"><i>While I have no conclusive proof, there are a few pages throughout the book that appear to be crafted by someone other than Trimpe or Verpoorten. The example above depicts a confidence of line that is evocative of Kirby's concurrent work; the Thing's rocky countenance in particular, so the figures may have actually been taken from an FF issue. Its also not out of the realm of possibility that Kirby was asked to fix-up a drawing while he was in the Marvel offices. </i><br /></span>
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<a href="http://3.bp.blogspot.com/-KVkABmXUHKM/UpqPuXjIPDI/AAAAAAAACCs/Ha13izflMDg/s1600/biglittleFF-kirby2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-KVkABmXUHKM/UpqPuXjIPDI/AAAAAAAACCs/Ha13izflMDg/w480-h640/biglittleFF-kirby2.jpg" width="480" /></a></div>
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<span style="font-family: verdana;"><i>Here is another scene with the FF in poses that appear to be drawn by Kirby/Sinnott, although Reed's face may have been altered by another hand. Again, this could be a stat from an FF issue, and if anyone finds where it originally appeared I'll add that info. Aside from these two illustrations, I don't see signs of any other new Kirby artwork. The rest of the page is clearly composed by Trimpe/Verpoorten. </i><br /></span>
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<span style="font-family: verdana;"><i>The evidence of other artists participating in the book's production appears to my practiced eye a certainty. While John Verpoorten was the primary inker, there are a few illos that were touched-up by a different individual. Dr. Weird may have had some corrections rendered by John Romita, Stan Lee's go-to man.</i><br /></span>
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<br /><span style="font-family: verdana;"><i>This close-up of Dr. Weird is another example of a face/figure altered from Trimpe's original. My guess is that Bill Everett, veteran artist and creator of the Sub-Mariner, was called on to make the character more sinister-looking. This would not be unusual, since Everett was working on staff at the time. The eyebrows, nose and mouth in particular have stylistic touches that point to Everett's involvement.</i></span></div><div><span style="font-family: verdana;"><i><br /></i></span></div><div><span style="font-family: verdana;">In my youthful days, some fifty-plus years ago, it was quite a novelty to discover the <i>Fantastic Four </i>appearing<i> </i>outside their monthly<i> </i>title. It made sense for Whitman to produce an FF Big Little Book, since the team had received its own Saturday morning cartoon on ABC a year earlier (as had <i>Spider-Man.</i>) Books, puzzles and the like were sources of delight, and often quite affordable. Today comic books are an adjunct to merchandising, movies and all sorts of ephemera. What was unique and unexpected then is commonplace now. And, perhaps, some of the magic is gone. <i> </i><br /></span>
<br /><span style="font-family: verdana;">It's been a long time since I've opened that well-worn FF Big Little Book, and, like most artifacts from the past, it brings back memories of people, places, events, and a world that is far away, yet somehow crystal clear. It is a trip we all take, I suspect, every time we watch an old movie, pick up a dog-eared book from our library, or gaze at the cover of a comic from our childhood. Perhaps they resonate with us in ways we'll never quite understand. What we had can never be duplicated - it was of the moment - but it can be reflected on, and preserved. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><i><span style="font-family: georgia;">You can see more of Herb Trimpe's work on a later Hulk Big Little Book at Jon B. Knutson's blog:</span></i><span style="font-family: verdana;"> </span><a href="https://randomactsofgeekery.blogspot.com/2016/10/cbt-incredible-hulk-in-lost-in-time-big.html?fbclid=IwAR1pPsMd-avw-zqsgP2ocTrIxfzG_XAZAHcdCZctqQvKdSZLNJ5lk2CdFTY" style="font-family: verdana;">https://randomactsofgeekery.blogspot.com/2016/10/cbt-incredible-hulk-in-lost-in-time-big.html?fbclid=IwAR1pPsMd-avw-zqsgP2ocTrIxfzG_XAZAHcdCZctqQvKdSZLNJ5lk2CdFTY</a></div></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com17tag:blogger.com,1999:blog-2089733759263636022.post-77758513036250745382021-12-14T21:43:00.022-05:002022-03-01T22:50:50.136-05:00Appreciating Don Heck<div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;">My introduction to Don Heck’s art began in the mid-1960s, where he was thrust into Marvel's growing assemblage of superheroes, including<i> "Iron Man," "Ant-Man," </i>and<i> The Avengers</i>. Reprints in <span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Fantasy Masterpieces</i></span> educated me on Heck's stylish monster/science-fiction short stories, which, while published only six or seven years prior, seemed to my youthful eyes like artifacts from an ancient age. As my collecting interests grew, I became aware of his facility in an array of genres, including romance, war and westerns. Through fanzines and interviews I learned of his beginnings, both the high-points and pitfalls of toiling in the comic book field. </span><span style="font-family: helvetica;">Heck struggled at times to retain his more humanistic, somewhat quirky approach while adhering to the company standard. As a result he often didn't get the choice assignments and was passed over for younger, more popular artists. What I would contend here, though, is that his contributions to the field are significant and deserving of a more thorough evaluation. </span><span style="font-family: verdana;"><span> </span><span style="font-weight: bold;"> </span><i style="font-weight: bold;"> </i><i style="font-weight: bold;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span></i></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;">
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<span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Don Heck’s earliest work was published in 1952 at Comic Media, where his striking covers and interior stories made an impact on such titles as <span style="font-style: italic;"><span style="mso-bidi-font-style: normal;">Weird Terror</span></span><i>, War Fury, </i><span style="mso-bidi-font-style: normal;"><i>Horrific, All True Romance, Death Valley </i>and</span><i> </i><span style="font-style: italic;">Danger</span><span>.</span><span style="font-style: italic;"> </span></span></span><span style="font-family: helvetica;">T</span><span style="font-family: helvetica;">he latter title is noteworthy, for it was there that he was awarded his </span><span style="font-family: helvetica;">first feature</span><span style="font-family: helvetica;">, "Duke Douglas," a spy series that appeared in issues 7-11</span><span style="font-family: helvetica;">.</span><span style="font-family: helvetica;"> Heck's esthetics and storytelling sense were inspired by master cartoonist Milton Caniff, acclaimed in the field for his newspaper strip </span><i style="font-family: helvetica;">Terry and the Pirates.</i><span style="font-family: helvetica;"> </span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEic_QK4KgBsDTG_aq12yFMc0rdxfoFgHJqwwYmIia6O_WNrxYEkOT5hl97X5gdMYEckEE-WKZNRFvU_Xer2cHfh-dVMzZ7R5DG3NEz2CTwZegvSfq4Tqgmuaoa5SImjNYsPm7YJxh1AXAEzuldgIzw9we5M7TA38ezVkCGgDIN0wnHOqkZ3R6SP7nCD=s1441" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1441" data-original-width="975" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEic_QK4KgBsDTG_aq12yFMc0rdxfoFgHJqwwYmIia6O_WNrxYEkOT5hl97X5gdMYEckEE-WKZNRFvU_Xer2cHfh-dVMzZ7R5DG3NEz2CTwZegvSfq4Tqgmuaoa5SImjNYsPm7YJxh1AXAEzuldgIzw9we5M7TA38ezVkCGgDIN0wnHOqkZ3R6SP7nCD=w434-h640" width="434" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><i style="text-align: left;"><span style="font-family: georgia; font-size: medium;">While Heck's first forays in the medium had a stiff quality and the positioning of figures was sometimes awkward, he was clearly growing as a sequential storyteller. This story shows a Jack Davis influence. "Full Moon," Weird Terror # 5, May 1953. Image from Comic Book Plus: <a href="http://comicbookplus.com/?dlid=38881">http://comicbookplus.com/?dlid=38881</a> </span></i></div></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><div style="text-align: justify;"><br /></div>
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<b><br /></b><span style="font-family: georgia; font-size: medium;"><span face=""trebuchet ms" , sans-serif"><i>This western cover (along with the image directly below) is indicative of the more lurid graphic scenes comic books offered during the pre-Code era. Death Valley # 2, December 1953.</i></span></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><br />
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</div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span face=""trebuchet ms" , sans-serif"><span style="font-family: georgia; font-size: medium;"><i> Many of Heck's covers for Comic Media were infused with an intense mood, lush brushwork and an angularity that mirrored the camerawork in such diverse cinematic fare as The Cabinet of Dr. Caligari (1920), The Wolfman (1941) and Kiss of Death (1947)</i>. W<i>eird Terror # 11, May 1954. </i></span></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span face=""trebuchet ms" , sans-serif"><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></span></div>
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<a href="http://1.bp.blogspot.com/-sbIVHf6PhU8/T_JCCOvHRmI/AAAAAAAAAlk/8PpfqPLT6w8/s1600/heckdanger.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-sbIVHf6PhU8/T_JCCOvHRmI/AAAAAAAAAlk/8PpfqPLT6w8/w413-h640/heckdanger.jpg" vca="true" width="413" /></a> </div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: georgia; font-size: medium;"><br /></span></i></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: georgia; font-size: medium; font-style: italic;">Heck's composition has a movie poster quality and the "leading man" is reminiscent of Bulldog Drummond or The Saint (The cover immediately brought James Bond to mind, but that spy would not appear in films for another decade, although Ian Fleming's first book, Casino Royale, was published about a year before this comic was on sale.) </span><i><span style="font-family: georgia; font-size: medium;">Danger # 11, August 1954.</span></i><i><span style="font-family: georgia; font-size: medium;"> </span></i></div>
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<div class="separator" style="clear: both; text-align: justify;"><span face=""trebuchet ms" , sans-serif"><i><span style="font-family: georgia; font-size: medium;"><span style="text-align: start;">In addition to Comic Media, Heck also freelanced for Harvey, Toby Press and US Pictoral, publisher of the one-shot Cap</span><span style="text-align: start;">tain</span><span style="text-align: start;"> </span><span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;">Gallant of the Foreign Legion</span></span><span style="text-align: start;">, adapted from the 1955-57 syndicated TV series starring Buster Crabbe. As I noted previously, </span>Heck's art was greatly influenced by Milton Caniff. </span> </i></span></div>
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<span style="font-family: helvetica;">In late 1954 Heck began a long association with Stan Lee, the Editor and chief helmsman of Atlas (which would later become better known as Marvel). Lee took note of Heck's versatility and had the artist working steadily on a variety of subject matter: western, war, horror, crime, romance, jungle tales – you name it – all produced with a high level of professionalism<b>.</b> Heck was soon awarded ongoing features in <span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Navy Action</i></span> ("Torpedo Taylor") and <i>Jann of the Jungle</i> ("Cliff Mason"). Heck’s war stories were particularly strong, as his visual skills were well suited to tales of heroic adventure. </span><br /></div>
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<div class="separator" style="clear: both; text-align: justify;"><i style="font-family: georgia; font-size: large;">"Torpedo Taylor" was a favorite assignment of Heck's. This page demonstrates a young artist with confidence in his abilities. "Get that Sub!", Navy Combat # 10, December 1956.</i></div>
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<span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Heck didn't get the opportunity to pencil Atlas' ongoing westerns (<i>Kid Colt Outlaw, Two Gun Kid, Outlaw Kid, Rawhide Kid, Wyatt Earp</i>, etc.) since Lee already had a stable of regulars assigned to those books. However, he often illustrated the short non-series tales that filled out each title<b>. </b>One exception was <i>T</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i>he Kid from Dodge City</i>, which was unfortunately cancelled after only two issues, a victim of company wide cutbacks</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i style="mso-bidi-font-style: normal;">.</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> While Heck's art was not as detailed or authentic as contemporary John Severin's, his cowboy stories were filled with "actors" straight out of central casting and stoic heroes reminiscent of Gary Cooper. </span></span></div>
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<span><span face=""trebuchet ms" , sans-serif"><i><span style="font-family: "arial";"> </span><span style="font-family: georgia; font-size: medium;"><span>Heck's scratchiness was perfectly suited to the gritty atmosphere that typified western fare. His characters, clothing and settings echoed (and were no doubt inspired by) the movies he watched as a child and adult</span><span>. "The Day of the Gun Duel!," </span><span>Gunsmoke Western</span><span> # 41, June 1957. </span></span><span style="font-family: "arial";"> </span></i></span></span><br />
<span style="font-family: "arial";"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></span><span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Heck excelled on the one-shot title </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i style="mso-bidi-font-style: normal;">Police Badge # 479</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> (September 1955). He drew two stories starring a rookie cop, sinking his teeth into an exciting strip that featured dynamic layouts, attractive pencils and atmospheric inks. I have no doubt that Heck would have produced an excellent ongoing feature had this comic continued. </span></span></div>
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<div class="separator" style="clear: both; text-align: justify;"><i><span style="font-family: georgia; font-size: medium;">A dramatic splash page to "Night Rain," Police Badge # 479, September 1955.</span></i></div>
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<div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;">Heck could switch gears easily, showing his proclivity for fashion, design and attractive women in such titles as </span><span style="font-family: helvetica; mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Love Romances, My Own Romance </i><span style="mso-bidi-font-style: normal;">and</span><i style="mso-bidi-font-style: normal;"> Teen-Age Romance</i></span><span style="font-family: helvetica;">. Heck enjoyed working on fantasy and space opera, contributing to </span><i style="font-family: helvetica;">Mystic, Strange Worlds, <span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;">Journey into Mystery, World of Fantasy, Strange Tales, Tales of</span></span> <span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;">Suspense</span></span> and <span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;">Tales to Astonish</span></span>.</i></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;">
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b><br /></b></span></i></span></div> </b></span><span style="font-family: georgia; font-size: medium;">Heck conveys a mixture of beauty and vulnerability in the demeanor of the woman who dominates this opening page. "Incident in the Rain!," Love Romances # 102, November 1962. </span><span style="font-family: Poppins; font-size: medium;">Heck: "I couldn't draw girls at all in the beginning - that was my worst feature, and me a fan of Caniff's! I decided I'd better start learning." </span></i></span></div>
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<div class="separator" style="clear: both; text-align: justify;"><i style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">An example of Heck's elegant science-fiction work. “Rocket Ship X”, <span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;">Strange Tales</span></span> # 69, June 1959</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">.</span></span></i></div><div class="separator" style="clear: both; text-align: justify;"><i style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></span></i></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhjSBiIryFSyinRR6pvWI-LV_WvbtnjHbU2HeBSI1kfUb38ULy5zdSVFZiVM74rbCT2y2lNFJbXoe3xZGivoLDR2Rgt7G730Dl8A4pUFA9i3_jAf9zOtn3W2Z3XU3TrTAp9livQD9lsTjAfgl6wxdlaPtVggv2e9NYDjDDM8u4T90uOUvYgk8zhdTqn=s4010" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4010" data-original-width="2666" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhjSBiIryFSyinRR6pvWI-LV_WvbtnjHbU2HeBSI1kfUb38ULy5zdSVFZiVM74rbCT2y2lNFJbXoe3xZGivoLDR2Rgt7G730Dl8A4pUFA9i3_jAf9zOtn3W2Z3XU3TrTAp9livQD9lsTjAfgl6wxdlaPtVggv2e9NYDjDDM8u4T90uOUvYgk8zhdTqn=w426-h640" width="426" /></a></div><div style="text-align: justify;"><i><span style="font-family: georgia; font-size: medium;">An air of menace prevails on this splash page, heightened by Heck's positioning of the robot in the foreground (Stan Goldberg's coloring doesn't hurt either!) Artie Simek lettering. Tales to Astonish # 11, September 1960. </span></i></div></span></i></div>
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<i><span style="font-family: georgia; font-size: medium;">Two pages that are indicative of Heck's employment<b> </b>of<b> </b>favorite "character<b> </b>actors," expressive mood and "cinematography," enhanced by Stan Goldberg's evocative coloring. Page 3 and 4 of "Something Lurks in the Fog!," Tales of Suspense # 24, December 1961. </span></i></div>
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<span style="font-family: helvetica;">While continuing to draw fantasy, western and romance stories, in 1962 Stan Lee added superheroes to Heck's resume. Lee's primary artist-collaborator, Jack Kirby, couldn’t handle the workload of drawing every title, although he created Iron Man's initial uniform (used as the cover of <i>Tales of Suspense</i> # 39, March 1963). Heck penciled the debut story and modeled Tony Stark's image in the mold of debonair actor Errol Flynn.<b> </b>Heck's expertise in depicting ordinary people served him well. He devised supporting players Happy Hogan (a stoic chap whose appearance may have been influenced by comedian Buster Keaton) and Pepper Potts, who Heck noted was visually based on actress Ann B. Davis. The two bickering employees of Stark Enterprises brought an element of much-needed humor to the grim surroundings.</span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;"><br /></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8nnr2v4c529b9iz87MFQ5140yYWXVY5iKGlKEjcHaaJCfqnQWUE-0IKe7vq24hHrg30yyfmBpBHLisIilqfMlOIATbzggLfRSr-VmwVfiwE4YmaZShge9EdoOZ-CUhDjb7oetsmGr2e2Buid7Db7Ug_q3WWuMKa-_PzO_i0Thvg3oKTS1U_SdBF3c=s2216" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2216" data-original-width="1974" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8nnr2v4c529b9iz87MFQ5140yYWXVY5iKGlKEjcHaaJCfqnQWUE-0IKe7vq24hHrg30yyfmBpBHLisIilqfMlOIATbzggLfRSr-VmwVfiwE4YmaZShge9EdoOZ-CUhDjb7oetsmGr2e2Buid7Db7Ug_q3WWuMKa-_PzO_i0Thvg3oKTS1U_SdBF3c=w570-h640" width="570" /></a></div><br /><div style="text-align: justify;"><span style="font-family: georgia; font-size: medium;"><i>Happy Hogan and Pepper Potts from their introduction in Tales of Suspense # 45, September 1963. Stan Lee plot; Robert Bernstein script; Heck art; Sam Rosen lettering. </i></span></div></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;"><br /></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: verdana;"><i><b><span>Heck: "When I was doing "Iron Man," I enjoyed it because in the beginning, there were c</span><span>haracters like Happy Hogan and that other girl, Pepper Potts. They were characters. They were people...Stan called up, and he said he wanted Pepper to be prettier, and as far as I was concerned, that killed her. In other words, if she gets prettier, who cares if she's second fiddle or something like that? But if she's homely and she winds up going out, then its a big deal. And </span></b></i><b><i>the same [call] he said "make Happy handsomer." And I liked him with his banged up ear and his crooked nose and a whole mess of stuff like that...Suddenly, everybody had to be pretty, and I didn't like it." </i> </b></span><span style="font-family: helvetica;"> </span></div>
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<span style="font-family: helvetica;">While Heck's art was not as inventive or intensely powerful as Jack Kirby's (few artists were) he had an appealing style with a charm all its own. Favorite early Iron Man stories include “The Mad Pharaoh” (<span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Tales of Suspense</i></span> # 44, August 1963), where his rendering showed a distinct Alex Toth influence; a two-part Mandarin story (<span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Suspense</i></span> #’s 54 & 55, June-July 1964), the latter which included a special feature:<span style="mso-spacerun: yes;"> </span>“All about Iron Man,” where Heck's inking was particularly crisp; and the introduction of the Unicorn (<i>Suspense</i> # 56, August 64), a villain Heck probably designed on his own, and quite expertly. All of Heck's penciled and inked Iron Man stories are great reads and reflect some of his very best work in the super hero field.</span></div>
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<div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: georgia; font-size: medium;">In his Comics Feature interview Heck explained: </span></i></div>
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<i><span style="font-family: georgia; font-size: medium;"><b> "..I was more or less inspired in some cases by stuff I had seen that Alex Toth was doing, and so I was having fun with it, and I saw Toth was working with a Rapid-O-Graph [a technical pen], and I did an Egyptian story with all of these characters, and it was the first time I used a Rapid-O-Graph." </b></span></i></div>
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<i><span style="font-family: georgia; font-size: medium;">"The Mad Pharaoh!" (Tales of Suspense # 44, August 1963) is the story Heck references. Stan Lee plot; Robert Bernstein script; Sam Rosen lettering. </span></i></div>
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<i><span style="font-family: georgia; font-size: medium;">Iron Man floats weightlessly above the Manhattan crowd; one of Heck's most accomplished pages of the period. Tales of Suspense # 54, June 1964.</span></i></div><div class="separator" style="clear: both; text-align: justify;"><i><span style="font-family: georgia; font-size: medium;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUlgz6jpT1kCZWD1gPzNz4QB1RORvf-z96XqnPStZpZPBk6zkHR75VjNm_8BtvngHtR-ha8JsWYL9OvArMpf7AV1f7M1Vq5AhMmKG5-9Sg66aiy0025eTSDAAQmX0ntkq4WjsUgspMvu6CzO48gWlbMKBNszFdRKESJP12TqDy1L_p8Mu6LUauXAU0=s2972" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2972" data-original-width="1960" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUlgz6jpT1kCZWD1gPzNz4QB1RORvf-z96XqnPStZpZPBk6zkHR75VjNm_8BtvngHtR-ha8JsWYL9OvArMpf7AV1f7M1Vq5AhMmKG5-9Sg66aiy0025eTSDAAQmX0ntkq4WjsUgspMvu6CzO48gWlbMKBNszFdRKESJP12TqDy1L_p8Mu6LUauXAU0=w422-h640" width="422" /></a></div><br /><div style="text-align: justify;"><i><span style="font-family: georgia; font-size: medium;">A special feature page from Tales of Suspense # 55, July 1964. Lee script; Heck art; Sam Rosen lettering. </span></i></div></i></div>
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<div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: helvetica;">When Stan Lee gave Heck an additional title to draw in mid-1964 (taking over the reigns from Jack Kirby on </span><i style="font-family: helvetica;">The Avengers </i><span style="font-family: helvetica;">with # 9, cover-dated October) he relinquished his inking responsibilities for the first time in his career. Dick Ayers, Chic Stone and Mike Esposito filled that role with varying degrees of success. Overall, though, the results diluted Heck's pencils. Heck provided his perspective on producing the finished art in </span><i style="font-family: helvetica;">Comics Scene</i><span style="font-family: helvetica;"> # 21, November 1982 (conducted by Richard Howell): </span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;"><span style="font-family: georgia; font-size: medium;"><b><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">"I would much rather finish my own work. Obviously, if I do that, I’m not going to do as many pages per month, as far as that goes, but I like to get into the characters. I like to work with the whole feeling of the story. And I think you--I do, anyway--draw better if you do the whole drawing." </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span></i><br /></b></span><br />
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<span style="font-family: georgia; font-size: medium;"><i>Upon his return to Marvel, John Romita's first job was inking Heck's pencils on The Avengers. Heck had assisted Romita on a few romance jobs at DC, and both were noted for drawing attractive women. Stan Lee script; Morrie Kuramoto lettering, The Avengers # 23, December 1965. </i></span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span><span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">While Heck didn't particularly enjoy working on a team book (or superheroes, for that matter), many of the early Avengers stories focused on a core group consisting of Captain </span><country-region w:st="on"><place w:st="on">America</place></country-region><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">, Hawkeye, Quicksilver and the Scarlet Witch, giving him the ability to play up characterization and human drama. This began to change in his last dozen-odd issues when first original members Goliath and the Wasp returned (in issue # 28) and Hercules was added as a new member (# 38) instituting a more unwieldy congregation of heroes and villains.</span><br /></span><br />
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<span style="font-family: georgia; font-size: medium;"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Concurrent with his mid-1960s Marvel work Heck freelanced for Western Publishing/Gold Key on an array of popular TV adaptations: </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">The Man from Uncle,</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Voyage to the Bottom of the</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Sea, Twilight Zone and Boris Karloff Tales of Mystery.</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> "The Ten Little UNCLE's Affair," Dick Wood script, Mike Esposito inks, The Man From U.N.C.L.E. # 5, March 1966. </span></i></span></div>
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<span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">After Heck was relieved of his<i> Avengers </i>duties<i> </i>he became a utility player at Marvel, laying out stories for Werner Roth on </span><em>X-Men</em><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> and working over John Romita’s breakdowns on <i>Amazing </i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i>Spider-Man (</i>often completed by inker </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Mike</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Esposito</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">)</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">. While serviceable, this piecemeal approach deprived Heck of his many signature qualities. </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Heck returned to full pencils on </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i style="mso-bidi-font-style: normal;">Captain Marvel,</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i style="mso-bidi-font-style: normal;">Captain Savage </i><span style="mso-bidi-font-style: normal;">and</span></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> anthology stories in </span><place w:st="on"><placetype w:st="on"><span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Tower</i></span></placetype><span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> of <placename w:st="on">Shadows,</placename></i></span></place><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span style="mso-bidi-font-style: normal;"> </span><i style="mso-bidi-font-style: normal;">Chamber of Darkness, Our Love Story and My Love.</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Heck's non-superhero efforts were undoubtedly the best of what he produced in this period, before he was prodded to emulate Jack Kirby's Wagnerian visuals. </span></span></div><div class="MsoPlainText" style="margin: 0in 0in 0pt;">
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<span style="font-family: georgia; font-size: medium;"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">In the mid-to-late 1960s Heck was rarely given the opportunity to ink his own pencils and his work suffered accordingly.</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> On occasion he was paired with a compatible inker, such as veteran artist Syd Shores. "The Junk-Heap Juggernauts!," Captain Savage and his Leatherneck Raiders # 13, April 1969. </span></i></span><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></i>
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<span style="font-family: georgia; font-size: medium;"><span face=""verdana" , sans-serif"><i>Master draftsman John Buscema was both a friend and an admirer of Heck's art. They only collaborated on a handful of stories, but Heck's delineation on this page suggests (at least to me!) that they should have been paired together more often. "A Time to Die!,"; Stan Lee script; Sam Rosen lettering, Tower of Shadows # 1, September 1969. </i></span><br /></span>
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<i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b><br /></b></span></i><span style="font-family: georgia; font-size: medium;"><span face=""trebuchet ms" , sans-serif"><i>With superheroes showing signs of weakness publisher Martin Goodman decided to revisit several once-popular genres, including romance (Love Romances was cancelled in 1963). My Love and Our Love Story debuted on alternate months and it was only natural for Heck, often praised by fans and professionals for depicting stunning women, to become a primary contributor on both titles. The above splash teams him with his contemporary in the romance field, John Romita. "Why Did I Lose You, My Love?," Stan Lee story; Heck pencils; Romita inks, Sam Rosen letters, Our Love Story # 1, October 1969. </i></span><br /></span><br />
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<a href="https://2.bp.blogspot.com/-c42o3RMBplE/WIbtDnwWy6I/AAAAAAAAFac/B7xfOG1psBk-DlBb-zQSan1w2Ll7UKgjwCLcB/s1600/heck-tower4-pg2-.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-c42o3RMBplE/WIbtDnwWy6I/AAAAAAAAFac/B7xfOG1psBk-DlBb-zQSan1w2Ll7UKgjwCLcB/w427-h640/heck-tower4-pg2-.jpg" width="427" /></a></div>
<i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b><br /></b></span></i><i><span face=""trebuchet ms" , sans-serif"><span style="font-family: georgia; font-size: medium;">Marvel also initiated two mystery-oriented comics in the spring/summer of 1969, Tower of Shadows and Chamber of Darkness, where Heck was again on solid ground. The above page underscores the artists instinctive understanding of where the "camera" should be placed. This story also profits from Heck inking his pencils, a rare occurrence in this period. "Evil is A Baaaad Scene!!," Allyn Brodsky script; Sam Rosen lettering, Tower of Shadows # 4, March 1970. </span> </span></i></div>
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<span style="font-family: helvetica;">In the early 1970s Heck switched allegiances and moved to DC, where he was wisely assigned to strips starring female leads, from superhero/adventure series <i>Wonder Woman</i>, "Batgirl" and "Rose and the Thorn," to a plethora of romance stories. The supernatural titles such as<i> House of Secrets</i> and <i>The Witching Hour</i> also benefited from his artistic skills. As good as they were, he hit a high note with the extra-length Gothic thrillers <i>The Dark Mansion of Forbidden Love/Forbidden Tales of Dark Mansion</i> and <i>Sinister House of Secret Love</i>. </span></div>
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<div class="separator" style="clear: both; text-align: center;"><i><span style="font-family: georgia; font-size: medium;"><br /></span></i></div><div class="separator" style="clear: both; text-align: justify;"><i><span style="font-family: georgia; font-size: medium;">Heck's use of contemporary fashions and beautiful women were combined to design many exceptional covers for DC's romance titles. Girls' Romances # 156, April, 1971. Dick Giordano inks (who often stated he loved inking Don's work). </span></i></div>
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<span style="font-family: georgia; font-size: medium;"><span face=""trebuchet ms" , sans-serif"><i>When given the opportunity to draw more realistic scenes and settings Heck stretched his muscles. This atmospheric page includes an impressive birds-eye view in panel five. "Kiss of Death," The Dark Mansion of Forbidden Love # 3, February 1972, Heck pencils and inks; Jack Oleck script; Ben Oda lettering. </i></span><br /></span><br />
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<span style="font-family: georgia; font-size: medium;"><i>Heck was reportedly given the "Batgirl" strip due to Jack Kirby's referral and he came through with flying colors. "The Deadly Go-Between!," Detective Comics # 416, October 1971. Heck pencils and inks. Frank Robbins script; John Costanza lettering. </i></span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span><span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Back at Marvel in the mid-1970s Heck penciled a few above-average stories, particularly in </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i style="mso-bidi-font-style: normal;">Giant-Size Dracula</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> and </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i>Giant-Size Defenders.</i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> As the decade wore on, though, both Heck's assignments and inkers were wanting and his work fell out of favor. Heck was often the guy editors called on when deadlines loomed; he was always dependable and delivered the goods on time. The finished product did not always meet fans expectations, though, and Heck - not the inkers or editors - would get the blame. </span></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span>
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<span style="font-family: georgia; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><span face=""trebuchet ms" , sans-serif">Author </span></i></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><span face=""trebuchet ms" , sans-serif">Steve Gerber praised Heck for his storytelling on "Too Cold A Night for Dying!" in Giant-Size Defenders # 4, April 1975. Vince Colletta inks; Dave Hunt lettering. </span></i><b> </b></span></span><br />
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<span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Disappointed with the treatment he received at Marvel Heck returned to DC in 1977, remaining with the company until 1988. There he had runs on </span><i>Wonder Woman</i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">, </span><i>The Flash</i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">, </span><i>Steel, the Indestructible Man</i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> and </span><i>Justice League of America</i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">. Some of the DC editors were more accommodating to Heck, either providing sympathetic inkers or granting him the opportunity to do the complete job. The results were generally of high-quality. </span></span></div>
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<div class="separator" style="clear: both; text-align: justify;"><i><span style="font-family: georgia; font-size: medium;">A time-travel tale gave Heck an opportunity to revisit familiar territory as Green Lantern encounters Jonah Hex, one of DC's popular western characters. Justice League of America # 199, February 1982. Brett Breeding provides the sturdy inks. Gerry Conway script; Ben Oda lettering. </span></i></div>
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<i><span style="font-family: georgia; font-size: medium;">Like most comic book artists Don Heck was almost certainly an avid moviegoer who studied cinematic techniques. While fans got a kick out of seeing Heck's versions of Jimmy Olsen, Adam Strange, Deadman, Blackhawk and Woozy Winks, Heck was almost certainly more interested in depicting movie stars Spencer Tracy, Edward G. Robertson, Charlie Chaplin, Gary Cooper and Harpo Marx! "All This And World War, Too!" Jean-Marc Lofficier plot, Roy Thomas script; Heck pencils and inks; John Costanza lettering; Carl Gafford coloring. DC Challenge # 9, July 1986. </span></i></div>
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<i><span style="font-family: georgia; font-size: medium;">In addition to his DC work, Heck's art appeared in other venues from time to time, including the magazine anthology Adventure Illustrated # 1, Winter 1981. Heck provided three illustrations to accompany a chapter from Owen Wister's 1902 western novel "The Virginian." The artist's exuberance for the material is echoed in his delightfully fluid technique. </span></i></div>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">Heck returned to Marvel for the final time in 1989 when work dried up at DC. He penciled, inked or provided finished art over other artists in </span><i>Avengers Spotlight,</i><span face=""trebuchet ms" , sans-serif"> </span><i>Marvel Comics Presents, Thor </i><span face=""trebuchet ms" , sans-serif">and other features</span><span face=""trebuchet ms" , sans-serif">. </span><span face=""trebuchet ms" , sans-serif">Heck also worked for a few independent publishers including Topps Comics. </span></span></div>
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<br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEgxzEAWv9oSsp2MpPntUDwU6d0yA_pIi9rrmDBWvAX4pDM5lTGspoiNXgI_3YEwPz_JFxwc2-hQUm0nN6B39OxUMU4qMqeThXtCuYautjYBf163sYxeDfQvcgouYWicQYLDhMC94km6kCE-E9Vs5kZpZSGwlB_DVoGnxkm732FprdspQG07lHS75cd3=s1345" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1345" data-original-width="913" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgxzEAWv9oSsp2MpPntUDwU6d0yA_pIi9rrmDBWvAX4pDM5lTGspoiNXgI_3YEwPz_JFxwc2-hQUm0nN6B39OxUMU4qMqeThXtCuYautjYBf163sYxeDfQvcgouYWicQYLDhMC94km6kCE-E9Vs5kZpZSGwlB_DVoGnxkm732FprdspQG07lHS75cd3=w434-h640" width="434" /></a></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: georgia; font-size: medium;"><i>Heck revisited the armored hero he was most recognized for in Iron Man Annual # 12, September 1991, illustrating this one-page recap of his origin. Heck also inked an IM story in that issue. </i></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div>
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<span style="font-family: georgia; font-size: medium;"><i>One of Heck's last jobs was drawing a character Jack Kirby designed, Nightglider, for Topps comics. "She Glides in Beauty Like the Night...," Nightglider # 1, April 1993. </i></span></div>
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<div class="separator" style="clear: both; text-align: justify;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span style="font-family: helvetica;">Don Heck has been described by his peers as an amiable, hard working, no-nonsense guy; a visual and verbal mix of Leo Gorcey and Art Carney, equipped with a sharp sense of humor. A self-effacing man, Heck was not afraid to speak his mind when prodded, typical of his working class upbringing in the streets of Jamaica, Queens. </span></span><span style="font-family: helvetica;">Heck passed away on February 23, 1995, at the age of 66.</span></div>
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<span style="font-family: helvetica;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">In a career spanning more than 40 years Don Heck produced a body of work that is worthy of appreciation.</span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> Unjustly and often cruelly denounced by the fan press in his later years, Heck was deeply wounded by these assaults, but he bravely weathered the storm and was determined to continue </span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">perfecting his skills, as this exchange with Will Murray illustrates:</span></span></div>
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><div style="text-align: justify;"><br /></div></span><span style="font-family: georgia; font-size: medium;"><b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i>Murray: So you maintain your edge by drawing, no matter what.</i></span><br />
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<i><span style="font-family: georgia; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>Heck: </b></span><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>I draw all the time, yeah. I've got a whole bunch of pages where you're just drawing figures there, [working] with that, trying different things that you're working with.</b> </span></span></i><br />
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: helvetica;">In retrospect, Heck was a distinctive artist whose greatest achievements were in the pages of comics devoid of super-heroes<b>.</b> Thankfully, the past few decades have preserved a good portion of his work in attractive hardcover editions such as </span><i style="font-family: helvetica;">Marvel Masterworks</i><span style="font-family: helvetica;">. Online, one can view and read many of his 1950s-era stories, now in the public domain and easily accessed at <i>Comic Book Plus</i>, </span><span style="font-family: helvetica;">and fans can discuss, share, study and celebrate Heck's output on Facebook. By peering more deeply into his 40+ year career, scholars of the medium and aficionados can reassess the quality of an artist who, standing in the shadow of Jack Kirby, was all-too-often dismissed. Removed from that shadow a talented cartoonist comes to light.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> <span style="font-family: verdana;"><b>Note: </b></span></span><span style="font-family: verdana;"><b><em><span style="font-size: medium;">This is an updated and greatly expanded version of an article that originally appeared in Alter Ego # 42, November 2004. It has been further revised from my post originally p</span></em><span style="font-size: medium;"><i>ublished on January 15, 2017. </i></span></b></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;">
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<span style="font-family: times; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><em>Don Heck; A Work of Art by John Coates is an essential look at the artist's work and was an invaluable resource tool in reworking this article. It can be purchased from TwoMorrows or at Amazon:</em></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><em><a href="https://www.amazon.com/Don-Heck-Work-John-Coates/dp/160549058X">https://www.amazon.com/Don-Heck-Work-John-Coates/dp/160549058X</a></em></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><em>To see a fine selection of Heck's Comic Media work (and view full issues of comic books in the public domain) go here: </em></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><em>To share your thoughts and art on Don Heck join the Don Heck Appreciation Page </em></span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><em><a href="https://www.facebook.com/groups/593969397306357/">https://www.facebook.com/groups/593969397306357/</a></em></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: times; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span style="font-family: times;"> </span><i><span style="font-family: arial;">I'll close with a sketch Don drew for me at the 1975 Marvel Con: </span></i></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><span style="font-family: arial;"><br /></span></i></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgzw5xccoxma11W-DFxoVIj3tSY9C4ej0GdQo6mQZK3eWbDwh1eHo3zDs4C6iFSoR4MZOxi8S47sxujvaEYf16tRAq6J3mz-pw7n8V-0uJyDzphvTIP_nySAV-eiF6RbVd8MNiZbmPylZf2QgjHkJCn2v-bVw5VH6VhAIS0fBdbZfo7lJvvSgxn4E4t=s888" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="696" data-original-width="888" height="314" src="https://blogger.googleusercontent.com/img/a/AVvXsEgzw5xccoxma11W-DFxoVIj3tSY9C4ej0GdQo6mQZK3eWbDwh1eHo3zDs4C6iFSoR4MZOxi8S47sxujvaEYf16tRAq6J3mz-pw7n8V-0uJyDzphvTIP_nySAV-eiF6RbVd8MNiZbmPylZf2QgjHkJCn2v-bVw5VH6VhAIS0fBdbZfo7lJvvSgxn4E4t=w400-h314" width="400" /></a></div><br /><span style="font-family: arial;"><br /></span></i></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: times; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: times; font-size: medium;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></span></div>
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Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com34tag:blogger.com,1999:blog-2089733759263636022.post-53193508600855219892021-06-09T12:00:00.099-04:002021-08-25T13:43:04.657-04:00Marvel's 1966 Specials<p><span style="font-family: Poppins;">Starting in the spring of 1966 Marvel released its double-sized specials, timed to sell at what was considered a peak period for the comics industry. It was prompted by the belief that as the school year was winding down kids generally had more leisure time and additional spending capital (accrued by performing various entrepreneurial pursuits) during the seemingly endless summer. These expanded publications were originally called Annuals - an appellation most fans still commonly use. Beginning in '66 they were labeled "King-Size Specials." I have no idea <i>why </i>the change occurred; perhaps publisher Martin Goodman felt children didn't understand what the word Annual meant (personally, I never struggled over the term.) Either way, they were supplements to Marvel's regular monthly titles. So, assuming the impulse was present, youngsters with spare change in their pockets could indulge in the delights offered by Marvel's summer extravaganzas. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qJop7dszhYk/YLrmD9UK6gI/AAAAAAAAHm8/FxaVyuMnUYkeHwV-TBlzaHa6dpVt1H39gCLcBGAsYHQ/s1054/annual-logo1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="1054" height="175" src="https://1.bp.blogspot.com/-qJop7dszhYk/YLrmD9UK6gI/AAAAAAAAHm8/FxaVyuMnUYkeHwV-TBlzaHa6dpVt1H39gCLcBGAsYHQ/w400-h175/annual-logo1.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-sgiePxBKarw/YLrmNFSyH3I/AAAAAAAAHnA/w8_MGz-RmpUJlI6tHQl_9CeBDKhAJE0CwCLcBGAsYHQ/s923/annual-logo-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="434" data-original-width="923" height="188" src="https://1.bp.blogspot.com/-sgiePxBKarw/YLrmNFSyH3I/AAAAAAAAHnA/w8_MGz-RmpUJlI6tHQl_9CeBDKhAJE0CwCLcBGAsYHQ/w400-h188/annual-logo-2.jpg" width="400" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-CAob4F9ZCDA/YLrmZb8PIEI/AAAAAAAAHnI/O0dwC8nAK9s6Bfr_rGBZhz6dGhCWZZHAQCLcBGAsYHQ/s802/annual-logo-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="802" height="260" src="https://1.bp.blogspot.com/-CAob4F9ZCDA/YLrmZb8PIEI/AAAAAAAAHnI/O0dwC8nAK9s6Bfr_rGBZhz6dGhCWZZHAQCLcBGAsYHQ/w400-h260/annual-logo-3.jpg" width="400" /></a></div><br /><p><span style="font-family: helvetica;"><i>A look at the evolving design and titling of Marvel's Annuals. </i></span><i style="font-family: helvetica;">The format, as seen on the top example, remained the standard from 1961-63. T</i><i><span style="font-family: helvetica;">he top banner and corner box were tweaked in the following three years. The middle tier initiated the "King-Size" wording to precede "Annual." The '66 version excised the word entirely in favor of "Special" (Lee and company couldn't even keep it straight - continuing to refer to them as Annuals on the Bullpen page!). In 1965 the corner box, which profiled the starring character(s) was supplanted with the proclamation: "72 Big Pages" or "More Pages! More Thrills!" (as an aside I should note that Lee used the phrase: "The World's Greatest Annual" on the cover of # 2, which I like so much that I'm thinking of re-titling "Marvel Mysteries and Comics Minutia" to "The World's Greatest Comics Blog!") </span></i></p><p><span style="font-family: Poppins;">The 1966 line-up differed slightly from the previous year. <i>Marvel-Super Heroes</i> was a new addition taking the place of <i>Marvel Tales</i>. <i>Thor </i>Special # 2 continued the numbering sequence of<i> 1965's Journey into Mystery Annual # 1 (see a detailed account below.) </i></span><span style="font-family: Poppins;">And one Special apparently was never published as such - but more on that subject later.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5ZsleckTfQs/YOtolfjnw1I/AAAAAAAAHqY/rp7Hqy3NiOMm0bcKBymQseQtfLsHV3XUgCLcBGAsYHQ/s1974/jim84-logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1442" data-original-width="1974" height="293" src="https://1.bp.blogspot.com/-5ZsleckTfQs/YOtolfjnw1I/AAAAAAAAHqY/rp7Hqy3NiOMm0bcKBymQseQtfLsHV3XUgCLcBGAsYHQ/w400-h293/jim84-logo.jpg" width="400" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0QPIWl39ooI/YOtozmasizI/AAAAAAAAHqc/xf0Q-dP6GGgYAADLAhNkXdlK5J_ggAukACLcBGAsYHQ/s2004/jim104-logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="2004" height="186" src="https://1.bp.blogspot.com/-0QPIWl39ooI/YOtozmasizI/AAAAAAAAHqc/xf0Q-dP6GGgYAADLAhNkXdlK5J_ggAukACLcBGAsYHQ/w400-h186/jim104-logo.jpg" width="400" /></a></div><p><span style="font-family: Poppins;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-WsVzMh9hNok/YOtqhA0yBmI/AAAAAAAAHrE/Pf3-B0fmXzMi_T2gmR3IIoQ6Rlm5G8x4ACLcBGAsYHQ/s1998/thor-logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="1998" height="151" src="https://1.bp.blogspot.com/-WsVzMh9hNok/YOtqhA0yBmI/AAAAAAAAHrE/Pf3-B0fmXzMi_T2gmR3IIoQ6Rlm5G8x4ACLcBGAsYHQ/w400-h151/thor-logo.jpg" width="400" /></a></div><p></p><p><i><span style="font-family: helvetica;"><span>An explanatory note for the uninitiated (or, as Groucho Marx stated when he looked into the camera in the 1932 movie Horse Feathers: "I've got to stay here, but there's no reason why you folks shouldn't go out into the lobby until this blows over.") Thor's escalation in popularity grew in just a few short years - as seen by these cover examples. </span>Thor began as the lead feature in Journey into Mystery # 83, August 1962. The title had a long history as a fantasy/monster/anthology comic. With # 97 "Tales of Asgard," debuted, focusing exclusively on the mythological gods in ongoing, five page stories. Short fantasy vignettes continued to appear as back-ups until issue # 104, May 1964. Since Thor was now appearing in both the opening and second feature it was finally decided that Journey into Mystery was an unnecessary title. The March, 1966-dated issue was now simply called Thor, with the numbering continuing from JIM (which probably had some collectors back in those days thinking they had to collect every Thor story dating back to JIM # 1!) Since I'm a completist (or obsessed - take your pick!) I'll note that Journey into Mystery was revived as a title briefly in 1972, returning to its fantasy roots. After writing this paragraph I'm having second thoughts about re-titling this blog: "The World's Greatest Comics Blog!" Perhaps "Journey into Minutiae" is more apropos! </span></i></p><p><span style="font-family: Poppins;">The release schedule amounted to two specials per month. June debuted <i>Sgt. Fury</i> and <i>Millie the Model</i>. While it might seem odd in retrospect, since Marvel's focus at that time was on super-heroes, other genres remained quite popular with a general audience. When Marvel initiated their Annual line in 1962 Millie was at the forefront (the other title being <i>Strange Tales.</i>) No new material was featured in her 5th excursion, likely due to time constraints. Although Millie had been around since the 1940s the series had recently undergone a transition from humor to dramatic, soap opera-oriented stories; therefore it was determined to reprint the type of features more in line with current sensibilities. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lEJJK-3w9GM/YLrd4vJkalI/AAAAAAAAHms/cWLhGzPdqKQMN95GwZS5jmHsQfC3dI71wCLcBGAsYHQ/s1600/goldberg-millieann5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1050" height="640" src="https://1.bp.blogspot.com/-lEJJK-3w9GM/YLrd4vJkalI/AAAAAAAAHms/cWLhGzPdqKQMN95GwZS5jmHsQfC3dI71wCLcBGAsYHQ/w420-h640/goldberg-millieann5.jpg" width="420" /></a></div><span style="font-family: helvetica;"><i>Millie's Special was similar in appearance to Marvel's other 1966 publications. The only alterations were the top banner ("Queen " replacing "King") and the upper-left hand corner box that read: "More Pages! More Glamor!" Since Millie was not combating any super-villains or engaged in hand-to-hand combat with Nazis, it kinda' made sense! It's worth noting that advertising in Millie's Special catered specifically to girls' interests and differed from the toy soldiers and monster posters being sold between the pages of the testosterone-filled superhero and western heroics. Stan Golberg cover art (and likely coloring); Sam Rosen lettering.</i></span> <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AUEIkttkZAM/YLrisn0ie6I/AAAAAAAAHm0/9XUD--dlUj4p6XnKfKGAAB8vF5Nx8I94wCLcBGAsYHQ/s1439/goldberg-millieann5-splash.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1439" data-original-width="990" height="640" src="https://1.bp.blogspot.com/-AUEIkttkZAM/YLrisn0ie6I/AAAAAAAAHm0/9XUD--dlUj4p6XnKfKGAAB8vF5Nx8I94wCLcBGAsYHQ/w440-h640/goldberg-millieann5-splash.jpg" width="440" /></a></div><br /><p><span style="font-family: helvetica;"><i>Millie was still quite popular in 1966, being featured in two titles (Millie the Model and Modeling with Millie) of which material for this special had been culled. Stan Lee story; Stan Goldberg co-plot and art; Sol Brodsky inks; Sam Rosen lettering and coloring likely by Goldberg. </i></span></p><p><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><a href="https://1.bp.blogspot.com/-fl9DhyxRZ7k/YMDyptcSLMI/AAAAAAAAHps/mFB6EZZrxSMASKRtTF9rvbcxXkLnYLGOgCLcBGAsYHQ/s1600/milliefashion.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1051" height="640" src="https://1.bp.blogspot.com/-fl9DhyxRZ7k/YMDyptcSLMI/AAAAAAAAHps/mFB6EZZrxSMASKRtTF9rvbcxXkLnYLGOgCLcBGAsYHQ/w420-h640/milliefashion.jpg" width="420" /></a></span></div><span style="font-family: helvetica;"><i>One aspect of Millie (and Marvel's other girl-oriented comics, including Patsy and Hedy) that appealed to its predominantly female audience - although boys also contributed - was the creative involvement afforded readers. Anyone so inclined could design clothing and dresses for the characters and be acknowledged in print. This was a staple of not just the feature pages, such as the one pictured above, but included throughout every story. On various occasions artist Stan Goldberg proudly recounted that, in later years, a number of fans approached him at conventions, explaining how they were inspired to pursue a career in fashion because of Millie's collaborative efforts. </i></span><p></p><p><span style="font-family: helvetica;"><span style="font-family: Poppins;">Also on sale June 9th in most US cities was </span><i style="font-family: Poppins;">Sgt. Fury Special</i><span style="font-family: Poppins;"> # 2. In the space of a few years the war mag had become one of Marvel's best sellers. Roy Thomas, who had recently taken over the scripting of the monthly title from Stan Lee (beginning with # 27, five months earlier) did the honors here, accompanied by the regular artistic team of Dick Ayers on pencils and John Tartaglione on inks. The 25-page tale focused on an important date in history, June 6th, 1944, when the allied invasion of Normandy, codenamed D-Day, took place. </span></span></p><p><span style="font-family: Poppins;">The formatting of Specials, offering a new lead story backed up by two earlier tales, continued in the same vein as the previous year. A representation of SF # 11 was followed by the debut tale of "Nick Fury, Agent of Shield," then barely a year old, in the hope of getting fans of the war mag interested in his present-day secret agent capers which were currently appearing in <i>Strange Tales</i>. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VYnkltep0FE/YLrrx__eTTI/AAAAAAAAHnU/JCwLJHseZro71PipWZpwvaZmWbUzYBn3ACLcBGAsYHQ/s1467/Ayers-sgtfuryspec2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1467" data-original-width="993" height="640" src="https://1.bp.blogspot.com/-VYnkltep0FE/YLrrx__eTTI/AAAAAAAAHnU/JCwLJHseZro71PipWZpwvaZmWbUzYBn3ACLcBGAsYHQ/w434-h640/Ayers-sgtfuryspec2.jpg" width="434" /></a></div> <i style="font-family: helvetica;">Sgt. Fury Special # 2. Dick Ayers cover art; Sam Rosen lettering. </i><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EcxQNT7RV8I/YL6O6fOzgMI/AAAAAAAAHpc/HZRr9kmNcIIO7nEvFecB8mHEwueK12hiACLcBGAsYHQ/s906/ayers-sfspecial2%253Dpanel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="906" height="292" src="https://1.bp.blogspot.com/-EcxQNT7RV8I/YL6O6fOzgMI/AAAAAAAAHpc/HZRr9kmNcIIO7nEvFecB8mHEwueK12hiACLcBGAsYHQ/w640-h292/ayers-sfspecial2%253Dpanel.jpg" width="640" /></a></div><span style="font-family: helvetica;"><i>In the midst of intense bravado, Roy Thomas and Dick Ayers took a few panels to reflect on weightier issues via the thoughts of Fury, Percy and Gabe. John Tartaglione inks; Sam Rosen letters; Stan Goldberg colors? </i></span><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; font-family: Poppins; text-align: center;"><span><a href="https://1.bp.blogspot.com/-ECgFji4pdRQ/YLrxf95TRHI/AAAAAAAAHnk/V5ashiibPUQhoKGdtc0ieSj7skh1vZHzACLcBGAsYHQ/s840/furyspecial2-promo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="526" data-original-width="840" height="400" src="https://1.bp.blogspot.com/-ECgFji4pdRQ/YLrxf95TRHI/AAAAAAAAHnk/V5ashiibPUQhoKGdtc0ieSj7skh1vZHzACLcBGAsYHQ/w640-h400/furyspecial2-promo.jpg" width="640" /></a></span></div><span><br /><span style="font-family: helvetica;"><i>Stan Lee used the last page to promote both the monthly Fury title and Strange Tales. </i></span></span><p></p><p><span style="font-family: Poppins;">July saw the arrival of </span><i style="font-family: Poppins;">Thor Special</i><span style="font-family: Poppins;"> # 2 in candy stores. Clocking in at 30 pages, it was the longest </span><span style="font-family: Poppins;">new-material work published in 1966. Page lengths in the Specials varied this year, likely based on scheduling and availability of the creative team. Also lacking were the extra features and pin-up pages that permeated the early Annuals (only a few were crafted the previous year.) </span></p><p><span style="font-family: Poppins;">Lee and Kirby presented a story which took place entirely in the realm of Asgard, with Thor fighting alongside Odin and his compatriots (Fandrall, Hogun and Volstagg) against the Destroyer. There was no sign of Thor's frail alter-ego, Dr. Don Blake, nor much need to deal with earthly concerns. At this point Lee and Kirby seemed comfortable creating a fantasy environment that fans reveled in. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bN5st6Ysvsk/YLr0QVRkk_I/AAAAAAAAHns/vMXuhL6NlNIRW0SNx6qVofiz1_mnNpt0gCLcBGAsYHQ/s1600/kirby-thtorspecial2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://1.bp.blogspot.com/-bN5st6Ysvsk/YLr0QVRkk_I/AAAAAAAAHns/vMXuhL6NlNIRW0SNx6qVofiz1_mnNpt0gCLcBGAsYHQ/w416-h640/kirby-thtorspecial2.jpg" width="416" /></a></div><br /><span style="font-family: helvetica;"><i>Thor Special # 2. Jack Kirby pencils; Vince Colletta inks; Artie Simek and Morrie Kuramoto lettering; Stan Goldberg colors? All covers featured vignettes previewing the reprinted stories. </i></span><div><span style="font-family: helvetica;"><i><br /></i></span></div><div><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-WQJQSfoNFFU/YLw9VMGH3OI/AAAAAAAAHoE/iiacLsMD0TsX1_rxex2rKTfIBWx3ni8ZQCLcBGAsYHQ/s2048/kirby-thorspecial2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1367" height="640" src="https://1.bp.blogspot.com/-WQJQSfoNFFU/YLw9VMGH3OI/AAAAAAAAHoE/iiacLsMD0TsX1_rxex2rKTfIBWx3ni8ZQCLcBGAsYHQ/w428-h640/kirby-thorspecial2.jpg" width="428" /></a></div><i>Jack Kirby's full page illustration of the Destroyer suggests the character's power, weight and looming threat to Thor and his companions. Vince Colletta inks. </i> <br /></span><p><span style="font-family: Poppins;"><i>Marvel Super-Heroes</i> also debuted in July, a title that effectively replaced <i>Marvel Tales</i> on the schedule. After the first two Annuals MT became an ongoing, bi-monthly series, featuring early tales of Spider-Man, Thor, Human Torch and Ant-Man. This special reprinted <i>Daredevil</i> # 1 (then just two years old) by Lee and Bill Everett; Avengers # 2 by Lee, Kirby and Paul Reinman and a Golden Age (aka 1940s Timely-era) battle between the original Human Torch and Sub-Mariner by Everett and Carl Burgos. Martin Goodman likely ordered the title as a tie-in to the syndicated cartoon debuting in September. While only three of the heroes featured in the Special (Thor, Iron Man and Sub-Mariner) would be starring on the TV show, it was probably important for Goodman to trademark the title and have it serve as a marketing vehicle for the entire line. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1wob5Bv-QAw/YLw_BOkttLI/AAAAAAAAHoM/X1h8VcUPt6UIpqGybo0ag4UemYIvQYxiACLcBGAsYHQ/s613/marvelsuperheroes1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="613" data-original-width="400" height="640" src="https://1.bp.blogspot.com/-1wob5Bv-QAw/YLw_BOkttLI/AAAAAAAAHoM/X1h8VcUPt6UIpqGybo0ag4UemYIvQYxiACLcBGAsYHQ/w418-h640/marvelsuperheroes1.jpg" width="418" /></a></div><br /><span style="font-family: helvetica;"><i>Marvel Super-Heroes Special # 1 had a cover composed of interior art, thus saving expenses on paying for a new cover. Pencils by Bill Everett, Jack Kirby and Carl Burgos; inks by Paul Reinman, Burgos and Everett, with touch-ups likely by Marie Severin. Lettering by the ever-talented Sam Rosen and coloring (possibly) by Stan Goldberg. </i></span></div><div><span style="font-family: helvetica;"><i><br /></i></span></div><div><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qB7qCwXmaMY/YL6RIYEi-9I/AAAAAAAAHpk/TNb3UqO7JWQXpRb1NwV5AM5WXVS8rofzACLcBGAsYHQ/s2048/MSH1-contents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1535" height="640" src="https://1.bp.blogspot.com/-qB7qCwXmaMY/YL6RIYEi-9I/AAAAAAAAHpk/TNb3UqO7JWQXpRb1NwV5AM5WXVS8rofzACLcBGAsYHQ/w480-h640/MSH1-contents.jpg" width="480" /></a></div><br /><i>All the Specials (with the exception of Millie) included a Table of Contents on the inside front cover, a prominent area which was generally reserved for paid advertising. The artwork was taken from interior stories, with graytones and touch-ups by Marie Severin. While Lee often mentioned the office staff in the Bullpen Bulletins page, the extra space allowed him to give them further credit, including Sol Brodsky, Flo Steinberg and Denny O'Neil. <br /></i></span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Z-G8ult0EDU/YLxBvccLTrI/AAAAAAAAHoU/XMOw4l-WKI0XDL21ynfb04tDkD2phYQZgCLcBGAsYHQ/s2048/everett-msh1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1376" height="640" src="https://1.bp.blogspot.com/-Z-G8ult0EDU/YLxBvccLTrI/AAAAAAAAHoU/XMOw4l-WKI0XDL21ynfb04tDkD2phYQZgCLcBGAsYHQ/w430-h640/everett-msh1.jpg" width="430" /></a></div><br /><span style="font-family: helvetica;"><i>At the conclusion of the first confrontation between the original Human Torch and Sub-Mariner, reprinted from Marvel Mystery Comics # 8, June 1940, an editorial note (signed "Stentorian Stan" but likely written by Associate Editor Roy Thomas) mentions the current incarnations of those characters. Art by Carl Burgos and Bill Everett. </i></span><p></p><p><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><a href="https://1.bp.blogspot.com/-Vr1IZj5Kd7Q/YLxD6IGxqNI/AAAAAAAAHoc/Oni_k8P3GGkLgmfxwbVGtswEEf_Fkt05ACLcBGAsYHQ/s2048/lee-msh1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1335" height="640" src="https://1.bp.blogspot.com/-Vr1IZj5Kd7Q/YLxD6IGxqNI/AAAAAAAAHoc/Oni_k8P3GGkLgmfxwbVGtswEEf_Fkt05ACLcBGAsYHQ/w418-h640/lee-msh1.jpg" width="418" /></a></span></div><span style="font-family: helvetica;"><i>Also included in MSH was Stan Lee's first text story for Goodman's line, with illustrations by Jack Kirby. </i></span><p></p><p><span style="font-family: Poppins;">In August two of Marvel's best selling characters were given the spotlight. <i>Amazing Spider-Man Special </i># 3 had the wall-crawler attempting to join the Avengers. This appealed to fans who enjoyed crossovers, although the plot was standard-fare and illogical (</span><span style="font-family: Poppins;">Peter Parker was a college student, so how could he possibly be available upon a moment's notice to assist the team?)</span><span style="font-family: Poppins;"> </span><span style="font-family: Poppins;">Spidey was tasked to find the Hulk, but deliberately flunked the test when he discovered Bruce Banner's tragic circumstances. It was a fun story, especially for readers who loved the abundance of colorful protagonists, but there was another scenario that <i>almost</i> occurred. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-o-7TBl8eQII/YLr2ibIKeuI/AAAAAAAAHn0/9xxPnnHQkAoDT4pS5Y07AlzHZuR11iiMACLcBGAsYHQ/s2048/AnnASM3.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2048" data-original-width="1337" height="640" src="https://1.bp.blogspot.com/-o-7TBl8eQII/YLr2ibIKeuI/AAAAAAAAHn0/9xxPnnHQkAoDT4pS5Y07AlzHZuR11iiMACLcBGAsYHQ/w418-h640/AnnASM3.jpg" width="418" /></a></div><p></p><span style="font-family: helvetica;"><i>Amazing Spider-Man Special # 3. John Romita pencils; Mike Esposito inks; Sam Rosen lettering; Stan Goldberg colors? </i></span></div><div><span style="font-family: helvetica;"><i><br /></i></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-cAC6A52Wbr0/YLxJvfFrcmI/AAAAAAAAHok/Re3boyiyMuwFExlj2g4fxq1L-vl_f0EGQCLcBGAsYHQ/s2048/asmspecial3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1299" height="640" src="https://1.bp.blogspot.com/-cAC6A52Wbr0/YLxJvfFrcmI/AAAAAAAAHok/Re3boyiyMuwFExlj2g4fxq1L-vl_f0EGQCLcBGAsYHQ/w406-h640/asmspecial3.jpg" width="406" /></a></div><span style="font-family: helvetica;"><i>Spider-Man greets the Avengers but thankfully (in the 1960s at least) he remained a solo hero. Stan Lee script; John Romita co-plot-breakdowns; Don Heck pencils; Mike Esposito inks; Artie Simek letters and Stan Goldberg colors. </i></span><br /><p><span style="font-family: Poppins;">In Steve Ditko's essay "Why I quit S-M, Marvel" (The Four-Page Series No. 9, September 2015) the artist explained:<i> </i></span></p><p><span style="font-family: arial;"><i>"One day I got a call from Sol [Brodsky, Marvel's Production manager]. The next S-M Annual is coming up. Okay."</i></span></p><p><span style="font-family: arial;"><i>"Why should I continue to do all these monthly issues, original story ideas, material, for a man [Stan Lee] who is too scared, too angry over something, to even see, talk to me? "</i></span></p><p><span style="font-family: arial;"><i>"At some point I decided to quit Marvel, S-M, DS [Doctor Strange]." </i></span></p><p><span style="font-family: Poppins;">That call from Brodsky would obviously have been in reference to the third Special. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JVtuApx0kmc/YLxL4pRCNgI/AAAAAAAAHos/1JJ9i3U8UusCiYTR-ankdrtGlD4fWRBlwCLcBGAsYHQ/s2048/ditko-asmspecial3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1271" height="640" src="https://1.bp.blogspot.com/-JVtuApx0kmc/YLxL4pRCNgI/AAAAAAAAHos/1JJ9i3U8UusCiYTR-ankdrtGlD4fWRBlwCLcBGAsYHQ/w398-h640/ditko-asmspecial3.jpg" width="398" /></a></div><span style="font-family: helvetica;"><i>Steve Ditko had departed Marvel many months before Amazing Spider-Man Special # 3 was on-sale, but his work was represented via reprints of ASM #'s 11-12. </i></span><p></p><p><span style="font-family: Poppins;">A little background for those not familiar with the behind the scenes details. According to Ditko, Stan Lee had stopped communicating with him on storylines sometime around ASM # 25. For his last year at Marvel Ditko was solo plotting both Spider-Man and "Doctor Strange", with Lee supplying the dialogue and editing. For a freelance artist this could be a tenuous situation. </span></p><p><span style="font-family: Poppins;">No one knows what kind of story Ditko would have conceived, but I'd put my money on it being something unique and memorable. Working out the details on his own (Brodsky would have relayed how many pages were allotted) the likelihood of guest-stars was practically nil. When Ditko began plotting Spider-Man solo, the Human Torch, The Hulk, Daredevil and other Marvel mainstays vanished. Lee enjoyed intermingling and cross-pollinating the line; Ditko believed a hero should be able to solve his own problems and cameos only weakened the vital role of supporting players and ongoing storylines. One can wonder, though, what a third Steve Ditko Spider-Man Special might have been... </span></p><p><span><i><span style="font-family: arial;">(to read my ruminations on Ditko's extraordinary Annual efforts you don't have to be tech savvy to find them. For the first post click here: <a href="https://nick-caputo.blogspot.com/2014/07/50-summers-ago-amazing-spider-man.html">https://nick-caputo.blogspot.com/2014/07/50-summers-ago-amazing-spider-man.html</a> and then click on the "feature post" on the right side for the second post) </span></i></span></p><p><span style="font-family: Poppins;"><i>Fantastic Four Special</i> showcased the premiere title in Marvel's line. The story featured the return of the Original Human Torch, including a look back at his beginnings. His inclusion was almost certainly a dictate from Martin Goodman, who wanted to secure the copyright. Carl Burgos created the popular hero for Goodman's first publication, <i>Marvel Comics</i>, in 1939. For nearly two decades Burgos plied his trade as an artist for Timely/Atlas and was their unofficial cover editor during the 1950s. He briefly returned to work for Lee in the 1960s, including a story featuring the Lee-Kirby Human Torch in <i>Strange Tales</i>, but in 1966 Burgos reportedly instigated a lawsuit for the rights to his creation. In defiance Goodman countered by reintroducing Burgos' character in two of Marvel's Specials (the aforementioned <i>Marvel-Super-Heroes</i> and FF, as seen below) following-up four months later by reprinting early stories - and emphasizing the flaming android on covers in <i>Fantasy Masterpieces, </i>starting with issue # 7. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3DvZEeyBXXg/YLr3UQ5fOqI/AAAAAAAAHn8/XDP656ia_as3SKRaq9B2VDpWTBQpJjNGACLcBGAsYHQ/s2048/AnnFF4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1333" height="640" src="https://1.bp.blogspot.com/-3DvZEeyBXXg/YLr3UQ5fOqI/AAAAAAAAHn8/XDP656ia_as3SKRaq9B2VDpWTBQpJjNGACLcBGAsYHQ/w416-h640/AnnFF4.jpg" width="416" /></a></div><br /><span style="font-family: helvetica;"><i>FF Special # 4. Jack Kirby pencils; Joe Sinnott inks; Sam Rosen letters; Stan Goldberg</i></span></div><div><span style="font-family: helvetica;"><i> colors? </i></span></div><div><span style="font-family: helvetica;"><i><br /></i></span></div><div><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-k-QAmGoY88o/YLxRnHNriCI/AAAAAAAAHo8/XyPG-0F47oAksB0wbIF7TVMM0Rv4rBFRwCLcBGAsYHQ/s2048/kirby-ffspecial4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1294" height="640" src="https://1.bp.blogspot.com/-k-QAmGoY88o/YLxRnHNriCI/AAAAAAAAHo8/XyPG-0F47oAksB0wbIF7TVMM0Rv4rBFRwCLcBGAsYHQ/w404-h640/kirby-ffspecial4.jpg" width="404" /></a></div><i><br /></i></span></div><div><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;">The two Torches meet. Little did fandom know the real fireworks behind the scenes. Stan Lee dialogue; Jack Kirby co-plot-art; Joe Sinnott inks; Sam Rosen lettering; Stan Goldberg colors. </i></div></span><p><span style="font-family: Poppins;">One of the special treats for many fans was the reprinting of <i>Fantastic Four </i>#'s 25-26, which detailed the team's battle with the Hulk. There was much drama, action and excitement to be had, as the FF fought valiantly against an unstoppable foe, with the Avengers coming aboard in the concluding chapter. Although the story was only a few years old, it spoke of an earlier era, and a time when back issues were hard to acquire. This gave the stories an almost mythical status, and neighborhood friends who had the original issues would be looked on in awe - those comics coveted as much as a rare coin or baseball card. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lmxDylU4ko0/YLxSiYs1u_I/AAAAAAAAHpE/hXkHlwBYscgZgqQD0s8kLnkRGemQef0vwCLcBGAsYHQ/s2048/kirby-FFspecial4-hulk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1317" height="640" src="https://1.bp.blogspot.com/-lmxDylU4ko0/YLxSiYs1u_I/AAAAAAAAHpE/hXkHlwBYscgZgqQD0s8kLnkRGemQef0vwCLcBGAsYHQ/w412-h640/kirby-FFspecial4-hulk.jpg" width="412" /></a></div><br /><span style="font-family: helvetica;"><i>Marvel's mighty misanthropes slug it out! For many kids of the era, the Thing-Hulk battle was more thrilling than the opening story. Stan Lee plot-dialogue; Jack Kirby co-plot-art; George Roussos inks; Sam Rosen lettering and Stan Goldberg coloring. Note the bottom promo for the Marvel Super-Heroes cartoon. </i></span><p></p><p><span style="font-family: Poppins;">While those were all the Specials published by Marvel in 1966, its not quite the end of the story. A mystery takes shape in the form of a title that looks like every other Special...except that it's not. </span></p><p><span style="font-family: Poppins;"><i>Kid Colt Outlaw</i>, a long-running, popular western title, appears to have been slated for "King-Size Special" status. The September-dated issue, # 130 (on stands in June) is priced at 25 cents instead of the usual 12 cents, and the cover format is the same composition as the<i> Spider-Man</i>, <i>Thor</i>, and <i>Sgt. Fury</i> Specials. Which begs the question: was it intended to be a Special? And if so, why did it not appear as such? The answer is open to speculation but may be quite elementary (to quote Sherlock Holmes.)</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EXZVw97CLOs/YLxT8theE8I/AAAAAAAAHpM/pXuYvYKD1MMQQC2vaMU9I9Sc0Rk9f-6mwCLcBGAsYHQ/s1571/keller-kidcolt130.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1571" data-original-width="1024" height="640" src="https://1.bp.blogspot.com/-EXZVw97CLOs/YLxT8theE8I/AAAAAAAAHpM/pXuYvYKD1MMQQC2vaMU9I9Sc0Rk9f-6mwCLcBGAsYHQ/w418-h640/keller-kidcolt130.jpg" width="418" /></a></div><br /><span style="font-family: helvetica;"><i>Kid Colt Outlaw # 130. Note the corner box identified as "Kid Colt Special," and the vignettes depicting scenes from the interior tales; in exactly the same style as the other 25 cent titles. Jack Keller art; Sam Rosen lettering; Stan Goldberg coloring ?</i></span><p></p><p><span style="font-family: Poppins;">Martin Goodman had an agreement with his distributor, Independent News, which limited him to a set number of titles. In this period it alternated on a bi-monthly basis. For example, Marvel had 14 comics on stands in March, 1966 and 16 in April of '66. During the summer months, however, Goodman was allowed approximately 2-3 extra issues in order to take advantage of peak sales. It is possible that Independent limited the number of 25 cent specials as well. In the two previous years, six Annuals were on the schedule; the same number as in 1966. I suspect that Goodman attempted to add a seventh and was denied; if so, the material prepared for the Special was easily shoehorned into the monthly title by making it a 25 center, but there is yet another puzzle.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1LwxZJZWSMo/YLxVIcPXkMI/AAAAAAAAHpU/XrMPhhOKplM-8Z6ol3aASSQTpzuHx46zACLcBGAsYHQ/s1491/keller-rule-kidcolt130.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1491" data-original-width="1024" height="640" src="https://1.bp.blogspot.com/-1LwxZJZWSMo/YLxVIcPXkMI/AAAAAAAAHpU/XrMPhhOKplM-8Z6ol3aASSQTpzuHx46zACLcBGAsYHQ/w440-h640/keller-rule-kidcolt130.jpg" width="440" /></a></div><br /><span style="font-family: helvetica;"><i>Kid Colt Outlaw # 130 featured all-reprint material, including a look at how he came to be labeled an outlaw. Originally from KCO # 79, July 1958. Stan Lee story; Jack Keller pencils; Christopher Rule inks; Joe Letterese letters and Stan Goldberg colors. </i></span><p></p><p><span style="font-family: Poppins;">The following two issues of <i>Kid Colt</i> (# 131-132, November 1966; January 1967) were <i>also </i>double-length, 25 centers. Then, without fanfare, the title reverted back to standard format, with no mention of the change. It's possible that Independent News balked at Goodman producing another 25 cent comic, perhaps limiting him to three bi-monthlies (<i>Fantasy Masterpieces, Marvel Tales</i> and <i>Marvel Collector's Item Classics</i>). They might not have wanted more competition with DC's oversized titles. A minor mystery, admittedly, but one lost to the mists of time. </span></p><p><span style="font-family: Poppins;">This journey back to a period when comics and summer exploded in an almost magical kaleidoscope of exuberance is no doubt tinged with melancholy, particularly for those who lived through it, and were young. Nevertheless I believe many of these comics are worthy of continued discussion and analysis - which is</span><span style="font-family: Poppins;"> a testament to the creators who envisioned them all those years ago. </span></p><p><span style="font-family: Poppins;"><br /></span></p><p><span style="font-family: Poppins;"> </span><span style="font-family: arial; font-size: medium;"><i>To read all of Steve Ditko's Essays in the Four Page Series, including the complete text of "Why I Quit S-M, Marvel" go here:</i> </span><a href="https://www.amazon.com/Complete-Four-Page-Other-Essays-Complains/dp/1945307269/ref=sr_1_1?dchild=1&keywords=Steve+Ditko+four+page+series&qid=1623282010&sr=8-1" style="font-family: Poppins;">https://www.amazon.com/Complete-Four-Page-Other-Essays-Complains/dp/1945307269/ref=sr_1_1?dchild=1&keywords=Steve+Ditko+four+page+series&qid=1623282010&sr=8-1</a><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"><br /></span></p><p><span style="font-family: Poppins;"> </span><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"><br /></span></p><p><span style="font-family: Poppins;"> </span></p><p><span style="font-family: Poppins;"> </span></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com22tag:blogger.com,1999:blog-2089733759263636022.post-20951587608123819862021-06-01T20:52:00.001-04:002021-06-01T20:52:00.160-04:00Behind the Shelves: Russ Johnson and Mister Oswald<div><span style="font-family: Poppins;"><i>In honor of Rob Stolzer's brand-new blog spotlighting the impressive work of Russ Johnson (look for it here: </i><a href="https://misteroswald.com/?fbclid=IwAR1r_Tec9AcgX-60YbTXVr_6XmzXOOOaOFk_yYHu0TggivlWTa6L1co8DMU">https://misteroswald.com/?fbclid=IwAR1r_Tec9AcgX-60YbTXVr_6XmzXOOOaOFk_yYHu0TggivlWTa6L1co8DMU</a> )</span></div><div><i style="font-family: Poppins;">I've revised my tribute, which was originally posted on November 8, 2014. </i></div><span face="Trebuchet MS, sans-serif" style="font-family: Poppins;"><div><span face="Trebuchet MS, sans-serif" style="font-family: Poppins;"><br /></span></div>There are many famous comic strips and creators that have been justly celebrated, studied and collected: Milton Caniff (<i>Terry and the Pirates</i>); Chester Gould (<i>Dick Tracy</i>); Hal Foster (<i>Tarzan; Prince Valiant</i>); Alex Raymond (<i>Flash Gordon</i>); Harold Gray (<i>Little Orphan Annie</i>); Charles Schulz (<i>Peanuts</i>) to name but a few, but one strip sits in relative obscurity despite an extraordinary sixty-two year tenure. Why? Because that comic strip was buried inside a monthly retail magazine that catered to the Hardware business.</span><br />
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<a href="http://4.bp.blogspot.com/-pZNoRMKN64w/VF6e75zXH6I/AAAAAAAADQw/NbgEuR4Ss2g/s1600/russjohnson40yearscvr.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-pZNoRMKN64w/VF6e75zXH6I/AAAAAAAADQw/NbgEuR4Ss2g/w488-h640/russjohnson40yearscvr.jpg" width="488" /></a></div>
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<b><span style="font-family: helvetica;">The cover to Forty Years with Mister Oswald, published in 1968 by the National Retail Hardware Association. </span></b><br />
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">The story of Russ Johnson is fascinating on many levels. Johnson was not only a talented cartoonist, but a businessman who took over ownership of his father's Hardware store and ran the operation for decades. His first hand experiences as a store owner were the gist for many stories he devised. </span><br /></span>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif"> In the introduction Johnson recounts his father's encouragement over his childhood drawings and how he based the visual appearance of Mister Oswald on his father. </span><br />
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<a href="http://2.bp.blogspot.com/-7g-gxwfb_TY/VF6iEEmkDBI/AAAAAAAADRE/M-4M-EFXZKc/s1600/russjohnson-chapt1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-7g-gxwfb_TY/VF6iEEmkDBI/AAAAAAAADRE/M-4M-EFXZKc/w458-h640/russjohnson-chapt1.jpg" width="458" /></a></div>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">What makes <b>Forty Years with Mister Oswald</b> such a worthwhile read is not only the reprinted strips, ranging from its beginning in 1925 to 1968, but Johnson's own personal story. Each chapter begins with Johnson sharing his thoughts on both the comic strip and his experiences in the Hardware business - from the depression era and World War II to post-war society and beyond. </span><br /></span>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">In Chapter 3 Johnson recounts his history in the hardware retail business, initially helping out his father and eventually making it a full time profession; a narrative that intermingles with his creation of Mister Oswald, a composite of both he and his father.</span><br /></span>
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<a href="http://1.bp.blogspot.com/-l8--z556qc0/VF6sIuwvqhI/AAAAAAAADRs/jidKHfACS2A/s1600/russjohnson-pg64.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-l8--z556qc0/VF6sIuwvqhI/AAAAAAAADRs/jidKHfACS2A/w440-h640/russjohnson-pg64.jpg" width="440" /></a></div>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">Johnson's wit and perception of people and their idiosyncrasies (particularly customers) comes through in many of his strips. The universality of these situations and characters made Mister Oswald far more than just a promotional piece for the Hardware industry.</span><br /></span>
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<a href="http://3.bp.blogspot.com/-ypQYMCM8RNI/VF6sm-TiRUI/AAAAAAAADR0/l7JniTAPRdQ/s1600/russjohnson-pg73.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-ypQYMCM8RNI/VF6sm-TiRUI/AAAAAAAADR0/l7JniTAPRdQ/w419-h640/russjohnson-pg73.jpg" width="419" /></a></div>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">In Chapter 13 Johnson relates the problems of doing business during wartime and losing employees who moved to different jobs when they returned to the homefront. There is a real sense of the times, although Johnson's cartoon illustrates his ability to find humor in every situation. </span><br /></span>
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<a href="http://4.bp.blogspot.com/-Gqw56z0XBCI/VF6uLBpCxuI/AAAAAAAADSA/NzRudUQRCcY/s1600/johnson-mroswald.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-Gqw56z0XBCI/VF6uLBpCxuI/AAAAAAAADSA/NzRudUQRCcY/w456-h640/johnson-mroswald.jpg" width="456" /></a></div>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">Johnson satirized his entire cast of characters, from customers and employees to Oswald himself. </span><br /></span>
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<a href="http://2.bp.blogspot.com/-RvyDobfOp7I/VF6y3IzbdHI/AAAAAAAADSM/nq1DgUZs5yA/s1600/russjohnson-Pg168.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-RvyDobfOp7I/VF6y3IzbdHI/AAAAAAAADSM/nq1DgUZs5yA/w440-h640/russjohnson-Pg168.jpg" width="440" /></a></div>
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<a href="http://3.bp.blogspot.com/-E_nDY-DeF1w/VF6zHrbf7xI/AAAAAAAADSU/VXKKeNkmPsM/s1600/rusjohnson-pg169.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-E_nDY-DeF1w/VF6zHrbf7xI/AAAAAAAADSU/VXKKeNkmPsM/w435-h640/rusjohnson-pg169.jpg" width="435" /></a> </div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"> </span><span style="font-family: Poppins; text-align: left;"><span face="Trebuchet MS, sans-serif">Anyone who has had issues with co-workers (and who hasn't?) can relate to the above two page strip!</span></span></div>
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<a href="http://1.bp.blogspot.com/-5uyC2URBfuA/VF6zscTvZlI/AAAAAAAADSc/5QLBfTNyyTc/s1600/russjohnson-pg258.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-5uyC2URBfuA/VF6zscTvZlI/AAAAAAAADSc/5QLBfTNyyTc/w469-h640/russjohnson-pg258.jpg" width="469" /></a></div>
<br /><span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">Oswald's wife was an important component of the strip. As Johnson describes in Chapter 41: "Mrs. Oswald can be tender or domineering, solicitous or termagant, an inspiration or an exasperation." </span><br /></span>
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<span style="font-family: Poppins;"><span face="Trebuchet MS, sans-serif">In Chapter 31 Johnson explains how the book was an opportunity to relate his experiences and not just publish the funniest strips, but in that mix there is a sincerity in both Johnson as creator and in his alter ego, Mister Oswald. In 1995 Rob Stolzer interviewed Johnson, this quote stood out in my mind:</span><br /></span>
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<i><span style="font-family: Georgia, Times New Roman, serif;"> </span><span style="font-family: arial;">"<span style="background-color: white; color: #444444; font-size: 13px; line-height: 20px;"> </span><span style="background-color: white; color: #444444; font-size: 13px; line-height: 20px;">I lived that strip. I carried a little book around with me all the time. My wife complained about me looking at the book every once in a while, because I was living with all those people all the time. All those make-believe people, all those employees, I was living with them. When we would go to restaurants, they were at the table with us. I think I had some pretty good ideas."</span></span></i><br />
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<a href="http://3.bp.blogspot.com/-QMpCo5Wh0ug/VF63oAOCYjI/AAAAAAAADS0/aL1C2KCtogk/s1600/russjohnsonletter.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-QMpCo5Wh0ug/VF63oAOCYjI/AAAAAAAADS0/aL1C2KCtogk/w477-h640/russjohnsonletter.jpg" width="477" /></a></div>
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<span face="Verdana, sans-serif"><span style="font-family: verdana; line-height: 20px;"><i>I'll end this on a personal note. In the late 1970's or early 1980's I saw an ad for Forty Years with Mister Oswald in The Buyers Guide for Comic Fandom, a weekly fanzine/adzine. I was aware of the strip because at the time I was working in a Hardware store located in the Bushwick section of Brooklyn, New York. Jacobson Hardware was reminiscent of Mister Oswald and Russ Johnson's real life business in a variety of ways. Both were family businesses, and the storefront had the same design as the version pictured on the upper right side of the book cover! I began reading Mister Oswald when I discovered it in the trade magazine Hardware Retailer, which, of course, was always in the store. Being a aficionado of both comic books and strips I was immediately enthralled by Johnson's artwork and storytelling. There was a charm, simplicity and honesty in his work that rose to the level of the classic strips. And Johnson knew his stuff: jobbers, customers and co-workers were recognizable. My good friend Frank and I often worked together in the store and found ways to exasperate our boss Sid, much like Oswald's employees did. I sent a check out when I saw the book for sale and enclosed a letter to Mr. Johnson. I not only received a signed copy of the book, but the above personalized note. It's something I still treasure all these years later.</i></span></span><br />
<span face="Verdana, sans-serif"><span style="line-height: 20px;"><i><br /></i></span></span><span face="Verdana, sans-serif"><span style="font-family: Poppins; line-height: 20px;"><i>Johnson left the hardware business in 1953, but continued to produce Mister Oswald for Hardware Retailer, ending his run after 62 years in 1989. </i></span></span><br />
<span face="Verdana, sans-serif"><span style="line-height: 20px;"><i><br /></i></span></span><span style="font-family: Poppins;"><span face="Verdana, sans-serif"><span style="line-height: 20px;"><i>Russ Johnson passed away in 1995, at the age of 101.</i></span></span><br /></span>
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<span face="Verdana, sans-serif"><span style="font-family: arial; line-height: 20px;"><i>You can read Rob Stolzer's full interview with Johnson here:</i></span></span><br />
<span face="Verdana, sans-serif"><span style="line-height: 20px;"><i><br /></i></span></span><span face="Verdana, sans-serif"><span style="line-height: 20px;"><i><a href="http://cartoonician.com/russell-johnson-and-mister-oswald-a-tale-of-two-proprietors/">http://cartoonician.com/russell-johnson-and-mister-oswald-a-tale-of-two-proprietors/</a> </i></span></span><br />
<span face="Verdana, sans-serif"><span style="line-height: 20px;"><i><br /></i></span></span><span face="Verdana, sans-serif"><span style="font-family: arial; line-height: 20px;"><i>..and for more samples of his work go here: </i></span></span><br />
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<a href="http://screwballcomics.blogspot.com/2012/08/the-mild-screwballism-of-russ-johnsons.html">http://screwballcomics.blogspot.com/2012/08/the-mild-screwballism-of-russ-johnsons.html</a><br />
<br />Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com6tag:blogger.com,1999:blog-2089733759263636022.post-83651413167039211132021-05-25T21:30:00.098-04:002021-06-03T20:23:13.916-04:00Steve Ditko Potpourri<div class="separator" style="clear: both; text-align: center;"><span><span style="font-family: helvetica; font-size: medium;"><b>Originally published on September 30th, 2013, this is a revised and updated presentation. </b></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><span><span style="font-size: medium;"><br /></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><span><span style="font-size: medium;">This</span><span style="font-size: large; font-style: italic;"> </span></span><span face="Verdana, sans-serif">time out I'd like to share some odds and ends by that master of the graphic form, Steve Ditko, including a few obscure but noteworthy efforts. </span></span></div>
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<br /><span style="font-family: Poppins;"><span face="Verdana, sans-serif">The above piece </span>was drawn specifically for the cover of<i> Comics Buyer's Guide</i> # 1214, February 1997, promoting the first issue of <i>Strange Avenging Tales, </i>which was published by Fantagraphics. Ditko creates a visual feast, employing a wash- </span><div><span style="font-family: Poppins;">tone effect to spotlight his creation, the Baffler. Ditko's agglomeration of images cascades around his central hero: faces, masks, words, barbed wire; silhouetted figures attempt mischief while the artist's working tools (pencil, pen, brush, eraser, ink bottle) frolic about animatedly. Most situations are connected to the interior stories, whetting the reader's appetite for what lurks inside the covers. </span><div>
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<a href="http://1.bp.blogspot.com/-g_B4jbo5Sjw/UkoVOCKXXTI/AAAAAAAABwg/12zKyWBp6io/s1600/ditko3d-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-g_B4jbo5Sjw/UkoVOCKXXTI/AAAAAAAABwg/12zKyWBp6io/w419-h640/ditko3d-1.jpg" width="419" /></a></div>
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<span style="font-family: Poppins;">Created by Jack C. Harris, with designs and artwork by Ditko, Substance was a character who became invisible with the aid of a device. The first issue appeared in 1990 for publisher Ray Zone. Ditko does an effective job with the 3-D technique, using depth perception to good advantage, enhanced by Ray Zone's expertise. In his introduction Jack C. Harris wrote about the concept:</span></div>
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<span style="font-family: verdana;"><i>"Substance came about from conversations with Steve Ditko about crime, justice, good, evil, etc. We supposed, if "illegal evidence" could be collected without active participation by the police, could it be used to bring about justice? After all, even if evidence is "inadmissible" it might still proclaim the truth. And isn't the truth the goal of every trial? Are truth and justice the same thing? Maybe, maybe not." </i></span></div>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;">Harris went on to discuss working with Ditko in the late 1970's and 1980's in his editorial capacity at DC on </span><i style="font-family: Poppins;">Shade</i><span style="font-family: Poppins;">, <i>the Creeper</i> (appearing in </span><i style="font-family: Poppins;">World's Finest)</i><span style="font-family: Poppins;"> and various mystery and sci-fi stories. Harris later created <i>Star-Guider</i> for Western publishing with Ditko; it eventually saw publication in Robin Snyder's </span><i style="font-family: Poppins;">Revolver</i><span style="font-family: Poppins;"> at Renegade Press. Harris explained:</span></div>
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<i><span style="font-family: verdana;">"We prepared and shipped a slew of presentation packages featuring a half a dozen characters. I'm willing to bet there is at least one Harris/Ditko proposal deep in the files of every independent publisher." </span></i></div>
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<span style="font-family: Poppins;">It's unfortunate that so many ideas were left floundering, especially at a time when independent publishers were plentiful. How many characters, ideas and stories have fans lost out on seeing or being developed? Harris concluded:</span></div>
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<i><span style="font-family: verdana;">"Steve and I drifted on to other projects. Then, a couple of years later, while walking in New York, lo and behold, there was Steve. We stopped, stood in the middle of a throng of passers-by and talked of old comics and new, of likes and dislikes. "Remember all those old proposals we did? Let's do some more'" I suggested. He agreed."</span></i></div>
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<i><span style="font-family: verdana;">"That very night I went home and outlined Substance. With Steve's art in hand, in August, I headed for the San Diego Comic Convention to pitch the idea to the publishers in attendance. </span></i><i style="font-family: verdana;">I got as far as Ray Zone's booth. Looking at the presentation piece both Ray and I said (simultaneously) "an invisible man in 3-D! Wow, what a concept!" </i><span style="font-family: verdana;"> </span></div>
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<a href="http://4.bp.blogspot.com/-n16y9ovDGqs/UktZE4OUvCI/AAAAAAAABxc/wYpiIvGUpjg/s1600/ditko-3d-back.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-n16y9ovDGqs/UktZE4OUvCI/AAAAAAAABxc/wYpiIvGUpjg/w411-h640/ditko-3d-back.jpg" width="411" /></a></div>
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An attractive, non 3-D image on the inside back cover of 3-D Substance # 1.</span></i></div>
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<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;">Included in the first issue were some of Ditko's 1950's Charlton covers along with a </span><i style="font-family: Poppins;">Crime and Justice</i><span style="font-family: Poppins;"> story, adapted into the 3-D format by Ray Zone. </span></div>
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<a href="http://2.bp.blogspot.com/-tQfIR2hSPco/UkoXmgaB7YI/AAAAAAAABws/Zzz3iL3HxqQ/s1600/ditko3d-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-tQfIR2hSPco/UkoXmgaB7YI/AAAAAAAABws/Zzz3iL3HxqQ/w419-h640/ditko3d-2.jpg" width="419" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;">Cover to 3-D <i>Substance </i># 2. The villain of the piece, with those goggles, reminds me of Hambone, a character invented by Sandy Becker, who was a staple of New York City local children's television in the 1960's. For those of you who are not in my age category, do not reside in the US, or have NO idea what I'm talking about: Local stations once employed hosts in between cartoons such as Bugs Bunny, Heckel and Jeckel and Popeye. They performed skits, featured puppets and advertised for their sponsors. Sandy Becker was also a voice actor on radio ("Young Doctor Malone") and (here's the comic book connection, kids!) was the voice of Steve Rogers/Captain America on the 1966 Marvel Super Heroes cartoons. </span></div>
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<a href="http://4.bp.blogspot.com/-0E5rlSUYs0Q/UktaSV0v-ZI/AAAAAAAABxo/nv18RmVZO9M/s1600/ditko-3dIFC.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-0E5rlSUYs0Q/UktaSV0v-ZI/AAAAAAAABxo/nv18RmVZO9M/w440-h640/ditko-3dIFC.jpg" width="440" /></a></div>
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Inside front cover, explaining Substance's powers.</i></span></div>
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<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;">A second issue of <i>Substance</i> appeared in 1991 featuring all-new material before the title faded away. It was an interesting strip, worthy of continuation, with or without 3-D techniques.</span></div>
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<a href="http://1.bp.blogspot.com/-1bouSIY9tN4/UkomKV-0-nI/AAAAAAAABw8/_vdvEah93KY/s1600/charlton-ditkoad2.jpg" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="425" src="http://1.bp.blogspot.com/-1bouSIY9tN4/UkomKV-0-nI/AAAAAAAABw8/_vdvEah93KY/s640/charlton-ditkoad2.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;"> <span style="font-family: Poppins;">This ad for Charlton's line appeared in fanzines, including the Comics Journal # 105 and Amazing Heroes # 82 in 1985. The figure in the middle, Static, was originally published by Eclipse Comics, moved to Charlton, and later collected and published by Robin Snyder. Charlton's hosts from their Ghost line appear in the background: The Mysterious Traveler, Dr. Haunt, Mr. L. Dedd, Dr. Graves, Winnie the Witch and Mr. Bones, all drawn by Ditko during his decades-long association with the company . </span></div>
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<a href="http://2.bp.blogspot.com/-0Hw9JIDi8RE/Ukoq5QBInAI/AAAAAAAABxM/OxjFoI4v45k/s1600/charlton-ditkoad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-0Hw9JIDi8RE/Ukoq5QBInAI/AAAAAAAABxM/OxjFoI4v45k/w412-h640/charlton-ditkoad.jpg" width="412" /></a></div>
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<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;">I'll conclude with another Charlton ad, penciled, inked, lettered and likely written by Ditko, including his first and only interpretation of heroes <i>Yang</i> and <i>Thane.</i> Another rare, charming and delightful surprise was seeing Ditko's interpretations of characters catering primarily to a younger audience such as <i>Li'l Genius</i>, <i>Timmy the Timid Ghost</i> and <i>Atomic Mouse! </i>(all of which were then appearing in reprinted comics.) The ad spotlights a playful artist who clearly enjoyed the variety in Charlton's titles and could have illustrated anything with a sense of purpose and integrity to the material. This was a last ditch effort to promote the Charlton line, which - unfortunately - closed their doors in 1986.</span></div>
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<span style="font-family: Poppins;">I hope you enjoyed this look at a potpourri of Ditko's unusual efforts in the 1980's and 1990's. It points to a body of work that is endlessly fascinating and always worth investigating. </span></div>
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</div></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com8tag:blogger.com,1999:blog-2089733759263636022.post-62678441023472286022020-12-10T22:00:00.115-05:002021-01-10T23:58:03.937-05:00More Kirby War: Battle<div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif">Note: This post was originally published on November 30th, 2012. I was inspired to resurrect it (revising some content) with the express intention of directing aficionados of the war genre - and the Atlas line in particular - to a couple of noteworthy books. The first of those, <i>Atlas at War! </i>is an impressive undertaking, showcasing an array of talents, including Russ Heath, Don Heck, John Severin, Syd Shores, Gene Colan, Hank Chapman, Paul Reinman, Carl Wessler and Jerry Robinson. It was edited by Timely/Atlas historian (and my pal) Dr. Michael J. Vassallo, and reprints four of the</span></span><span style="font-family: Poppins;"> Jack Kirby stories discussed below</span><span style="font-family: Poppins;">:</span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><a href="https://www.amazon.com/Atlas-War-Dr-Michael-Vassallo/dp/1682474704/ref=sr_1_1?crid=32GMYIYHLUOK8&dchild=1&keywords=atlas+at+war+marvel&qid=1607655407&sprefix=atlas+at+war%2Caps%2C361&sr=8-1">https://www.amazon.com/Atlas-War-Dr-Michael-Vassallo/dp/1682474704/ref=sr_1_1?crid=32GMYIYHLUOK8&dchild=1&keywords=atlas+at+war+marvel&qid=1607655407&sprefix=atlas+at+war%2Caps%2C361&sr=8-1</a> </span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><i>The Complete Kirby War & Romance</i> quite specifically aligns with my piece, since it will collect the <i>entirety </i>of Kirby's war stories for Atlas/Marvel, from his initial effort in <i>Battlefield </i>to his seven issue run on <i>Sgt. Fury</i> (of course, all the <i>Battle</i> tales examined here will also be included in the anthology). I was honored to assist with research and source material for the Omnibus, but the person who deserves the highest accolades is editor Cory Sedlmeier. His herculean efforts and unwavering dedication to presenting the material as close to the original form as possible, while never seeking the spotlight, is admirable. In my estimation he has always exceeded expectations. </span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif">You can pre-order the book (due on May 5th, 2021) on Amazon and other outlets:</span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><a href="https://www.amazon.com/Marvel-Love-Jack-Kirby-Omnibus/dp/1302922084">https://www.amazon.com/Marvel-Love-Jack-Kirby-Omnibus/dp/1302922084</a><br /></span></span></div><div><span style="font-family: Poppins;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZK8YXPQ-RGU/X9qB0Bha5uI/AAAAAAAAHdI/I09Lk7GF0MElV3CGDMfCvtVdRwL9Tv-mgCLcBGAsYHQ/s1113/cory-kirbywar.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1113" data-original-width="744" height="640" src="https://1.bp.blogspot.com/-ZK8YXPQ-RGU/X9qB0Bha5uI/AAAAAAAAHdI/I09Lk7GF0MElV3CGDMfCvtVdRwL9Tv-mgCLcBGAsYHQ/w429-h640/cory-kirbywar.jpg" width="429" /></a></div><span><div><span style="font-family: helvetica;"><b>FYI (and courtesy of Cory) the above image is the one that will adorn the Omnibus, not the one pictured on Amazon. </b></span></div><div style="font-family: Poppins;"><span style="font-family: Poppins;"><br /></span></div><span style="font-family: Poppins;">I'd encourage everyone to add both titles to your bookshelves. </span></span></div><div><br /></div><div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><i>And now, back to my regularly scheduled post: </i></span></span></div><span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif"><div><br /></div><div>For my 50th post (I never thought I'd make it this far!) I will examine the 10 stories Jack Kirby crafted for <em>Battle</em> from 1950 until its final issue, dated June, 1960, capping its nearly 10 year run. In this piece I will delve into (pardon the blatant self-promotional reference) minutiae regarding Kirby's efforts in the genre, in the hope of encouraging others to seek out material worthy of recognition. In the past these comics were limited to hardcore fans, and then only those who could afford to purchase the originals. The above-mentioned prestigious editions will not only preserve the material, but allow for a wider audience in which future generations can study, appreciate and enjoy the work of an American original. </div></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif">Always a versatile and prolific artist, Jack Kirby was particularly busy in 1959, illustrating monster, western and romance comics for Editor Stan Lee. In that period he was assigned work on the war-anthology title, <i>Battle</i>. Based on a detailed reading it appears that Kirby scripted as well as drew a majority of the pre-1960 vignettes. There are many similarities in style, tone, word emphasis, phraseology, use of quotation marks and sound effects that are indicative of the Kirby method. <span style="mso-spacerun: yes;"> </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; mso-spacerun: yes;"><i><b>"Action on Quemoy!" Battle # 64, June 1959, Jack Kirby story ?; Kirby pencils; Christopher Rule inks; Artie Simek letters. Job # T-266.</b></i></span><br />
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<span style="font-family: Poppins;">The opening narration echoes a Kirby tendency to employ a long paragraph of exposition (a stylistic tic observed in many of his 1970s scripted tales). There are other similarities, such as his use of sound effects. "WHAAM!" was a favorite, which appeared in his "Losers" stories some 15 years later. The tale centers on a lone reporter vying for survival in the midst of destruction, an ongoing theme of Kirby’s.<span style="mso-spacerun: yes;"> </span></span><br />
<span face=""arial" , "helvetica" , sans-serif"><span style="mso-spacerun: yes;"><br /></span><span style="font-family: Poppins;">On page 5; panel 2, the caption literally shouts at the reader with words in all caps:</span></span><br />
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<strong><span style="font-size: medium;">“WE ARE STILL ALIVE!” shrieked the sound! WE ARE STILL FIGHTING!” cracked the fury! “WE ARE STILL FREE!” thundered the echoes of rumbling in the torn and twisted steel!” </span></strong></div>
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<span style="font-family: Poppins;">The words read very much like Kirby's edited and written stories for DC and Marvel in the 1970s. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>"FIND 'EM -- CHASE 'EM -- BLAST 'EM!," <em>Battle</em> # 65, June 1959. Jack Kirby story ?; Kirby pencils; Christopher Rule inks; Artie Simek letters. Job # T-300.</b></span></div>
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<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins; text-align: left;">If THAT isn’t a Kirby title, I don’t know what is! The opening employs Kirby’s terse style, and there are numerous uses of quotation marks throughout the story, beginning on the splash page (“Guided Missile Story”). Sound effects such as "WHAAAM" are used. This story is about the weapons of war and how they grow more deadly and sophisticated. Kirby’s interest in technology was ongoing.</span></div>
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<div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia, "times new roman", serif;"><br /></b></div><div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia, "times new roman", serif;">An overhead shot adds </b><span style="font-family: georgia, times new roman, serif;"><b>significant</b></span><b style="font-family: georgia, "times new roman", serif;"> drama to Kirby's splash page. </b></div><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>"Ring of Steel!," <em>Battle</em> # 65, Jack Kirby story ?; Kirby pencils; Christopher Rule inks; Artie Simek letters. Job # T-341. </b></span></div>
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<span face=""arial" , "helvetica" , sans-serif"> <span style="font-family: Poppins;">In Kirby’s second story in issue # 65 the threat of a tank attack rears its ugly head; a device that later surfaced in one of his "Losers" issues for DC. Kirby's narration is declarative and filled with trademark exclamation points. We again see the use of familiar sound effects. Hungarian freedom fighters battle against overwhelming odds, and Kirby somehow evades the Comics Code restrictions that demand a happy ending. The good guys DON'T end up victorious, although the character's bravery is evident.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><st1:place w:st="on"><st1:city w:st="on">"Submarine," <em>Battle</em></st1:city></st1:place> # 66, Oct 1959. Kirby story ?; Kirby pencils; Christopher Rule inks; Artie Simek letters. Job # T-411.</b></span></div>
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<span style="font-family: Poppins;">The history of submarines is the focus of this yarn, with the use of quotation marks in abundance. Kirby’s theme of asking the reader a question is also employed: "WHERE DID IT ALL START?,” as he transitions from the present to the past: images of a submarine commander segue to a depiction of a Viking at the helm of a medieval ship. We see this visual cue appear decades later in titles such as <em>2001: A Space </em><i>Odyssey</i>.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>"The Invincible Enemy!," <em>Battle</em> # 67, Dec 1959. Jack Kirby story ?; Kirby pencils; Christopher Rule inks; Artie Simek letters. Job # T-453.</b></span></div>
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<span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif">This story is worth studying in detail, due to evidence of the Comics Code Authority's heavy handed tampering. Kirby’s story centers on four soldiers preparing for an attack by Hitler’s elite corps. A close observation of the pages confirms that Kirby originally had soldiers killed, although it appears there was a decree to conceal<b> </b>this<b> </b>in both copy and art. Beginning on page one a minor alteration appears; the opening paragraph has the word "veterans" re-lettered in a hand other than Artie Simek's, perhaps a substitute for "killers" or "butchers."</span><br /></span>
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<b><span style="font-family: "georgia" , "times new roman" , serif;">"The Invincible Enemy" Page 3</span></b></div>
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<span style="font-family: Poppins;"><span face=""arial" , "helvetica" , sans-serif">On page 3, panel one, the machine gunner is murdered, but the crudely lettered replacement copy ("...driving him back to another position") has him escaping. There are signs of art alterations on the right hand side, likely the area where Kirby had the soldier struck down. In the following panel, though, they forgot to white out his boots in the rubble, as can be seen on the lower right panel.</span><br /></span>
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<span style="font-family: Poppins;">In panel 3 "Fights back" is crudely lettered, replacing more violent language.</span></div>
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<div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins;">Panel 6 has a crudely drawn puff of smoke (possibly added by editor Stan Lee) to obscure a dead Nazi soldier. "Wounded" replaces a word, perhaps dead or murdered.</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><b>"The Invincible Enemy" Page 4</b></span></div>
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<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Poppins;">On page four it appears that the corporal and sergeant have also have been killed, although the art and captions do not convey this.</span></div>
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<div class="separator" style="clear: both; text-align: center;"><b>Page 4, panel 1</b></div>
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<div class="MsoNormal" style="margin: 0in 0in 0pt;"> L<span style="font-family: Poppins;">arge, hastily scribbled puffs of smoke are again used to hide dead bodies. The copy is obviously replaced in the last sentence:. "....he stares in disbelief at the SMOKE FILLED RUINS!." I suspect he was originally staring at his fellow fallen soldiers. Panel 3 also seems to be tampered with, probably deleting the body of the Machine Gunner. His weapon lies on the ground, the same one seen in page 1; panel 2. </span></div>
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<div class="separator" style="clear: both; text-align: center;"><b>Page 5</b></div>
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<b>Page 5, panel 5</b></div>
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<div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Poppins;">At the conclusion the young replacement survives, taking out a tank. Other soldiers come along to assist him, although there is no mention in the narrative that they are his group, and they do not look like the men on page one. In panel 5 the word "DEFEATED" is substituted for another word, and the obligatorily puffs of smoke replace dead bodies. </span></div>
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<span style="font-family: Poppins;">The final caption was modified, beginning with: "..no enemy is invincible!.." Kirby's expurgated text surely focused on the harshness of war and its devastating impact. Kirby's depiction of a rookie overwhelmed by his experiences, but surviving nonetheless, is considerably weakened by the Comics Code, which depicts a war without casualties or consequences. As a private in the army during WWII, Kirby lived through such horrors and knew their reality.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>"Sitting Duck!," <em>Battle</em> # 68, Feb 1960. Kirby story ?; Kirby pencils; Al Williamson inks; Artie Simek letters. Job # T-523.</b></span></div>
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<span style="font-family: Poppins;">This short story, wonderfully inked by Al Williamson, focuses on a Korean flyer. I'm not convinced that Kirby wrote the dialogue; although some of it evokes the usual Kirbyisms, none of the tell-tale signs appear: no bold words, sound effects of stylistic touches that I can discern. I suspect this was either heavily edited by Lee, or possibly a Lee plotted/Larry Lieber scripted story (the team that reportedly worked on many of the unsigned pre-hero monster tales).</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>"Guard Duty!," <em>Battle</em> # 69, April 1960. Kirby pencils; Steve Ditko inks; Artie Simek letters. Job # T-530.</b></span></div>
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<span face=""arial" , "helvetica" , sans-serif"><span style="font-family: Poppins;">Steve Ditko’s superb embellishment adds crispness and moodiness to Kirby's pencils. Ditko’s inking<span style="mso-spacerun: yes;"> </span>was very much influenced by John Severin in this period, and his delineation over Kirby was impressive (further complimented by Stan Goldberg's coloring). This is another tale of a young recruit facing his baptism of fire, but the writing reads more like the Lee plotted/Lieber scripted stories appearing in the fantasy line. Around this period Kirby became heavily involved in drawing stories and covers for Lee's entire comic book line (minus the girl-teen humor titles) and his solo scripting chores seems to have tapered off.</span></span></div>
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<span style="font-family: georgia;"><b><i>"Doom Under The Deep!," Battle # 69, Kirby story ?; Kirby pencils; Joe Sinnott inks; Artie Simek letters. Job # T-600.</i></b></span></div>
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<span style="font-family: Poppins;">The<span style="mso-spacerun: yes;"> </span>tale of a submarine crew facing the Japanese has a few Kirby tics, including the use of quotation marks, so this may have been scripted by Kirby and edited by Lee. This story is an example of an early Joe Sinnott-inked Kirby story. </span></div>
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<div class="separator" style="clear: both; text-align: center;"><b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: medium;"><i>"A Tank Knows No Mercy!," Battle # 70, June 1960. Kirby pencils; Ditko inks; Artie Simek letters. Job # T-692.</i></span></b></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Poppins; text-align: left;">This examination of Kirby’s </span><st1:city style="font-family: Poppins; text-align: left;" w:st="on"><st1:place w:st="on"><em>Battle</em></st1:place></st1:city><span style="font-family: Poppins; text-align: left;"> stories concludes </span><span style="font-family: Poppins; text-align: left;">with two stories that appeared in the last issue.</span></div>
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<span style="font-family: Poppins;">“A Tank knows no Mercy!” opens with a wordless pictorial, a choice that Kirby rarely, if ever, used on his own. The silent splash did follow the pattern of other Atlas fantasy stories, which leads me to suspect this was a Lee plotted/Lieber scripted tale. Ditko once again provides exquisite inking, and the art drips with atmosphere. The plot again focuses on the threat of a tank and a lone soldier protecting a family. </span></div>
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<b><span style="font-family: "georgia" , "times new roman" , serif;"><i>"A Tank Knows No Mercy!" page 3. Kirby's soldier slouching out of the panel border gives the panel a three dimensional effect. Ditko's meticulous inking adds further depth.</i></span></b></div>
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<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><br />
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<span style="font-family: Poppins;">"The Thick of Battle!" features an early inking job by Joe Sinnott, who, in just a few years, would bring a lustrous sheen to Kirby’s pencils on <i>The Fantastic Four</i>. The tale involves the heroism of a linesman in the signal corps during the Korean war. Aside from the use of sound effects in a few panels (Kirby may have penciled those in while drawing) the story reads like a familiar Lee/Lieber tale. </span></div>
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<span style="font-family: Poppins;">And so ends Kirby’s <em>Battle</em> run, consisting of ten stories and seven covers, an often- neglected part of the artist's oeuvre. Kirby's attempts at graphic realism, despite the heavy-handed, often corrosive presence of the Comics Code, focus on the turmoil, grief and atrocities facing individuals in the midst of madness. Derived largely from his personal experiences during World War Two, these slices-of-life would be repeated, dramatized and embellished by Kirby in <i>Sgt. Fury,</i> "The Losers" and countless comic books, in ways both obvious and subtle, throughout his extraordinary career. <span style="mso-spacerun: yes;"> </span></span><br />
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<span face=""arial" , "helvetica" , sans-serif"><em><b>For a definitive history of Atlas War comics, including discussion of the above Kirby stories, go to Michael J. Vassallo's blog (That name sounds familiar...)</b></em></span><br />
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<a href="http://timely-atlas-comics.blogspot.com/2013/05/a-history-of-atlas-war-comics-1950-1960.html">http://timely-atlas-comics.blogspot.com/2013/05/a-history-of-atlas-war-comics-1950-1960.html</a></div>
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<br />Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com10tag:blogger.com,1999:blog-2089733759263636022.post-47905829241653573662020-09-15T21:39:00.017-04:002020-10-04T19:07:37.302-04:00The Letterers of Charlton Press<p><span style="font-family: Poppins; font-size: large;">Over the years Charlton has been typecast and even maligned f</span><span style="font-family: Poppins; font-size: large;">or their use of typeset, as opposed to hand lettering, in a majority of their comics. This purview has been a mainstay for decades, prompted by a cadre of fans who have derided and marginalized the company. To sway minds at this point might be a tough hurdle to overcome, especially when pros, <i>including</i> Dick Giordano during his editorial tenure, often satirized the procedure (credits read: "Lettering: A. Machine"). My intent is to provide a more balanced account by revealing the actual <i>efforts</i> of Charlton's unsung letterers, and in doing so, give them the recognition they deserve.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8UESVUHenWQ/X1q_IX4BMrI/AAAAAAAAHVE/jkz3Amz2Hmo-E3eC6AG5TmbAOs2FXuN3wCLcBGAsYHQ/s1441/dagostino-lilgenius14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1441" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-8UESVUHenWQ/X1q_IX4BMrI/AAAAAAAAHVE/jkz3Amz2Hmo-E3eC6AG5TmbAOs2FXuN3wCLcBGAsYHQ/w434-h640/dagostino-lilgenius14.jpg" width="434" /></a></div><br /><b><span style="font-family: verdana; font-size: medium;"><span><i>The multi-talented Jon D'Agostino penciled, inked, lettered, and may have even colored the cover to Li'l Genius # 42, January 1963. </i> </span><span> </span></span></b><div><span style="font-family: helvetica;"><b><br /></b></span></div><div><span style="font-family: Poppins; font-size: large;">One of Charlton's most prolific letterers, Jon D'Agostino, was also an accomplished artist, inker and colorist. This skilled craftsman often drew stories in Charlton's humor line and embellished the pencils of Charles Nicholas, Dick Giordano and Pat Masulli, to name a few. His handiwork also appeared on covers and he likely designed many of the logos for the company. In addition to his work for Charlton, D'Agostino's credits include art and lettering for Marvel from the 1950s to the 1980s (credited in early issues of <i>Amazing Spider-Man</i> as "Johnny Dee"), Story Comics, Western/Dell and nearly 30 years illustrating Archie's line of characters</span><span style="font-family: Poppins; font-size: large;">.</span></div><div><span style="font-family: Poppins; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LLn7pPHCOno/X3UanXoeMKI/AAAAAAAAHbY/r4eYXZNRkA8tE5E-5wxZaLzrqgnSwQXkACLcBGAsYHQ/s899/dagostino-masulli-margiesfashions1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="446" data-original-width="899" height="199" src="https://1.bp.blogspot.com/-LLn7pPHCOno/X3UanXoeMKI/AAAAAAAAHbY/r4eYXZNRkA8tE5E-5wxZaLzrqgnSwQXkACLcBGAsYHQ/w400-h199/dagostino-masulli-margiesfashions1.jpg" width="400" /></a></div><br /><span style="font-family: verdana; font-size: large;"><b>Jon D'Agostino drew himself, along with editor Pat Masulli in <i>My Little Margie's Fashions</i> # 1, February 1959, where the title character visits the Charlton offices. </b></span></div><div><span style="font-family: helvetica;"><b><br /></b></span></div><div><span style="font-family: helvetica;"><b><br /></b></span></div><div><span><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://1.bp.blogspot.com/-9oPr_TymmMA/X16q-nERgYI/AAAAAAAAHXw/whxD6nhvQKoe9JwQh4TYJIL1liUAFiF5gCLcBGAsYHQ/s1400/molno-let-battlefieldaction.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-9oPr_TymmMA/X16q-nERgYI/AAAAAAAAHXw/whxD6nhvQKoe9JwQh4TYJIL1liUAFiF5gCLcBGAsYHQ/w446-h640/molno-let-battlefieldaction.jpg" width="446" /></a></div><br /><span style="font-family: verdana; font-size: medium;"><b>According to Todd Klein, a talented letterer in his own right, the above page is likely that of Editor Pat Masulli. Bill Molno pencils; Rocco Mastroserio inks; Joe Gill possible script, <i>Battlefield Action</i> # 17, December 1957. Todd has contributed greatly to identifying lettering styles and his blog is highly recommended: <a href="https://kleinletters.com/">https://kleinletters.com/</a> </b></span></span><div style="text-align: center;"><br /></div><div style="text-align: center;"><span><div class="separator" style="clear: both; font-family: poppins; text-align: center;"><a href="https://1.bp.blogspot.com/-dEFAmKkwqAE/X16sqJQA1oI/AAAAAAAAHX8/IqRcSo1rXnIk-e1qs72tJZfQoGa3OBaogCLcBGAsYHQ/s1407/jetter-sweethearts21.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1407" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-dEFAmKkwqAE/X16sqJQA1oI/AAAAAAAAHX8/IqRcSo1rXnIk-e1qs72tJZfQoGa3OBaogCLcBGAsYHQ/w444-h640/jetter-sweethearts21.jpg" width="444" /></a></div><b><span style="font-family: verdana; font-size: medium;">Early Charlton work by Charlotte Jetter, accompanying the Bob Powell-drawn story "Insincerely Yours," <i>Sweethearts</i> # 26, September 1954. </span></b><span style="font-family: Poppins; text-align: left;"><br /></span></span></div><p></p><p><span style="font-family: Poppins; font-size: medium;">Charlotte Jetter was another extremely talented letterer. Originally paired with her husband, art director and artist Al Jetter (who also lettered) at Fawcett in the 1950s, Jetter's credits outside of Charlton include working for DC and numerous assignments at Marvel in the 1970s. Jetter's polished, attractive style enhanced Charlton's stories and covers for over two decades. </span></p><p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xonGY6s2I2k/X16wwYq3FwI/AAAAAAAAHYI/m02uUuTfnXwhddXxSvIembONjdQJC9e3wCLcBGAsYHQ/s2048/jetter-ditko-drgraves26.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1332" height="640" src="https://1.bp.blogspot.com/-xonGY6s2I2k/X16wwYq3FwI/AAAAAAAAHYI/m02uUuTfnXwhddXxSvIembONjdQJC9e3wCLcBGAsYHQ/w416-h640/jetter-ditko-drgraves26.jpg" width="416" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="font-family: verdana; font-size: medium;"><b>Charlotte Jetter's calligraphic skills graced hundreds of Charlton comics; her pairing with Steve Ditko was always aesthetically pleasing. "The Dog Howls for You!," Joe Gill script, The Many Ghosts of Doctor Graves # 26, June 1971. </b></span></i></div><div><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></div><div><span style="font-size: medium;"><div class="separator" style="clear: both; font-family: georgia; text-align: center;"><a href="https://1.bp.blogspot.com/-ftNA-Og44FU/X1rIYxW_j-I/AAAAAAAAHVQ/5XHvaJTl-vg_RVgiz47fVn-UEnvlC-xBgCLcBGAsYHQ/s1452/herbfield-captaom84.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1452" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-ftNA-Og44FU/X1rIYxW_j-I/AAAAAAAAHVQ/5XHvaJTl-vg_RVgiz47fVn-UEnvlC-xBgCLcBGAsYHQ/w430-h640/herbfield-captaom84.jpg" width="430" /></a></div><br /><i><span style="font-family: verdana;"><b>Herb Field's lettering was recognizable by the large capital letter he began captions with. Captain Atom # 84, January 1967. Dave Kaler script, Steve Ditko pencils, Rocco Mastroserio inks. </b></span></i></span></div><div><span style="font-size: medium;"><i><span style="font-family: verdana;"><br /></span></i></span></div><div><span style="font-size: medium;"><i><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-A-mdbS0lRzA/X16ycaI4TTI/AAAAAAAAHYU/snUFLSM0q0gUqC8fzgKOREY_MukR5gEEACLcBGAsYHQ/s1480/glanzman-let-hercules1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1480" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-A-mdbS0lRzA/X16ycaI4TTI/AAAAAAAAHYU/snUFLSM0q0gUqC8fzgKOREY_MukR5gEEACLcBGAsYHQ/w422-h640/glanzman-let-hercules1.jpg" width="422" /></a></div><br /> <b>Field lettered the debut issue of Hercules (October 1967) scripted by Joe Gill and drawn by Sam Glanzman.</b></span><span style="font-family: verdana;"><b><br /></b></span></i></span><div><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></div><div><span style="font-family: Poppins; font-size: medium;">Herb Field's credits date back to 1946 at the Sangor studio. He went on to letter stories for Better Publications, Fawcett, Nesbit, Stanmor and DC. His Charlton efforts appeared in the mid-1960s, including work on Steve Ditko's revised "Blue Beetle", Captain Atom and "The Question."</span></div><div><span style="font-size: medium;"><div class="separator" style="clear: both; font-family: georgia; text-align: center;"><a href="https://1.bp.blogspot.com/-ls5TaXwsGqA/X1rLybO4uBI/AAAAAAAAHVc/lq2kaxWn7hkytZKsYxcN41B--O5WWxk_ACLcBGAsYHQ/s1140/agnew-bluebeetle4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="770" height="640" src="https://1.bp.blogspot.com/-ls5TaXwsGqA/X1rLybO4uBI/AAAAAAAAHVc/lq2kaxWn7hkytZKsYxcN41B--O5WWxk_ACLcBGAsYHQ/w432-h640/agnew-bluebeetle4.jpg" width="432" /></a></div><span style="font-family: verdana;"><b>Bob Agnew's understated lettering complimented Steve Ditko's art on "The Question" back-up from Blue Beetle # 4, December 1967. Dialogue by Steve Skeates (as Warren Savin). </b></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-i4KK5bkzdKA/X1sD7eWVtfI/AAAAAAAAHXM/z45W-_THGbYJAFqtcmDEcuAlqwgJpuxOACLcBGAsYHQ/s1505/keller-worldofwheels17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1505" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-i4KK5bkzdKA/X1sD7eWVtfI/AAAAAAAAHXM/z45W-_THGbYJAFqtcmDEcuAlqwgJpuxOACLcBGAsYHQ/w414-h640/keller-worldofwheels17.jpg" width="414" /></a></div><b>Another example of Agnew's lettering, from World of Wheels # 17, October 1967. Writer/artist Jack Keller illustrated the adventures of Kid Colt Outlaw at Marvel for years but being a car enthusiast found Charlton more to his liking, since the company had that corner of the market covered. </b> </span></span><span style="font-family: georgia; font-size: medium;"> <br /><i><br /></i></span></div><div><span><span style="font-family: Poppins; font-size: medium;">Bob Agnew's career in the comic book field appears to have been a brief one, baring any undiscovered information (and I'll be sure to report/update it here). His credits in Jerry Bail's <i>Who's Who of American Comics</i> extend from 1967-68, working for Marvel and Charlton. <span> </span></span></span></div><div><i style="font-family: georgia; font-size: large;"><br /></i></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5pk4mngbyvo/X1rQJ1JrslI/AAAAAAAAHV0/o4TN0KVaAzoh1QEDXRmDeVAX8n55n1qZACLcBGAsYHQ/s1406/rayburzon-abbottandcostello5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1406" data-original-width="937" height="640" src="https://1.bp.blogspot.com/-5pk4mngbyvo/X1rQJ1JrslI/AAAAAAAAHV0/o4TN0KVaAzoh1QEDXRmDeVAX8n55n1qZACLcBGAsYHQ/w426-h640/rayburzon-abbottandcostello5.jpg" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana; font-size: medium;"><b>Ray Burzon lettering; Steve Skeates script; Henry Scarpelli art, Abbott and Costello # 5, November 1968. </b></span></div><span><div style="font-family: georgia; font-size: x-large; font-style: italic;"><i style="font-family: georgia; font-size: large;"><br /></i></div></span></div></div></div><div><div><div><span><span style="font-family: Poppins; font-size: medium;"><div style="text-align: left;"><span><span style="font-family: Poppins;"><span style="text-align: center;">Ray Burzon was the least polished of Charlton's "regulars," but advantageous to the company as a dependable worker who could grind out pages. </span></span></span>In <i>Alter Ego</i> # 107, Fall 2012, Artist Tony Tallarico recalled:<i> </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>"I had a friend of mine, Ray Burzon, who was an art director at J. Walter Thompson. He lettered a lot of my stuff." </i></div></span></span></div></div></div><div><div><span><span style="font-family: Poppins; font-size: medium;"><div><br /></div><div>In addition to his many lettering jobs for Charlton in the 1960s and 1970s Burzon is also credited as working for Dell, Warren and Fitzgerald publications. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Zso0vbjEEuU/X2Kx5Et9-VI/AAAAAAAAHao/-MRGsXkYT6ctE2LUZBJ18b0gcjXgsz2MgCLcBGAsYHQ/s1567/bravo-phantom63.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1567" data-original-width="1086" height="640" src="https://1.bp.blogspot.com/-Zso0vbjEEuU/X2Kx5Et9-VI/AAAAAAAAHao/-MRGsXkYT6ctE2LUZBJ18b0gcjXgsz2MgCLcBGAsYHQ/w444-h640/bravo-phantom63.jpg" width="444" /></a></div><br /><div>Frank Bravo lettered for Charlton from 1972-75. He also provided spot illustrations in titles, including <i>The Partridge Family</i>. Bravo was credited on <i>The Phantom</i> #'s 60-63, which were reprints of foreign editions. While Bravo and editor George Wildman's names appeared on the splash page, Charton failed to provide the names of the writer and artist. Thanks to the Grand Comic Book Database, though, I can reveal that they are Giovanni Fiorentini and Mario Pedrazzi, respectively. <i>The Phantom </i># 63, January 1975. </div><div><br /></div></span></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-uWKf9_CkNPk/X2I6TUA40mI/AAAAAAAAHac/XrpBJq7UXpkjkSVVLkoctxHqHEvvRknmgCLcBGAsYHQ/s984/bravo-lettering.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="984" data-original-width="747" height="640" src="https://1.bp.blogspot.com/-uWKf9_CkNPk/X2I6TUA40mI/AAAAAAAAHac/XrpBJq7UXpkjkSVVLkoctxHqHEvvRknmgCLcBGAsYHQ/w486-h640/bravo-lettering.jpg" width="486" /></a></div><br /><span style="font-family: Poppins; font-size: medium;">Bravo's actual comic book credits are scarce, but his name was listed in <i>The Comic Book Guide for the Artist-Writer-Letterer</i>, a booklet sent as a bonus to subscribers in 1973. Bravo had a distinct style which I suspect will help to track down more of his published work. Image from the Charlton Library blogspot. </span></div><div><span style="font-family: Poppins; font-size: medium;"><br /></span></div><div><span style="font-family: Poppins; font-size: medium;">One important aspect of Charlton that distinguished itself from other lines was the freedom they gave their artists, who often produced a near-complete job, at times writing, penciling, inking and lettering, leaving only the coloring to a staffer. This brought a cohesiveness to the finished product that came closer to what the artist envisioned. In the corporate structure of DC and Marvel this was usually <i>not</i> the case (the only Marvel example I can point to is Frank Thorne on the <i>Red Sonja</i> stories he illustrated for Roy Thomas in the mid-1970s). As you will see with the examples I've posted below, the artists who lettered their own work had better control over the composition of a page. They could set the placement of word balloons, captions and sound effects in a much more aesthetically pleasing way; in movie terms they were the equivalent of cinematographer, director and editor. This added an ambiance to the completed presentation. </span></div><div><span style="font-family: Poppins; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-W2ZyoNiH27o/X164EYgnozI/AAAAAAAAHYs/7KZleRm0Q2Em-qoLWgNwxFlqX5v8ZGI0ACLcBGAsYHQ/s2048/aparo-let-cheyenne67.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1434" height="640" src="https://1.bp.blogspot.com/-W2ZyoNiH27o/X164EYgnozI/AAAAAAAAHYs/7KZleRm0Q2Em-qoLWgNwxFlqX5v8ZGI0ACLcBGAsYHQ/w448-h640/aparo-let-cheyenne67.jpg" width="448" /></a></div><b><span style="font-family: verdana;"><span style="font-size: medium;">For Several years Jim Aparo was one of Charlton's top talents before he was lured away to DC where he spent the remainder of his career illustrating features including <i>The Phantom Stranger</i>, <i>Aquaman</i> and <i>Batman</i> (notably in the long-running series <i>The Brave and the Bold</i>). Aparo was one of the rare artists who continued to letter the stories he drew at DC. "Wander," Denny O'Neil script, <i>Cheyenne Kid</i> # 67, July 1968.</span><br /></span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X9Q2svDGwmY/X1sGX7jkUtI/AAAAAAAAHXY/wcCF5Qq8FUg0bf1SHZSc0CX0FaWl6kzpQCLcBGAsYHQ/s1327/boyette-warattack63.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1327" data-original-width="870" height="640" src="https://1.bp.blogspot.com/-X9Q2svDGwmY/X1sGX7jkUtI/AAAAAAAAHXY/wcCF5Qq8FUg0bf1SHZSc0CX0FaWl6kzpQCLcBGAsYHQ/w420-h640/boyette-warattack63.jpg" width="420" /></a></div><span style="font-family: verdana; font-size: medium;"><b>The distinctive art of Pat Boyette enlivened many a Charlton comic. This illustration was written, drawn and lettered by the artist. <i>War and Attack</i> # 63, December 1967. <br /></b></span><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lkhK451QDN0/X1r0wqetO8I/AAAAAAAAHW0/1FyrgimCAcYjXF-Gmooe3MsH8GflT_oPwCLcBGAsYHQ/s1435/sutton-splash.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1435" data-original-width="937" height="640" src="https://1.bp.blogspot.com/-lkhK451QDN0/X1r0wqetO8I/AAAAAAAAHW0/1FyrgimCAcYjXF-Gmooe3MsH8GflT_oPwCLcBGAsYHQ/w418-h640/sutton-splash.jpg" width="418" /></a></div><span style="font-family: verdana; font-size: medium;"><b><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><b>Tom Sutton's macabre splash page art (and lettering). Nicola Cuti script, Wayne Howard colors, <i>Midnight Tales</i> # 2, February 1973.</b></span> </div></b></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rCM6I8sUOGQ/X1r-x2e5UHI/AAAAAAAAHXA/4sG6Xf08j5YVXmQNZ6RcYCjHzuoFAjSNQCLcBGAsYHQ/s1491/morisi-thunderbolt%2Bsplash.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1491" data-original-width="975" height="640" src="https://1.bp.blogspot.com/-rCM6I8sUOGQ/X1r-x2e5UHI/AAAAAAAAHXA/4sG6Xf08j5YVXmQNZ6RcYCjHzuoFAjSNQCLcBGAsYHQ/w418-h640/morisi-thunderbolt%2Bsplash.jpg" width="418" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><b style="text-align: left;"><span style="font-family: verdana; font-size: medium;"><i>Thunderbolt</i> was Pete Morisi's signature character, created during Charton's "action hero line" under editor Dick Giordano. Story, art and, of course, lettering, all rendered by Morisi. <i>Thunderbolt </i># 52, June 1966. </span></b></div><div class="separator" style="clear: both; text-align: center;"><b style="font-family: verdana; text-align: left;"><br /></b></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-goKFToqn5Qk/X1sKTOouBmI/AAAAAAAAHXk/Fvp7c3hwGl4pRcipJLAoLewOQ5ldX24_QCLcBGAsYHQ/s1440/kim-ghostlytales91.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="984" height="640" src="https://1.bp.blogspot.com/-goKFToqn5Qk/X1sKTOouBmI/AAAAAAAAHXk/Fvp7c3hwGl4pRcipJLAoLewOQ5ldX24_QCLcBGAsYHQ/w438-h640/kim-ghostlytales91.jpg" width="438" /></a></div><br /><span style="font-size: medium;"><b style="font-family: verdana; text-align: left;">Sanho Kim's unique art was a standout at Charlton. Kim always penciled, inked and lettered the stories he wrote (as well as many he didn't). "The Bloody Mermaid," <i>Ghostly Tales</i> # 91, January 1972. </b><b style="font-family: verdana; text-align: left;"> </b></span></div></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5VZNnPh6exs/X162rpFrKDI/AAAAAAAAHYg/WAS9w9PO2dMIRAYjoCRtEKnGwQd6aEIVgCLcBGAsYHQ/s1397/howard-let-midnighttales4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1397" data-original-width="940" height="640" src="https://1.bp.blogspot.com/-5VZNnPh6exs/X162rpFrKDI/AAAAAAAAHYg/WAS9w9PO2dMIRAYjoCRtEKnGwQd6aEIVgCLcBGAsYHQ/w430-h640/howard-let-midnighttales4.jpg" width="430" /></a></div><b><span style="font-size: medium;">Although Wayne Howard worked with other writers and inked an assortment of artists, he could compose a complete story for Charlton, as the above example - written, drawn, lettered and colored by him - attests. <i>Midnight Tales</i> # 4, July 1973. </span></b></span></div><div><span style="font-family: verdana;"><b><br /></b></span></div><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7rPwBJ5dA-4/X165wA5BmQI/AAAAAAAAHY4/heLf8rEVoL0tWIXWLrka3aG4jYGRrwiUQCLcBGAsYHQ/s1495/staton-let-haunted12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1495" data-original-width="953" height="640" src="https://1.bp.blogspot.com/-7rPwBJ5dA-4/X165wA5BmQI/AAAAAAAAHY4/heLf8rEVoL0tWIXWLrka3aG4jYGRrwiUQCLcBGAsYHQ/w408-h640/staton-let-haunted12.jpg" width="408" /></a></div><div style="font-weight: bold;"><span style="font-family: verdana;"><b><br /></b></span></div><span style="font-size: medium;"><b>Joe Staton illustrated comics in every genre at Charlton, often working in-tandem with writer Nick Cuti. His lettering skills usually accompanied the stories he drew, including this cover to <i>Haunted</i> # 12, May 1973. </b></span></span></div><div><br /></div><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8inc9KG69Yo/X166st0soMI/AAAAAAAAHZE/fUXfKeJeGsA9ENl97LGb8GTatfi6UkC_QCLcBGAsYHQ/s2048/zeck-let-creepythings2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1410" height="640" src="https://1.bp.blogspot.com/-8inc9KG69Yo/X166st0soMI/AAAAAAAAHZE/fUXfKeJeGsA9ENl97LGb8GTatfi6UkC_QCLcBGAsYHQ/w440-h640/zeck-let-creepythings2.jpg" width="440" /></a></div><b><span style="font-size: medium;">Mike Zeck started out at Charlton, working mainly on monster-related titles such as this one-page vignette scripted by Joe Molloy. <i>Creepy Things</i> # 2, October 1975. </span></b></span></div><div><span style="font-family: verdana;"><b><br /></b></span></div><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GG1md4g7Y-g/X1678fn2ydI/AAAAAAAAHZQ/NVFS-aA1GBMeduIO2fi9X-NVpcmnCtfyACLcBGAsYHQ/s1391/sattler-let-attack8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1391" data-original-width="935" height="640" src="https://1.bp.blogspot.com/-GG1md4g7Y-g/X1678fn2ydI/AAAAAAAAHZQ/NVFS-aA1GBMeduIO2fi9X-NVpcmnCtfyACLcBGAsYHQ/w430-h640/sattler-let-attack8.jpg" width="430" /></a></div><br /><b><span style="font-size: medium;">In addition to the war, western and ghost stories he illustrated, Warren Sattler had runs on <i>Billy the Kid</i> and <i>Yang</i>. <i>Attack</i> # 8, November 1972. </span></b></span></div><div><span style="font-family: verdana;"><b><br /></b></span></div><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_zQRv0Pxpp0/X16_9gopKdI/AAAAAAAAHZo/F4wxbL4S7f0lHPUwRfsxewJ5pr3lXyY6wCLcBGAsYHQ/s1431/byrne-let-doomsday2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1431" data-original-width="960" height="640" src="https://1.bp.blogspot.com/-_zQRv0Pxpp0/X16_9gopKdI/AAAAAAAAHZo/F4wxbL4S7f0lHPUwRfsxewJ5pr3lXyY6wCLcBGAsYHQ/w430-h640/byrne-let-doomsday2.jpg" width="430" /></a></div><br /><b><span style="font-size: medium;">John Byrne was another newcomer who cut his creative teeth at Charlton. He soon moved over to Marvel where he became a fan favorite, illustrating the adventures of the X-Men with writer Chris Claremont. One of his early efforts was on <i>Doomsday + 1</i>. Page from # 2, September 1975, Joe Gill script. </span></b></span></div><div><span style="font-family: verdana;"><b><br /></b></span></div><div><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-67ZiQ4kuM7I/X169gP4UBzI/AAAAAAAAHZc/fIQnzOk0PMg9P-gT1i19oA4Faz0jqFA_ACLcBGAsYHQ/s2048/newton-let-phantom70.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1445" height="640" src="https://1.bp.blogspot.com/-67ZiQ4kuM7I/X169gP4UBzI/AAAAAAAAHZc/fIQnzOk0PMg9P-gT1i19oA4Faz0jqFA_ACLcBGAsYHQ/w452-h640/newton-let-phantom70.jpg" width="452" /></a></div><br /><span style="font-size: medium;"><b>Don Newton graduated from having his art showcased in numerous fanzines to securing a position in the comics field. His skill was evident early on, as seen on this page, where Newton and author Bill Pearson paid homage to the classic 1942 film <i>Casablanca</i>, with "appearances" by the cast, including Peter Lorre, Claude Raines and (pictured above) S. Z. Sakall and Humphrey Bogart! <i>The Phantom </i># 70, April 1976. </b></span><b> </b></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: Poppins; font-size: medium;">The plethora of lettering skills by artists and professionals in Charlton's comic book line accentuates the illegitimacy of the: "they were all poorly typed" narrative. There is no doubt that mechanical type was used to a large degree at certain points in their history; management clearly sought to cut costs - but the flip side is also worth exploring. Editors or production heads at other companies decided who lettered a strip, with no input from an artist (lettering was added after pencils and before inking); accordingly the results - good, bad or indifferent - would be viewed when the comic was published. At Charlton the artist who lettered his stories had a degree of satisfaction over the finished product. It was not complete control (that would only occur with self-published or independent work) but closer to their vision than most corporate agencies allowed. </span></div><div><span style="font-family: Poppins; font-size: medium;"><br /></span></div><div><span style="font-family: Poppins; font-size: medium;">Like any publisher Charlton had its positive and negative aspects, but a reliance on typeset lettering was hardly new in the business. Many employed the system before Charlton, including Western/Dell, Gilberton (Classics Illustrated) and the prestigious EC. So why is Charlton singled out?</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Q0zDlMZsfYs/X2FTlixlB2I/AAAAAAAAHaE/ULcjYOE6wNMjuH4ZITys8F8mU4tUnbLggCLcBGAsYHQ/s2048/charltonprmiums.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1436" height="640" src="https://1.bp.blogspot.com/-Q0zDlMZsfYs/X2FTlixlB2I/AAAAAAAAHaE/ULcjYOE6wNMjuH4ZITys8F8mU4tUnbLggCLcBGAsYHQ/w448-h640/charltonprmiums.jpg" width="448" /></a></div><span style="font-family: verdana; font-size: medium;"><b>The talented Jon D'Agostino lettered (and perhaps drew) this house ad for Charlton premiums that appeared throughout their line.</b></span><br /><span style="font-family: Poppins; font-size: large;"><br /></span></div><div><span style="font-family: Poppins; font-size: large;">It's high time to celebrate the work of Charlton's veteran talents. Jon D'Agostino and Charlotte Jetter, in particular, deserve the accolades that many of the more recognizable letterers in the field, including Ben Oda, Gaspar Saldino, Ira Schnapp, Sam Rosen, Artie Simek, John Costanza and Tom Orzechowski, have had bestowed upon them by comics scholars and aficionados. Hopefully this examination will lead to a better understanding and appreciation of the men and women who plied their craft at Charlton Press. </span></div><div><span style="font-family: Poppins; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Fo6MTe2SviY/X2FVN4vz2xI/AAAAAAAAHaQ/yghixoh-7b83NXs9RlLEmOS0ik7kG2gcwCLcBGAsYHQ/s2048/ditko-mysterioustrav15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1358" height="640" src="https://1.bp.blogspot.com/-Fo6MTe2SviY/X2FVN4vz2xI/AAAAAAAAHaQ/yghixoh-7b83NXs9RlLEmOS0ik7kG2gcwCLcBGAsYHQ/w424-h640/ditko-mysterioustrav15.jpg" width="424" /></a></div><span style="font-family: Poppins;"><i><div style="font-size: small;"><span style="font-family: Poppins; font-size: x-small;"><i><br /></i></span></div>I'll close with a page written, drawn and yes, lettered (and even colored) by Steve Ditko, from Tales of the Mysterious Traveler # 15, December 1985, the last issue to appear under the Charlton banner before they closed their comic book operation. This also gives me an opportunity to mention Robin Snyder's publications, quite a few of which have reprinted Charlton material, with contributions by Joe Gill, Steve Ditko, Jon D'Agostino, Charlotte Jetter and others. Robin's products are always worthwhile and come highly recommended: <a href="http://ditko.blogspot.com/p/ditko-book-in-print.html">http://ditko.blogspot.com/p/ditko-book-in-print.html</a></i></span><br /><span style="font-family: Poppins; font-size: medium;"><br /></span><span style="font-family: Poppins; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> </span><span style="font-family: Poppins; font-size: large;"> </span></div><div><span style="font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"> </span><span style="font-family: Poppins; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></div><div><br /></div><div><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></div><div><span style="font-family: georgia; font-size: medium;"><i><br /></i></span><p></p><div><span style="font-family: helvetica;"><br /></span></div></div></div>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com10tag:blogger.com,1999:blog-2089733759263636022.post-37890968927318152492020-06-09T20:00:00.000-04:002020-07-27T00:03:21.236-04:0056 Summers Ago: Marvel Tales Annual # 1<h2>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Note: The following post was originally published on June 24th, 2014. It is not, however, "exactly as it appeared," since its been updated with revisions GALORE, and more fascinating content than you can possibly imagine!! (there's more than a little hyperbole in that statement, but if you read all the copy in the scans below you'll get the joke). </i></span></h2>
<span style="font-family: "verdana" , sans-serif;"><i>Marvel Tales</i> has had a long and somewhat convoluted history. It began in 1939 as <i>Marvel Comics,</i> Martin Goodman's first venture into a four-color enterprise, but even before sales figures could be ascertained, and for reasons lost to time, the publisher changed the name to <i>Marvel Mystery Comics </i>with its second outing. For the next decade the title followed a familiar pattern: the original Human Torch was the lead feature, followed by Sub-Mariner and a variety of rotating back-ups, including the Angel, Vision, Patriot, Terry Vance and Miss America, a formula that lasted until # 92, June 1949. With the next issue yet <i>another</i> title change was initiated and the newly-christened <i>Marvel Tales </i>dropped The Torch and all ongoing features. Content was overhauled to reflect horror and later fantasy/suspense themes, a format that was retained until the comic was cancelled in 1957.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Fred Kida cover art to Marvel Tales # 159, August 1957. The final issue of its first iteration. Image from the Grand Comic Book Database. </b></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">After a hiatus of six years the decision was made, either by Editor Stan Lee or (more likely) Publisher Martin Goodman to revive <i>Marvel Tales</i>, utilizing the same logo design and returning the title to its superhero roots. Just three years earlier </span><i>Fantastic Four</i><span style="font-family: "trebuchet ms" , sans-serif;"> # 1 proved a resounding success, and costumed characters began replacing the monsters in their anthology titles (<i>Journey into Mystery, Tales to Astonish, Tales of Suspense and Strange Tales</i>. Its pretty obvious that Goodman believed the word "Tales" as part of a title led to greater sales!). By 1964 the new heroes were an essential part of Marvel's line, with only the western and teen-romance strips remaining. The </span><i>Marvel Tales Annual </i><span style="font-family: "trebuchet ms" , sans-serif;">was an easy way to introduce their top features to a growing audience. </span></span><br />
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<a href="http://3.bp.blogspot.com/-PNuewtZcaYw/U6nOCDWDdjI/AAAAAAAAC5M/s_4khBY7lYk/s1600/annual-marveltales-cvr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="640" src="https://3.bp.blogspot.com/-PNuewtZcaYw/U6nOCDWDdjI/AAAAAAAAC5M/s_4khBY7lYk/s640/annual-marveltales-cvr.jpg" width="425" /></span></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><b style="font-family: "Times New Roman";"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></b></span><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Marvel Tales Annual # 1 was the company's first compilation of super-hero reprints. </span></b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Jack Kirby pencils; Sol Brodsky inks, Sam Rosen letters and Stan Goldberg colors. Spider-Man figure by Steve Ditko, a stat taken from <i>Amazing-Spider-Man Annual</i> # 1, page 14; panel 2 (which was also on sale at the time). It's quite possible that Kirby originally rendered the drawing and it was replaced by the more familiar Ditko version. </span></b></span><br />
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<i style="font-family: verdana, sans-serif;">Marvel Tales Annual</i><span style="font-family: "verdana" , sans-serif;"> # 1 graced newsstands in early June, 1964. The title was a compilation of </span><span style="font-family: "verdana" , sans-serif; text-align: center;">stories which were published just a few years earlier, but many fans had missed them the first time around and could only hope to purchase the originals in a used book store or second hand shop. In those long-ago days there was no Ebay or specialty outlets and the first official Convention, a small affair which took place in New York City, was still a few weeks away. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>A most unusual adventure series begins. Stan Lee co-plot and dialogue; Artie Simek letters, Stan Goldberg colors. </b></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">One can only imagine the impression that a young person felt on a warm spring or summer day when they opened up </span><i>Marvel Tales Annual</i><span style="font-family: "trebuchet ms" , sans-serif;"> # 1, particularly if this was the first time they encountered these characters. After admiring a cover filled with heroic and colorful figures they open the comic and observe the image of an isolated teenager standing on a street corner; his peers mocking him with derisive glee. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Peter Parker gains extraordinary powers but is overwhelmed by tragedy and guilt. Each story concludes with an editorial note by Stan Lee that was not in the original story, commenting on the passage of time and any changes that may have occurred. </span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Marvel Tales Annual</i> # 1 was on-sale the same month as </span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Amazing Spider-Man </i># 16 and (as stated earlier) the first Spider-Man Annual. In the space of just two years the oddly-garbed hero made a strong impression on its audience and became a top-selling title for Martin Goodman's comic book line.</span><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span><br />
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<a href="http://1.bp.blogspot.com/-kHAFrJSoumk/U6nYZObDsGI/AAAAAAAAC50/cwd3Yr7YzLE/s1600/annualmarveltales-hulk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="640" src="https://1.bp.blogspot.com/-kHAFrJSoumk/U6nYZObDsGI/AAAAAAAAC50/cwd3Yr7YzLE/s640/annualmarveltales-hulk.jpg" width="425" /></span></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Lee and Kirby introduce the Hulk, clearly influenced by Boris Karloff's rendition of the Frankenstein Monster as seen in the 1931 Universal movie and its sequels. The Hulk's skin-tone in his first appearance was gray, chosen by Stan Lee, as colorist Stan Goldberg explained in <i>Alter Ego</i> # 18 (October 2002): </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">"<b>I certainly didn't plan to make him red, and we kicked around the idea of making him green, but Stan wanted to try gray. I fought him on that. I told him why it wouldn't work, and it <i>didn't</i> work, because we couldn't keep the color consistent throughout the book."</b> </span></blockquote>
<span style="font-family: "verdana" , sans-serif;">The Hulk's green skin, coupled with his purple pants, became an identifiable quasi-costume for most of the character's 50-plus year existence. Lee penned a new caption (as seen in the page above) that ignored the behind-the-scenes production minutiae; preferring instead to explain the alteration as part of the Hulk's fictional story. Paul Reinman inks, Artie Simek lettering and the aforementioned Stan G. on colors. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Kirby's cinematic eye is evident in this three panel shot, as The Hulk fades into the night with his teenage companion Rick Jones in pursuit. The bottom blurb promotes the Hulk's revival as a co-feature in <i>Tales to Astonish</i> which debuted the following month.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Henry Pym's first <i>actual </i>appearance was in <i>Tales to Astonish</i> # 27, January 1962, but that story, while referenced on the splash page above, was not included in the Annual. A little background on Marvel's Pre-Hero line is needed for those not in the loop: the monster/fantasy comics edited by Lee were complete unto themselves; there was no continuity and the protagonists were interchangeable (rare exceptions included the reappearance of a popular monster). As sales figures on new titles like <i>The Fantastic Four</i> were gauged, the potential for developing superheros escalated. In the original story Pym was intended as a one-shot character, but after an eight month period (and likely due to an increase in sales on that issue) the decision was made to exploit the idea of a man reduced to ant-size (inspired by the 1957 movie <i>The Incredible Shrinking Man), </i>this time as a costumed hero</span><span style="font-family: "trebuchet ms" , sans-serif;">. Stan Lee plot; Larry Lieber script; Jack Kirby pencils; Dick Ayers inks; Joe Letterese lettering; Stan Goldberg colors. </span></span><br />
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<span style="font-family: "verdana" , sans-serif;">In his diminutive size Ant-Man creatively utilizes household items to get around. There was an inventive charm in many of the early stories which was never fully realized, perhaps because Kirby was soon pulled away to work on new titles. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">The final Ant-Man panel segues into the introduction of Giant-Man.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Although Ant-Man's metamorphosis into Giant-Man occurred only eight months earlier, a two-page recap was deemed appropriate to keep new readers up to date. Lee and Kirby story/art, Don Heck inks, Sam Rosen letters and Stan Goldberg colors.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;"><i>Sgt. Fury and his Howling Commandos</i> was Marvel's solo war title in 1964, but it followed the frenetic pacing and braggadocio of the superhero line; no surprise with Jack Kirby at the helm. Despite the blurb, the story was not "exactly as it appeared in <i>Sgt. Fury</i> # 1," since only six pages were included. It would take <i>seventeen years</i> before Marvel finally published a complete reprinting of the first issue, closing the circle by appearing in the <i>last </i>issue of <i>Sgt. Fury</i>, which ended its eighteen-year run with # 167, December 1981. Lee and Kirby story/art, Dick Ayers inks, Artie Simek lettering, Stan G. colors. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The priceless image of Dum Dum Dugan calmly covering his ears while parachuting to the ground as a plane is blown to smithereens defines the often comical aspects of the war series. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> Stan Lee was aware of a</span><span style="text-align: center;"> growing fan base from the many fanzines and letters he received in Marvel's early years. A credit box on the splash page listing the writer, artist, inker and letterer appeared in practically every Marvel comic and Lee often chatted up staffers, including colorist Stan Goldberg, secretary Flo Steinberg, production head Sol Brodsky and even publisher Martin Goodman in the letters pages. The two pages of photos presented most of Marvel's then current "bullpen," although the majority worked at home as freelancers. I wonder if Lee made a Freudian slip or </span><i style="text-align: center;">deliberately </i><span style="text-align: center;">wrote: <i>"First, Let's polish off the Big Brass.." </i></span></span><br />
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<span style="font-family: "verdana" , sans-serif;">Once again, Lee decided to retain the original coloring of Iron-Man's armor. Don Heck introduces Iron-Man to the world (although Jack Kirby designed the initial costume), a character the talented artist would be closely associated with in its early years. Plot by Stan Lee; script by Larry Lieber, lettering by Artie Simek, coloring by Stan Goldberg. </span></div>
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<span style="font-family: "verdana" , sans-serif;">Tony Stark begins his career as the man of steel (or is that phrase already taken?) </span></div>
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<span style="font-family: "verdana" , sans-serif;">The four page sequence that introduced Iron-Man's sleek new costume, designed by Steve Ditko, is also reprinted. While it's noted that the armor continued to be modified, the basic design has remained consistent for decades, a testament to Ditko's inventiveness. Stan Lee script/co-plot, Dick Ayers inks, Sam Rosen letters, Stan Goldberg colors. </span></div>
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<a href="http://4.bp.blogspot.com/-aiwbQ_Sk8Cg/U6nvBTNCZoI/AAAAAAAAC78/_5dajG-nD7g/s1600/annualmarveltales-thor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="640" src="https://4.bp.blogspot.com/-aiwbQ_Sk8Cg/U6nvBTNCZoI/AAAAAAAAC78/_5dajG-nD7g/s640/annualmarveltales-thor.jpg" width="425" /></span></a></div>
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<span style="font-family: "verdana" , sans-serif;">An impressive introduction to Thor by co-creator-and artist Jack Kirby, with distinctive inking by Joe Sinnott. Although Kirby only worked on a few of the early stories, replaced by Joe Sinnott and Don Heck for a spell, when he returned full-time to Thor it soon became an epic of adventure and fantasy. Stan Lee plot, Larry Lieber script, Artie Simek letters and Stan Goldberg colors. If you look closely you'll notice that an error in the original publication date has the issue number reversed: Thor actually debuted in <i>Journey into Mystery </i># 83!<i> (I don't call this Marvel Mysteries and Comics Minutiae for nothing!)</i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; margin-left: 1em; margin-right: 1em;"><a href="http://2.bp.blogspot.com/-Ff1ebSvkRdw/U6nwP6KdqLI/AAAAAAAAC8I/6BhRX1zjl7M/s1600/annualmarveltales-thor-end.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="323" src="https://2.bp.blogspot.com/-Ff1ebSvkRdw/U6nwP6KdqLI/AAAAAAAAC8I/6BhRX1zjl7M/s640/annualmarveltales-thor-end.jpg" width="640" /></a></span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Lee made it a point to note the "Thorr" typo in the last panel; acknowledging imperfections such as this often endeared Lee to the fans. What many might not be aware of is that a page of original art exists where the copy in the last panel is completely </span><i>different. </i></span></div>
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<a href="http://1.bp.blogspot.com/-1FetwjVcUk8/U6n2gC_XpwI/AAAAAAAAC8g/7XWcbnniPe8/s1600/journeyintomystery83-unpubpanel++.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="400" src="https://1.bp.blogspot.com/-1FetwjVcUk8/U6n2gC_XpwI/AAAAAAAAC8g/7XWcbnniPe8/s400/journeyintomystery83-unpubpanel++.jpg" width="282" /></span></a></div>
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<span style="font-family: "verdana" , sans-serif;">Apparently the idea to institute Thor as a continuing feature was decided at the last minute. Sales from other super hero features must have given Martin Goodman the intuition to make "Thor" the lead feature in <i>Journey into Mystery, </i>and<i> </i>he was certainly proven to be correct. </span></div>
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<span style="font-family: "verdana" , sans-serif;"><i> </i><span style="font-family: "trebuchet ms" , sans-serif;">The Annual</span><span style="font-family: "trebuchet ms" , sans-serif;"> concluded with a house ad promoting the heroes in their respective titles, reusing art from the cover. </span><i>Marvel Tales</i><span style="font-family: "trebuchet ms" , sans-serif;"> returned in 1965 with a second Annual that continued the origin theme, reprinting the </span><i>Avengers</i><span style="font-family: "trebuchet ms" , sans-serif;"> # 1; </span><i>X-Men</i><span style="font-family: "trebuchet ms" , sans-serif;"> # 1 and <i>Strange Tales </i># 115. (the more-recent </span><i>Daredevil </i><span style="font-family: "trebuchet ms" , sans-serif;"># 1 would be reprinted the following year in a one-shot title, </span><i>Marvel Super-Heroes</i><span style="font-family: "trebuchet ms" , sans-serif;">, which may be the subject of a future post). The issue was rounded out with another early Hulk story and a delightful Lee & Ditko thriller from </span><i>Amazing Adult Fantasy</i><span style="font-family: "trebuchet ms" , sans-serif;">. </span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Cover to the 1965 Marvel Tales Annual # 2 utilizing panels from the interior stories. Jack Kirby and Steve Ditko pencils; Dick Ayers, Paul Reinman and Ditko inks, Sam Rosen lettering, Stan Goldberg coloring. </b> </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Contents page to Marvel Tales # 3, July 1966. </b></span><b style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Art by the usual suspects: Kirby and Ditko; inks by Ditko and Ayers and lettering by Sam Rosen. </b></div>
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<span style="font-family: "verdana" , sans-serif;">Sales for the two Annuals must have been strong since eight months later </span><i style="font-family: verdana, sans-serif;">Marvel Tales</i><span style="font-family: "verdana" , sans-serif;"> became an ongoing, bi-monthly publication, retaining its 25 cent format and reprinting Spider-Man, "the Human Torch", "Ant-Man" and "Thor". The company had recently added two similar titles following the same format: </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>Marvel Collectors' Item Classics</i> (reprinting Fantastic Four, Iron Man, The Hulk and Doctor Strange) and <i>Fantasy Masterpieces</i> (headlining Joe Simon and Jack Kirby's 1940s Captain America stories backed by pre-hero monster stories). While the inside front cover for standard-format 12 cent comics was reserved for paid advertisements, these triple-length comics differed by utilizing a table of contents, previewing the stories with panels from the interiors and grey-tones added by Marie Severin. Lee also used the space to credit editorial and production staff and promote the stories in his usual bombastic manner. . </span><span style="font-family: "verdana" , sans-serif;"> </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"> After several years<i> Marvel Tales</i> </span><span style="font-family: "verdana" , sans-serif;">switched to a standard format, dropping its co-features but retaining Spider-Man, continuing to sequentially reprint the characters earlier adventures for decades. </span></div>
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<span style="font-family: "verdana" , sans-serif;"> <i>Marvel Tales Annual </i># 1 represents an era that is almost inconceivable today, when access to old stories and comics in the form of expensive hardcover editions or trade paperbacks is the standard. To many kids the presence of an over-sized comic book on the racks in the spring and summer months represented an adventure of near-mythic proportions. Sitting under a shady tree with a coke in hand, a youngster was transported on a seemingly endless journey. Those 72 pages exemplified a period where the combination of raw talent and rambunctious, seat-of-the-pants attitude was idiomatic of the creative juices that flowed abundantly in the early 1960's. For a kid with a quarter in his pocket a trip to the corner candy store could be the investment of a lifetime. </span></div>
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Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com13tag:blogger.com,1999:blog-2089733759263636022.post-5893466370834122432020-02-23T20:41:00.000-05:002020-03-29T22:10:17.722-04:00A Tribute to Nicola Cuti<blockquote class="tr_bq">
<i style="font-family: verdana, sans-serif;">I liked anthologies, writing a story where you never quite knew if the hero was going to come out successful or be devastated by his problems. I kind of liked knowing that you never knew if the hero or heroine was going to survive at the end. Excerpt taken from Nick Cuti's interview with Jon B. Cooke in Comic Book Artist # 12, March 2001. </i></blockquote>
<span style="font-family: "verdana" , sans-serif;">Nicola (Nick) Cuti was a versatile writer, editor and artist who contributed to the comic book field for decades. His first professional scripts appeared in Warren's black and white horror magazines (</span><i style="font-family: verdana, sans-serif;">Creepy, Eerie, Vampirella</i><span style="font-family: "verdana" , sans-serif;">), where he also worked in an editorial capacity from 1969-1971. His next position was at Charlton Press, working as an assistant editor/writer. Nick soon received recognition in fan circles when he created </span><i style="font-family: verdana, sans-serif;">E-Man</i><span style="font-family: "verdana" , sans-serif;"> with artist Joe Staton, a satirical superhero inspired by Jack Cole's </span><i style="font-family: verdana, sans-serif;">Plastic Man</i><span style="font-family: "verdana" , sans-serif;">. This piece will focus primarily on his early work for those two companies. </span><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cuti's creation Moonchild first appeared in a French magazine circa 1966; two years later the character surfaced in various small press and underground publications. Image from the Grand Comic Book Database. </span><span style="font-family: "trebuchet ms" , sans-serif;"> </span></b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Cuti's first pro script appeared in Creepy # 28, August 1969, embellished by Tom Sutton, a quirky and distinctive artist who he often teamed with on numerous Warren and Charlton stories. </b></span><br />
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<a href="https://1.bp.blogspot.com/-kN4L5CsFtuc/XlLzNa-NIBI/AAAAAAAAHJg/9leUmQlgqmEHaRiICuWQ3HPi5YuI-k-9QCLcBGAsYHQ/s1600/cuti-vampirella7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1148" height="640" src="https://1.bp.blogspot.com/-kN4L5CsFtuc/XlLzNa-NIBI/AAAAAAAAHJg/9leUmQlgqmEHaRiICuWQ3HPi5YuI-k-9QCLcBGAsYHQ/s640/cuti-vampirella7.jpg" width="458" /></a></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This introduction to an interconnected story by Cuti includes representations of the creators as illustrated by Billy Graham. Vampirella illo by Frank Frazetta. Vampirella # 7, September 1970. </span></b><br />
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<a href="https://1.bp.blogspot.com/-oHG5NfabHtY/XlL3FzW-C4I/AAAAAAAAHJs/DcXYmh4u8oAXLIkBWgEUMwD4jkFom27qgCLcBGAsYHQ/s1600/cuti-wood-creepy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1538" data-original-width="1078" height="640" src="https://1.bp.blogspot.com/-oHG5NfabHtY/XlL3FzW-C4I/AAAAAAAAHJs/DcXYmh4u8oAXLIkBWgEUMwD4jkFom27qgCLcBGAsYHQ/s640/cuti-wood-creepy.jpg" width="448" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Cuti co-wrote the story "Prelude to Armageddon" with one of comics' recognized superstars, artist Wally Wood. His apprenticeship in Wood's Valley Stream, Long Island studio in the late 1960s, working alongside pros such as Syd Shores and Jack Abel was, in Cuti's view, an educational and highly-rewarding experience. Gaspar Saladino lettering. Creepy # 41, September 1971.</b></span><br />
<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></b><span style="font-family: "verdana" , sans-serif;">In 1971 Nick Cuti was hired by Charlton editor George Wildman to be his assistant, taking on the bulk of production-related chores and providing a supporting role to head writer Joe Gill. With great rapidity Cuti became a valuable addition to the Charlton staff. Cuti spoke with fondness on the benefits of working for Charlton, a company that had very little in common with the monolithic presence of Marvel and DC, who, in the main, focused on ongoing characters and superhero fantasies. Cuti explained in his <i>Comic Book Artist </i>interview: </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>..I loved working there because there really weren't any restrictions, just categories. If I, the writer, felt like scripting a romance comic, I could script a romance comic, or if I felt like writing a war comic or a horror story, or whatever, I would just sit down and bang one out.</i></span></blockquote>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cuti's first ongoing series for editor George Wildman was writing the adventures of Popeye, the beloved comic strip character created by E.C.Segar. The irascible sailor, whose exposure blossomed in animated cartoons, was recognized by both children and adults. Beginning with issue # 114, May 1972, Cuti's stories continued to be published long after he parted ways with Charlton (likely a backlog of inventory) until the books' demise in 1977. George Wildman cover. Image from the Grand Comic Book Database. </span></b><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">An early Charlton script by Cuti includes a rare inking job over Jack Abel pencils. "Lure of the Swamp," Haunted # 8, October 1972. </span></b><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Charlton had its own idiosyncratic style which becomes more charming as the years pass, perhaps due to the rigidity of modern day mainstream comics. Here Cuti scripts the equivalent of a Haiku; one-page illustrated by veteran Charles Nicholas, and, while the rest of the comic is in color, this page was rendered in black and white. The Many Ghosts of Doctor Graves # 37, March 1973.</span></b><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cuti teams up with Pete Morisi (art and lettering) on "Wrong Turn," a chilling tale from Haunted # 13, July 1973. </span></b><br />
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<b><i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Weirdlings was a bizarre humor strip created, written and drawn by Cuti that appeared in various Charlton ghost titles. Ghostly Tales # 107, October 1973. </span></i></b><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> In addition to Cuti's freelance writing, as assistant editor he had to deal with production and publishing issues, including paper strikes which greatly affected Charlton. From The Comic Reader # 102, December 1973.</span></b><br />
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<span style="font-family: "verdana" , sans-serif;"><b>"Death in a Darkroom" was a natural story idea for Cuti, since his father was a technician who developed pictures for magazines including Life, Time and Sports Illustrated. Nick also dabbled in photography, which helped inform his own storytelling and pictorial sensibilities. Steve Ditko art; Charlotte Jetter letters. Ghost Manor # 21, November 1974. </b></span><br />
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<b style="font-family: "Trebuchet MS", sans-serif;">Mr. Ober's Nightmare," Scary Tales # 8, November 1976. Charlotte Jetter lettering. </b></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Steve Ditko illustrated quite a few Cuti scripted thrillers, two examples of which are seen above. Cuti first encountered Ditko when he worked at Wally Wood's studio and did the honors of picking him up at the train station. He explained:</span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 15px; font-weight: 700; text-align: justify;"><i>Steve was tall, thin, wore glasses, and had a receding hairline, and a friendly smile. He was dressed in a long, black coat and fedora hat. As we drove to the Studio, he quipped, “So this is Valley Stream, but, Nick, I don’t see a valley or a stream anywhere.”</i></span></span></blockquote>
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<b style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Cuti had a sharp eye for new talent and gave future fan favorites such as John Byrne and Mike Zeck their first professional jobs. In a few short years Byrne was the artist on the successful <i>X-Men</i> series, while Zeck illustrated many popular series, including <i>Captain America, Master of Kung Fu</i> and <i>The Punisher</i>. "Hades University," Scary Tales # 9, January 1977. Art and letting by Zeck. </b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b> "The Thing in the Subway," Joe Staton art and lettering, Many Ghosts of Doctor Graves # 43, December 1973.</b></span><br />
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<i><span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Mike Mauser, seen in the last panel, was a private eye parody who was visually patterned on Dustin Hoffman's Ratzo Rizzo. He debuted as a supporting player in E-Man and graduated to a back-up feature in Vengeance Squad. Cuti loved detective stories and film noir, which made Mauser a character he was especially fond of. If you peruse the scraps of paper littering the table you'll see a nod to Philip Marlowe, Mike Hammer and J.J. Gittes. Staton often added jokey bits of business for observant fans to seek out in his stories. </b></span></i><i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>"The Inner Sun," E-Man # 8, May 1975; </b></span></i><i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Joe Staton art and lettering; Wendy Fiore colors.</b></span></i><br />
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<span style="font-family: "verdana" , sans-serif;">Artist Joe Staton collaborated frequently with Cuti; the duo worked harmoniously on an array of mystery/horror/romance stories at Charlton. When management requested a new superhero title, Cuti naturally went to Staton for the visual presentation. Together they devised <i>E-Man</i>, an offbeat, lighthearted superhero comic that had an initial ten-issue run and was often revived by the creators. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Cuti left his editorial position and became a staff writer for Charlton until 1975 when he was let go. He continued to work in the industry, including writing for Western Publishing and in DC editorial. Cuti acknowledged that his most satisfying assignments were at Warren, where he freelanced until they went out of business in 1981. Cuti branched out to other media, including writing novels, working in animation and creating his own independent films. Despite these other activities Cuti never strayed too far from comics, and was accessible to fans through convention appearances, his website and Facebook.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Nicola Cuti rarely attained the attention or notoriety of his peers, particularly those who toiled in the high-profile, fan oriented world of superheroes. There may be a tinge of irony in the fact that if not for his creation of E-Man he may have been further marginalized. Cuti expressed little interest in larger-than-life personas, as he elaborated in his <i>Comic Book Artist</i> interview:</span><br />
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<i style="font-family: verdana, sans-serif;">It's not that I have anything against superheroes, but they're just a genre as far as I'm concerned, and a good genre. But they've taken over, and that's the only objection I've had with them. When I was a kid I read Batman and Superman, just like everyone else, but not exclusively. They were just one of the things. I also read Lone Ranger and Captain Video and a whole bunch of other stuff. They were just one part of the whole thing. </i></blockquote>
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<span style="font-family: "verdana" , sans-serif;">Nick Cuti was a craftsman who found pleasure in telling stories in the comic book format; all types, which could be appreciated on many levels and by a variety of age groups. At Warren and Charlton he was given the freedom to let his imagination run wild, which often led to superior results. When outlets such as Charlton faded away, those creators who thrived in that environment were cast aside. Mainstream comics became fodder to an increasingly niche fan base, and the kid on the street with loose change in his pockets was abandoned. </span><br />
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<span style="font-family: "verdana" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">Nicola Cuti passed away at the age of 75 on February 21, 2020. </span></blockquote>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>An inscription from Nick Cuti to yours truly. E-Man # 24, June 1985. </b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>On a personal note, Nick Cuti was one of the first professionals I spoke with at length in the offices of DC comics around 1985. We chatted about creators I held in particular esteem, including Wally Wood and Steve Ditko, and he impressed me as a gentleman of great enthusiasm for his profession. From one Nick to another: you will be greatly missed. </i></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>(If you would like to read more on Nick Cuti and/or Charlton please see my featured post located on the upper right hand corner of this page). </i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b> </b></span>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com18tag:blogger.com,1999:blog-2089733759263636022.post-69629866849700017582019-11-23T22:15:00.000-05:002020-01-30T23:57:28.450-05:00Why I Like Steve Ditko<span style="font-family: "verdana" , sans-serif;"><b>Note: The following is a blog post that was originally presented on July, 28th, 2011. Some of the content has been updated but the general tone has been retained and I've left some of the topical comments as is. <i>(More on Ditko, indeed!)</i> </b></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">One of my earliest forays as a blogger finds me spotlighting Steve Ditko's contributions to comics. I believe it's entirely justified, and even incumbent upon me, for such an oversight would be comparable to chronicling the history of the New York Yankees and ignoring the achievements of Babe Ruth or Mariano Rivera. I encountered Ditko's art at a very young age and was captivated by it virtually from the start. Why did his particular style resonate with me on such a visceral level? While searching through my memories one image surfaced with vivid clarity: an <i>Amazing Spider-Man</i> panel where a gang of criminals are fleeing. Ditko's composition was brilliant in its simplicity, showing the miscreants from the waist down, clearly startled by the Spider-Signal illuminating the pavement. I observed how their trousers swayed rhythmically, with a sense of bone and sinew underneath (that's how MY clothes moved when I walked!). Even a six or seven year old recognized that the artist drawing these pictures had done his homework, providing an underpinning of authenticity alongside the fantastic elements.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Amazing Spider-Man # 19, Dec 1964</span></strong></td></tr>
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<span style="font-family: "verdana" , sans-serif;">Ditko's work is distinguished by an understanding of what makes a comic book work. Following the lead of artists he admired (Will Eisner, Jerry Robinson, Mort Meskin) Ditko was able to delineate figures, forms, settings and people with a knowledge of the real world. Ditko studied how clothing flowed against a body in motion and innately grasped the complexity of hands and muscle structure. Like master cartoonist Alex Toth, Ditko was able to make the complex simple by knowing what to include and what to excise. </span><br />
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<b><i><span style="font-family: "verdana" , sans-serif;">Amazing Spider-Man # 15, August 1964. </span></i></b><br />
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<span style="font-family: "verdana" , sans-serif;">Ditko brought a sense of realism to his characters by not turning them into superhuman powerhouses (not that there's anything wrong with that - but more on Jack Kirby in future posts). Another early recollection is the cover to <i>Amazing Spider-Man</i> # 15, the elements of which Ditko orchestrated with masterful precision. Every piece of information adds to the excitement: Spider-Man in the foreground, struggling to free himself as his pursuer approaches. The park setting is established by trees and rocks, capped off by a city landscape in the background. Unlike DC characters, who often faced absurd or gimmick-laden situations, Ditko's heroes were vulnerable and their predicaments transpired (as in this example) on the borderline of possibility. The curiosity of prospective buyers was probably aroused considerably in trying to guess HOW Spider-Man would escape. I know I was completely captivated by it. </span><br />
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<em><span style="font-family: "trebuchet ms" , sans-serif;">Rarely did a hero get a beating like this in comic books! Spider-Man's rouges gallery, including the Scorpion, were a distinct threat - more like the maniacal Richard Widmark in <b>Kiss of Death</b> (1947) than Superman's Lex Luthor. Ditko made this clear by Spider-Man's crumpled posture and with little touches such as his torn costume. It also made a strong point; that doing the right thing had consequences. Amazing Spider-Man # 20, January 1965, Dialogue/co-plot? by Stan Lee; lettering by Artie Simek; coloring likely by Stan Goldberg. </span> </em><br />
<em><br /></em><span style="font-family: "verdana" , sans-serif;">Ditko imbued his pen and ink creations with a palpable sense of fragility. They could get bruised and battered (although, due to Comics Code restrictions they could not bleed, certainly not in 1965) and had to use their intelligence to outwit opponents. Ditko plotted out stories with a level of thought and deliberation that was rarely reflected by his peers. Revisiting his work invites new observations and further analysis in much the same way one studies the oeuvre of Alfred Hitchcock or Miles Davis.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The above page encapsulates </span><span style="font-family: "trebuchet ms" , sans-serif;">Ditko's ability to relay information and distinguish each character with distinctive personalities, often refining them over time. Two examples that would be appropriate here include Aunt May, originally drawn as a heavyset woman and Jonah Jameson, whose mustache was trimmed to the extent that it gave him a Hitlerian appearance. </span>Amazing Spider-Man # 17, October 1964.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Another aspect of Ditko's art that immediately appealed to me was his whimsical nature, accentuated by an almost silent movie clarity through facial expressions and body language, most notably the use of hands as a tool to depict emotions. Some of these techniques were no doubt mastered by studying the industry's greatest storytellers (including newspaper strips such as Chester Gould's <i>Dick Tracy</i> and Harold Gray's <i>Little Orphan Annnie</i>, which were likely a strong influence on Ditko's artistic formation.) With the dexterity of a trapeze artist Ditko balanced fantasy elements essential to superhero comics alongside more down-to-earth situations. Whether it was Peter Parker frantically attempting to avoid a blind date, or, at the other end of the spectrum, plagued by doubts and fears that seemed insurmountable to a teenager, Ditko undoubtedly raised the bar in his chosen field. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Ditko is an original. Unique, offbeat, compelling. Now in his 80s, he continues to draw comics. There are those who chose to denigrate the man on a personal level, criticizing his choices or seeking to invade his personal space. I've read too many articles, blogs and essays filled with distortions, inaccuracies and outright lies about the man which have nothing to do with constructive discussions about his work. I intend to pursue a more positive direction here.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Ditko's final panel to the Dr. Strange story in Strange Tales # 134, July 1965, is an excellent example of the artist's skill at composition. The reader's eye is directed to the solitary figure of the hero walking the dark, lonely streets of Manhattan. Much like his own distinctive characters, Ditko has always followed his own path. </i></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="font-family: "trebuchet ms" , sans-serif;">More on Ditko soon...</span></i></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="color: #cc0000; font-family: "verdana" , sans-serif;"><b>(I hope my efforts over the years investigating the world of comics and the creators who have made it endlessly fascinating continue to be worthy of attention and I thank so many of you who have offered comments and criticism.) </b></span></i></span><br />
<em> </em>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com17tag:blogger.com,1999:blog-2089733759263636022.post-381460031929192712019-09-14T18:44:00.000-04:002019-10-01T11:21:20.095-04:00Bill Schelly: In Tribute <span style="font-family: "verdana" , sans-serif;">It will take a long time for me to get used to speaking about Bill Schelly in the past tense. His passion for comics took him on a journey throughout his life, from teenage publisher to author of countless books, chronicling both his experiences and shining a light on many important - and some often neglected - creative juggernauts. And it all began when a wide-eyed eight year old began reading a Superman Annual. </span><br />
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<span style="font-family: "verdana" , sans-serif;">When Schelly learned Richard Shields, a fellow classmate, also collected comics, a friendship began, which led to his discovery of fanzines, amateur publications that, for the price of a stamp and a few coins could be purchased through the mail. This opened a whole new world for him: as recounted in his book <i>Sense of Wonder A Life in Comic Fandom</i> (2001, revised in 2018).</span><br />
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<b>"What's This?" I asked Richard, pointing to the sheet with the Eye character. "Some kind of comic book?" </b><b>"Yeah." </b><b>"Where do you buy it? I've never seen this character on the racks." I wondered if there were regional comic book companies that didn't distribute their wares in Pittsburgh. </b><b>"Idiot!" He said, laughing. "It's not like a regular comic book. You have to send away for it. It's probably printed like Rocket's Blast-Comiccollector." </b><b>We looked through the copy of RB-CC which was duplicated by the same printing method our school teachers used for pop quizzes and worksheets. I didn't know the name of the process, but the print was purple. </b><b> </b><b>We were captivated by page after page of advertisements for old comic books, some dating back to the 1940s. </b><b>Shields let out a long whistle. "Look at this! Someone wants <i>fifteen bucks </i>for Captain America # 1!" </b><b><i>"</i>That's nuts!" I replied, shaking my head. "Who would pay that much?" </b><b>"I don't know, but a lot of the other old stuff is only three or four bucks. I think I'll get some of 'em, if I can figure out which ones are the best." </b><b>"That's too much for me, but here's a copy of <i>Spider-Man</i> # 1 for a buck-fifty. I think I'll send for that."</b><b> Although the ads for much-sought-after back issues were fascinating, I was equally interested in the fanzines that promised information about comics of the past. Just the idea that you could buy a bunch of different <i>magazines about comics</i> fascinated me.</b><b> What a momentous, mind-boggling development this was! My joy know no bounds! </b><i style="font-weight: bold;"> </i></blockquote>
<span style="font-family: "verdana" , sans-serif;">This soon led to the 12 year old Schelly crafting his own fanzine, in tandem with Shields, whose father had access to an early Xerox machine. The boys first effort was Super Heroes Anonymous. </span><br />
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<span style="font-family: "verdana" , sans-serif;"> <i>Super Heroes Anonymous</i> # 1, published in January 1965, was Schelly's crude but ambitious debut effort, which included a character he created: The Immortal Corpse. The cover was marred by a technical glitch; early Xerox machines were unable to reproduce solid blacks.</span><br />
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<span style="font-family: "verdana" , sans-serif;">After the second edition Schelly devised a more impressive title, <i>Incognito</i>, which ran for two more issues (# 4 and Incognito Extra # 1). In this period he became friends with fellow fan/collector Marshall Lanz and produced two issues of a new fanzine, <i>Fantasy Forum</i>. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Schelly's next endeavor was a concerted effort to up his game. He achieved that goal with the publication of <i>Sense of Wonder</i> # 1 (May 1967), which had better quality printing and a more impressive presentation. He and other talented fans wrote prose stories, comic strips and articles. Contributors included Ron Foss, Dick Trageser, Alan Hanley, D. Bruce Berry, Larry Herndon and John Fantuccio. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Steve Ditko's cover art to <i>Sense of Wonder</i> # 6, 1968. In his editorial Bill wrote: "Steve Ditko's Mr. A frontal piece is no doubt our finest cover; hope you enjoy it as much as we do. Thanks for taking time out from your various projects, Steve." When Ditko saw the published cover he wrote Schelly, sternly criticizing him for using color on a drawing he expected to be reproduced in black and white. Schelly felt Ditko had a valid point, and his words stung all the more deeply because a few years earlier he used, without Ditko's permission, a drawing of Dr. Strange in <i>Super Heroes Anonymous</i> # 2. </span><br />
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<span style="font-family: "verdana" , sans-serif;">A sign of things to come, Schelly wrote a six page overview of Alfred Hitchcock's career in Sense of Wonder # 6. Ditko and Hitchcock in the same issue. Quite a combination! </span><br />
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<span style="font-family: "verdana" , sans-serif;">SOW # 6 also included biographical info on the 17 year old Schelly.* It reveals a self-deprecating sense of humor ("Bill is 'known' for his advertising of fanzines that never come out") and quite a bit of wisdom. One of his ambitions was achieved with impressive results: writing books. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>* (An historical aside for those born in the past few decades. Technology in the early 1960s was limited. Making multiple copies of an original typed manuscript often meant using a spirit duplicating machine, a device that had a drum and ink which one put paper through. Schools and churches employed this device, and while the first few dozen copies were usually clear, repeated use led to blurry, smudged and often unreadable results. For some kids producing fanzines on a limited budget it was their only option). </i></span><br />
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<span style="font-family: "verdana" , sans-serif;">As noted in his bio piece, Schelly was a huge Batman fan/collector, as evidenced by the above letter that appeared in Batman # 222, June 1970. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Robert Sanborn's cover to Sense of Wonder # 11, Spring 1972</span><br />
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<span style="font-family: "verdana" , sans-serif;">Larry Herndon's long-running fanzine <i>Star-Studded Comics</i> was scheduled to publish Ditko's Mr. A strip, but as recounted in <i>Sense of Wonder, A Life in Comic Fandom</i>, Herndon was going to discontinue his fanzine and asked Schelly if he had an interest in publishing it, noting that Ditko wanted to see it in print as soon as possible. Schelly was enthused and asked if Herndon had the original art. He replied: "No, and he won't send it either. He said he's had a problem with some fanzine editors keeping his originals, so he said to tell him when and where to send the original art when you're submitting the remainder of the issue to the printer, and he'll send it to him directly. " Schelly added: "I have Larry Herndon to thank for giving me the opportunity to debut the six-page Mr. A strip titled "The Defenders." <i>Sense of Wonder</i> # 11, Spring 1972. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Schelly's review of the EC hardcover reprint Horror Comics of the 1950s also appeared in Sense of Wonder # 11 </span><br />
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<span style="font-family: "verdana" , sans-serif;">Fan artist Don Newton, who soon graduated to professional comic illustrator, crafted the cover to Sense of Wonder # 12, Summer/Fall 1972. </span><br />
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<span style="font-family: "verdana" , sans-serif;">This impressive profile of Jack Kirby, photographed by Vincent Davis, accompanied Bob Cosgrove's essay: Jack Kirby, Modern Mythologist, in Sense of Wonder # 12. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Will Eisner, another master in the field of comic art, was featured in Sense of Wonder # 12. "Eisner and Co. by John T. Ryan, corrected and added information on Eisner's career following Raymond Miller's earlier essay on the artist. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><i>Sense of Wonder</i> # 12 was to be Schelly's last issue. After a failed attempt to get a job as a professional artist in comics Schelly dropped out of fandom and comic collecting for a period of time. In 1982 his first book was published, a biography of silent film comedian Harry Langdon. He briefly became part-owner of a comic book specialty store, and rejoined CAPA-alpha (a publication which included contributions from each member which were then collated and mailed out to participants) in 1991. Schelly's first exploration of fanzines occurred in <i>The Golden Age of Comic Fandom (1995)</i> followed by an array of related books, most notable being his personal experiences in<i> Sense of Wonder A Life in Comic Fandom. </i>Schelly then turned his attention to crafting a superb series of scholarly tomes covering an eclectic assortment of creative personnel, from the revered (Joe Kubert, Harvey Kurtzman) to the more obscure (Otto Binder, James Warren, John Stanley). Bill Schelly's attention went beyond artists, and included writers, editors and publishers, whose contributions to comics are all too often glossed over. His body of work will stand the test of time and be a valuable resource for future historians. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Bill's memoir first appeared in 2001 and was greatly revised and expanded in 2018. Cover art by Schelly and Dick Giordano. </span><br />
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<span style="font-family: "verdana" , sans-serif;">On a personal note I was proud to have corresponded with Bill these past few years, discussing his many extraordinary books. I was honored when he asked if I could transcribe the Point of View discussions on Marvel and DC from the 1963 fanzine <i>Hero </i>which I had scanned and posted on my blog for publication in his <i>Alter Ego </i>column. He was a complete pleasure to work with and a true gentleman. Bill Schelly was an important part of comic book fandom, a true historian and a class act. Rest in Peace, Bill. </span><br />
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Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com13tag:blogger.com,1999:blog-2089733759263636022.post-39422088668904406942019-06-26T22:00:00.009-04:002022-07-13T00:52:19.758-04:00Marvel’s Annuals and the Endless Summer<div class="MsoNormal" style="margin: 0in 0in 10pt;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FfVc0x96aWHs6q7Drl1266He8iMRhoF5SFJQD383LH2XlgPs5OZ7p6fhG--oeO8MX3B2x2YX9aRvqFogMurDll6QpJJbmmIzsTRrqKN1vUfbmPxIcXb2DKChcY0W_m8DQDjaFntOVz5vqoN4RKpsFl75UBeQJG66k6jIAcnME_AiCulNFMyQ8rUq/s1590/walkingdistance-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1590" data-original-width="1589" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FfVc0x96aWHs6q7Drl1266He8iMRhoF5SFJQD383LH2XlgPs5OZ7p6fhG--oeO8MX3B2x2YX9aRvqFogMurDll6QpJJbmmIzsTRrqKN1vUfbmPxIcXb2DKChcY0W_m8DQDjaFntOVz5vqoN4RKpsFl75UBeQJG66k6jIAcnME_AiCulNFMyQ8rUq/w640-h640/walkingdistance-2.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><i style="font-family: Verdana, sans-serif;">"There isn't anything quite as good ever. Nothing quite as good as summer and being a kid." </i><i style="font-family: Verdana, sans-serif;"><span style="font-family: arial; font-size: medium;">Martin Sloan, as portrayed by actor Gig Young in "Walking Distance" an episode of The Twilight Zone, written by series creator Rod Serling and originally aired on October 30th, 1959. </span></i></div><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: helvetica;">Those words echo through my mind whenever I think back to my childhood in the mid-1960s; a moment when school was on hiatus and a seemingly endless summer stretched before me. The days were long and lazy, with plenty of time to explore back yards, enjoy neighborhood parks, go to the movies, play with friends and saunter off to candy stores for baseball cards, snacks and, of course, comics. It was around this time of the year, especially in the months of July and August, that Marvel released the majority of their Annuals*; although dictated by the industry's awareness that most youngsters were off from school and theoretically had more coins to dispense with, it was nevertheless a fortuitous circumstance from a kid's perspective, as these were double-sized books starring their most popular characters. The Bullpen Bulletins page, which appeared in every comic, heralded their impending publication, and to an ever-growing and fanatical following (with yours truly being one of them), anticipation was high. Depending on their schedules, Marvel’s Annuals offered either all new material or a combination of original and reprint stories. </span><br />
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<span face=""trebuchet ms" , sans-serif"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span face=""trebuchet ms" , sans-serif">* From 1966-1971 they were called King-Size Specials, or simply "Specials", but everyone I know </span>referred<span face=""trebuchet ms" , sans-serif"> to them as Annuals no matter the cover designation. Nitpick Nick. </span></span></i><span face=""trebuchet ms" , sans-serif"> </span></span><br />
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<span style="font-family: "calibri";"><b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">This house ad for a quartet of Annuals saw publication in Fantastic Four # 43 and other October-1965 dated comics. The "On Sale Now!" banner wasn't exactly accurate, since some titles might show up two to three weeks later. In those pre-internet days fans often had no way of knowing WHEN these comics would surface at their local candy store! </span></b></span><br />
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<span style="font-family: helvetica;">The first “King-Size Specials” I recall my older brother John buying off the stands at our local candy store* occurred in the summer of 1966. I was six years old, and the sounds of the Beatles' “Paperback Writer,” Sinatra’s “Strangers in the Night,” and The Loving Spoonful’s “Summer in the City” wafted through transistor radios.</span></div>
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<i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><span face=""trebuchet ms" , sans-serif"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">* For a detailed account of my childhood adventures collecting comics and other </span>miscellany<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> on the streets of Brooklyn you won't want to miss this monumental post! </span></span><a href="https://nick-caputo.blogspot.com/2019/02/the-corner-candy-store.html" style="font-family: "helvetica neue", arial, helvetica, sans-serif;">https://nick-caputo.blogspot.com/2019/02/the-corner-candy-store.html</a><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"> Ostentatious Nick.</span></span></i></div>
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<a href="http://4.bp.blogspot.com/-qPInlHtr0iA/UBCbJ1amSRI/AAAAAAAAAoY/O_o6EyVvKJg/s1600/AnnASM3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" sda="true" src="https://4.bp.blogspot.com/-qPInlHtr0iA/UBCbJ1amSRI/AAAAAAAAAoY/O_o6EyVvKJg/s640/AnnASM3.jpg" width="416" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "georgia" , "times new roman" , serif;">Amazing Spider-Man King-Size Special # 3, Summer 1966. John Romita pencils; Mike Esposito inks, Sam Rosen lettering. Bottom portion panels from interior reprint by Steve Ditko. The Avengers, Spider-Man and the Hulk. A little bit of Heaven to a six year old!</span></b></div>
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<span style="font-family: helvetica;"><i style="mso-bidi-font-style: normal;">Amazing Spider-Man</i> Special # 3 had the wall-crawling hero attempting to join the Avengers. In truth it was a formula story by Stan Lee, John Romita and Don Heck (inking by Mike Esposito) and wasn’t comparable to Steve Ditko's earlier efforts, and, clocking in at twenty-one pages lacked even a sense of gravitas. Another drawback was the lack of special features that populated earlier Annuals, likely omitted due to deadline problems more than anything else. One highlight was a reprinting of <i style="mso-bidi-font-style: normal;">Amazing Spider-Man</i> #’s 11 & 12, a Lee and Ditko extravaganza that centered on the villainous Dr. Octopus. It was probably the first time I was able to fully enjoy that tale, as my brother only had issue # 12 in his collection. Ditko’s art and storytelling were riveting as always and Lee's dialogue was equal to the task.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "georgia" , "times new roman" , serif;">FF Special # 4; Jack Kirby pencils; Joe Sinnott inks; Sam Rosen lettering. The two Torch's meet and the battle of the century is reprinted! </span></b></div>
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<span style="font-family: helvetica;"><i style="mso-bidi-font-style: normal;">Fantastic Four Special</i> # 4 re-introduced the Original Human Torch, who ostensibly began the Marvel Age back in 1939 when Martin Goodman entered the business as Timely comics with his initial publication, <i>Marvel Comics</i>. Carl Burgos' creation headlined the '39 title and would go on to become one of his best-selling characters. Like Spider-Man, the story was again abbreviated in length and apparently crafted because Goodman wanted to protect his copyright on the character. The reprinting of FF #’s 25-26, featuring the first real confrontation between the Thing and the Hulk, Marvel's two powerhouse monster-heroes, was a bonus story for the many fans who had missed it on the first go-around. This despite George Roussos' heavy-handed inking (in one panel the Hulk actually looks like comedian Buddy Hackett. Perhaps he was watching one of Hackett's many appearances on The Tonight Show when he was working on that page!) </span></div>
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">Other specials that summer included <i style="mso-bidi-font-style: normal;">Sgt. Fury</i> # 2 and <i style="mso-bidi-font-style: normal;">Journey into Mystery</i> # 2 (featuring Thor), both of which followed the same format; <i>Marvel Super Heroes</i> # 1, reprinting a golden age Sub-Mariner-Human Torch clash, along with early <i>Avengers</i> and <i>Daredevil </i>material, and, of course, there were titles that most boys wouldn't be caught dead buying, <i style="mso-bidi-font-style: normal;">Millie the Model </i><span style="mso-bidi-font-style: normal;">being one such example!</span></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>Millie the Model was an extremely popular long running title that starred in a total of 12 Annuals from 1962-1975. Stan Goldberg art and (likely) coloring, Sam Rosen lettering. Millie Queen-Size Annual # 4, 1965. </b></span><br />
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<b><span style="font-family: "georgia" , "times new roman" , serif;">The 1966 Marvel Super-Heroes King-Size Special represented a few Timely-era artifacts; a Bill Everett-Carl Burgos Torch-Sub-Mariner collaboration and Stan Lee's first Captain America text story. </span></b><br />
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">1967 was a return of sorts to earlier standards of quality. The Marvel corner box, which employed visual representations of their characters for easy reader recognition, was instead utilized with copy that emphasized: </span><i>“All New – Not A Single Reprint!.” </i><span face=""trebuchet ms" , sans-serif">Perhaps editor Stan Lee took heed of fan complaints from the previous year, or there might simply have been more time before pending deadlines. Whatever the case, </span><i>FF, Spider-Man, Sgt. Fury</i><span face=""trebuchet ms" , sans-serif"> and </span><i>Millie the Model</i><span face=""trebuchet ms" , sans-serif"> returned, although </span><i>Journey into Mystery </i><span face=""trebuchet ms" , sans-serif">(Thor) was sadly missing. New entries included </span><em>Daredevil </em><span face=""trebuchet ms" , sans-serif">and the </span><em>Avengers</em><span face=""trebuchet ms" , sans-serif">. While some of the headline material was weaker than previous efforts (the introduction of Psycho-Man and revelations of Sue’s pregnancy in </span><i>Fantastic Four </i><span face=""trebuchet ms" , sans-serif">were exceptions</span><i>)</i><span face=""trebuchet ms" , sans-serif">, the special features, which included pin-up pages, “inside info” and humorous vignettes, offered material that was often missing from the monthly publications and appreciated by fans. </span><span face=""trebuchet ms" , sans-serif"> </span><br /></span>
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<span face=""trebuchet ms" , sans-serif"><b style="font-family: "Times New Roman";"><span style="font-family: "georgia" , "times new roman" , serif;">Lee and Kirby make a most surprising announcement in FF Special # 5, inks by Frank Giacoia; lettering by Artie Simek. </span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="mso-spacerun: yes;">Stan Lee adds a dose of humor to accompany the masterful pencils of Gene Colan. Inks by John Tartaglione; lettering by Sam Rosen, </span><i>Daredevil Special </i># 1, Summer 1967.</span></b><br />
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">The 1968 Annuals included quite a few extravaganzas; the FF headlined the birth of Sue and Reed’s son (by Lee, Kirby and Sinnott); Spider-Man featured the mystery of Peter Parker's parents (by Lee, Larry Lieber and Mike Esposito); the Battle of the Bulge was re-imagined in (where else?) Sgt. Fury. </span><span face=""trebuchet ms" , sans-serif">(by Gary Friedrich, Dick Ayers and John Severin, whose superlative inking was always special) and the current Avengers encountered the original members (by Roy Thomas, Don Heck, Werner Roth and Vince Colletta. <i>Daredevil</i> was noticeably missing from the schedule (likely due to the previous years unimpressive sales figures), replaced by the more-popular Hulk, in a rather weak entry by Gary Friedrich, Marie Severin, Syd Shores and company, but overall the product was </span><span face=""trebuchet ms" , sans-serif">substantial. The following year, however, would institute unfortunate changes.</span><br /></span>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>Larry Lieber's composition adds drama to this page, in particular the "camera angle" of Peter in the last panel. Inks by Mike Esposito, lettering by Artie Simek. Amazing Spider-Man King-Size Special # 5. </b></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i><b>A touching moment in the pages of Fantastic Four King-Size Special # 6 by Lee, Kirby and Sinnott. </b></i></span></div>
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<span style="font-family: helvetica;">Due either to lack of time or cost saving measures, the 1969 Specials were almost entirely reprints. It was a disappointment not to see extra length tales by Lee, Kirby, Thomas or Colan. Some of the material I had never seen before, particularly the first FF story and a reprint of <i style="mso-bidi-font-style: normal;">Amazing Spider-Man</i> # 2, both examples of Marvel's intriguing early efforts . A few pages of new material by Friedrich, Ayers and Severin surfaced in the Sgt Fury Special, which was a welcome addition, but it was only a taste of the glorious past. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><strong>One of the few pages featuring new material that appeared in 1969, from Sgt. Fury Special # 5. Dick Ayers pencils; John Severin inks; Artie Simek lettering. Script likely by Gary Freidrich. </strong></span></div>
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<span style="font-family: helvetica;">The institution of reprints remained the norm, and after 1971 the specials themselves were discontinued; a lack of time and personnel is the most logical reason. In that period Marvel was expanding their line at a hectic pace, and while it would have been wonderful to see Annuals produced by the likes of Gil Kane, John Buscema, Neal Adams, Jim Steranko or Barry Smith, it was not to be.</span></div>
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<span style="font-family: helvetica;">Annuals returned on a regular schedule in the mid 1970's, but with few exceptions they weren't very special anymore. Page counts were down, special features were sparse, and top talent was uncommon. Once crafted with thought and care, they became little more than over-sized issues of the regular monthly comics. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";"> </span><span style="font-family: "georgia" , "times new roman" , serif;">Steve Ditko's powerful staging and meticulous inking made his pin-up illustrations stand-out.</span></b></div>
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<span style="font-family: helvetica;"><span face=""trebuchet ms" , sans-serif">Lee, Ditko and Kirby understood that an Annual was a special event and often took pains to give the fans their money's worth. Although I didn't read them off the stands, <i style="mso-bidi-font-style: normal;">FF Annual #’s</i> 1-3 and <i style="mso-bidi-font-style: normal;">Amazing Spider-Man Annuals #</i> 1-2 remain benchmarks of what an Annual should be. The extra length Sub-Mariner tale and the origin of Dr. Doom were unique stories (a villain appearing in a starring feature was rare). <i>FF Special </i># 3 was marred by its page length. While it was fun to see practically the entire Marvel line of heroes and villains in one story, the drama of Reed and Sue's wedding was largely neglected. The two Ditko-plotted and drawn Spider-Man Annuals were crafted with special care and is hard to top. </span><br />
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<span face=""trebuchet ms" , sans-serif">Occasionally, on a azure-blue summer day, my mind drifts back to those childhood afternoons, when for only 25 cents I was transported into a world of fantasy and imagination. I suspect Rod Serling would have understood.<span style="mso-spacerun: yes;"> </span></span><br /></span>
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<span face=""trebuchet ms" , sans-serif"><span style="mso-spacerun: yes;">If you found this entry of interest here are links to some of my earlier Annual-related posts: <a href="https://nick-caputo.blogspot.com/2014/06/51-summers-ago-fantastic-four-annual-1.html">https://nick-caputo.blogspot.com/2014/06/51-summers-ago-fantastic-four-annual-1.html</a></span></span><br />
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<span face=""trebuchet ms" , sans-serif"><a href="https://nick-caputo.blogspot.com/2014/07/50-summers-ago-amazing-spider-man.html">https://nick-caputo.blogspot.com/2014/07/50-summers-ago-amazing-spider-man.html</a></span><br />
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<a href="https://nick-caputo.blogspot.com/2015/07/50-summers-ago-amazing-spider-man.html">https://nick-caputo.blogspot.com/2015/07/50-summers-ago-amazing-spider-man.html</a><br />
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<a href="https://nick-caputo.blogspot.com/2014/06/50-summers-ago-marvel-tales-annual-1.html">https://nick-caputo.blogspot.com/2014/06/50-summers-ago-marvel-tales-annual-1.html</a><br />
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<a href="https://nick-caputo.blogspot.com/2013/08/marvels-most-unusual-1960s-annual.html">https://nick-caputo.blogspot.com/2013/08/marvels-most-unusual-1960s-annual.html</a></div>
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<em style="font-family: georgia, "times new roman", serif;">...and for even <b>more</b> insightful discussion on Annuals go to Barry Pearl's Blog:</em><br />
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<a href="http://forbushman.blogspot.com/">http://forbushman.blogspot.com/</a><br />
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<em><span style="font-family: "georgia" , "times new roman" , serif;">And Don Alsafi's Marvel Genesis:</span></em><br />
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<a href="http://www.marvelgenesis.com/">http://www.marvelgenesis.com/</a><br />
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Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com12tag:blogger.com,1999:blog-2089733759263636022.post-78857947720166398002019-05-07T19:32:00.001-04:002019-07-09T23:13:33.975-04:00Joe Sinnott's Unknown Charlton Work<span style="font-family: "verdana" , sans-serif;">You never know what you'll find when rummaging through old comics. My brother John and I recently visited our friend Barry Pearl, who had acquired a collection comprised of titles from various publishing houses. Barry allowed me to take several 1970s-era Charlton comics, aware of my fascination with the oft-ignored company. A perusal of the contents in <i>Fightin' Army </i>and <i>Haunted Love</i> revealed the usual contingent of talented freelancers: Don Newton, Pete Morisi, Sanho Kim, Charles Nicholas, Wayne Howard, Jack Keller, Vince Alascia, and, of course, prolific writer Joe Gill, but when I took a closer look at the cover of <i>Career Girl Romances </i># 63 (June 1971) I was puzzled. I suspected the pencils were by Art Cappello, a long-time member of Vince Colleta's studio, who specialized in illustrating stories for Charlton's numerous love-themed publications. No surprise there, but it was the inking that threw me. The rich, precise line was indicative of Joe Sinnott's handiwork; renowned by both fans and professionals as one of the industry's finest talents. For years Sinnott added luster to Jack Kirby's pencils on the <i>Fantastic Four. </i>When Kirby left Marvel he continued on the FF, and was also assigned to <i>The Mighty Thor</i> (John Buscema, one of Marvel's top artists, replaced Kirby on both titles). </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><b>(An aside for those of you unacquainted with the details of comic book production, and I know of at least ONE person out there! The rest of you can move on to the next paragraph! In order for pencil art to reproduce clearly it must be completed in black (or more commonly called india) ink, using tools such as a brush, quill or radiograph pen.The artist who draws the story may also ink it, but often, due to time constraints, a different hand completes the job. Depending on his skill set and compatibility with the penciler, an inker can either compliment or weaken the finished product. An excellent example of the former is this page from Fantastic Four # 49, April 1966. Jack Kirby's powerful pencils above and Joe Sinnott's exquisite inks below.) </b></i></span><br />
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<a href="https://1.bp.blogspot.com/-d6zAWCMh6QM/XO2eC4esxkI/AAAAAAAAGzk/RmRy7q9HgiUYXayTCxBL0zWdYaRIiRvWwCLcBGAs/s1600/sinnott-inks-ff49.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1091" height="320" src="https://1.bp.blogspot.com/-d6zAWCMh6QM/XO2eC4esxkI/AAAAAAAAGzk/RmRy7q9HgiUYXayTCxBL0zWdYaRIiRvWwCLcBGAs/s320/sinnott-inks-ff49.jpg" width="218" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><i>Career Girl Romances # 63 </i>appeared on the stands concurrently with his Marvel assignments. Many fans were largely unaware that Sinnott was also a prolific artist for <i>Treasure Chest of Fun and Fact (</i>a comic produced for Catholic schools and published bi-weekly during the school year) at the same time he freelanced for both companies in the 1960s. As far as I knew his last work for Charton had occurred a decade earlier, penciling romance stories and several issues of <i>Gorgo</i> by way of Vince Colletta's studio. </span><br />
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<i><span style="font-family: "verdana" , sans-serif;">The cover that started the investigation. Sinnott's crisp inking is evident in both foreground figures and background foliage. </span></i><br />
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<span style="font-family: "verdana" , sans-serif;">I meticulously examined the details employed on trees, clothing and shrubbery. True, there were other professionals with similar styles, but this looked "exactly" like the best aspects of Sinnott's signature work as evidenced in <i>Fantastic Four</i>, <i>Thor, Captain America</i> and other Marvel titles in the early 1970s. I put on my Sherlock Holmes cap and began the search for an answer.</span><br />
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<span style="font-family: "verdana" , sans-serif;">I first sought out one of the top experts in identifying comic art, my buddy Michael J. Vassallo (aka Doc V). In an instant message I detailed the info and sent a scan of the cover. Mike replied that he actually SAW Joe Sinnott and his son Mark that very day at a Convention in White Plains and was in agreement with my analysis. I mentioned that I was going to email Mark, who I had met on numerous occasions. I also inquired if he was on Facebook. Mike notified me in the affirmative and suggested I contact him there. I did both and waited patiently. A day later Mark replied to my email, confirming Joe's involvement. He explained: </span><br />
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<span style="font-family: "verdana" , sans-serif;">"My dad did a couple of covers with Art Cappello for Charlton in the early 70s. That is one of them. Art and my dad were very good friends."</span><br />
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<span style="font-family: "verdana" , sans-serif;">Mark was aware of <i>Career Girl Romance</i>, and knew that Joe inked at least one other Cappello-drawn cover, <i>Romantic Story</i> # 111, and possibly more. All were signed "Art Cappello", leading many to assume he completed the artwork without assistance, but as I've discovered, a sole signature does not guarantee a one-man operation. With the likelihood of further undocumented contributions by Sinnott, my next step was to check every Charlton romance cover, beginning in late 1970 and into the entirety of 1971. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Charlton Press was the largest purveyor of romance comics in this period with DC in second place (Marvel's foray into the market at this time was minimal; only <i>Our Love Story</i> and <i>My Love </i>contended for sales<i>)</i>. My first area of research was <i>Mike's Amazing World of Comics</i>, a website where you can search for practically every title published by either month or date of publication. The Grand Comic Book Database was my next destination; there I could study covers that were not in my collection. Alternate sites such as Ebay were also an invaluable resource tool due to the many dealers who provide enlarged photos for potential customers. This led to the discovery of eight more covers signed by Cappello in which Sinnott made contributions (with a ninth brought to light by Dennis F. Rogers). </span><br />
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<span style="font-family: "verdana" , sans-serif;">Listed below are the results of my findings, followed by some observations and commentary. If further unknown Sinnott embellishment surfaces I'll be sure to update the information here. All images are from the invaluable Grand Comic Book Database. </span><br />
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<a href="https://3.bp.blogspot.com/-9WUMUpxir8E/XNDrjXXjXDI/AAAAAAAAGvs/gN2UQ641k0YDLLHkEPBVChEbYDJhoDTOACLcBGAs/s1600/sinnott-romanticstory111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="400" height="640" src="https://3.bp.blogspot.com/-9WUMUpxir8E/XNDrjXXjXDI/AAAAAAAAGvs/gN2UQ641k0YDLLHkEPBVChEbYDJhoDTOACLcBGAs/s640/sinnott-romanticstory111.jpg" width="419" /></a></div>
<span style="font-family: "verdana" , sans-serif;">Mark Sinnott confirmed Joe's inks on <i>Career Girl Romances</i> # 63 and was aware of his involvement on the above cover from <i>Romantic Story </i># 111, February 1971. He also noted that there might be others, so the search was on. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The distinctive Sinnott style is most noticeable on hair and faces, particularly the man's ear. Teen-Age Love # 74, January 1971.<br /><br /><br /><a href="https://1.bp.blogspot.com/-mlx3Y5qutHk/XNDw9-NTrrI/AAAAAAAAGwQ/MssDwhyP1kYfOXXvdHTvMKtnmg1hZPPtgCLcBGAs/s1600/sinnott-lovediary70.jpg"><img border="0" height="640" src="https://1.bp.blogspot.com/-mlx3Y5qutHk/XNDw9-NTrrI/AAAAAAAAGwQ/MssDwhyP1kYfOXXvdHTvMKtnmg1hZPPtgCLcBGAs/s640/sinnott-lovediary70.jpg" width="423" /></a><br /><br />An awkwardly arranged layout doesn't give Joe much to work on, but his style is still apparent on faces and clothing. <i>Love Diary</i> # 70, January 1971. </span><br />
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<a href="https://1.bp.blogspot.com/-l1fyuty7gVY/XOTKQ0_nozI/AAAAAAAAGzI/LR-FHsIpu6wLsYMc_QFjKZodgc2jbENMgCLcBGAs/s1600/sinnott-cappello-iloveyou89.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="400" height="640" src="https://1.bp.blogspot.com/-l1fyuty7gVY/XOTKQ0_nozI/AAAAAAAAGzI/LR-FHsIpu6wLsYMc_QFjKZodgc2jbENMgCLcBGAs/s640/sinnott-cappello-iloveyou89.jpg" width="428" /></a></div>
<span style="font-family: "verdana" , sans-serif;">Thanks to the astute eye of Dennis F. Rogers, who pointed out this cover in the comments section. After finding a large scan to study on Ebay I agreed with him that Sinnott was the inker. There is very little to go by on the main figures, but the background sea, beach and sand have patterns that identify Sinnott's involvement. <i>I Love You</i> # 70, January 1971. <br /><br /><a href="https://3.bp.blogspot.com/-2b6VsBJAG38/XND6ZfzKRaI/AAAAAAAAGxA/APxL72jApjgIOKa9BZMYEpkoAutb6ZXpACLcBGAs/s1600/sinnott-careergirl61.jpg"><img border="0" src="https://3.bp.blogspot.com/-2b6VsBJAG38/XND6ZfzKRaI/AAAAAAAAGxA/APxL72jApjgIOKa9BZMYEpkoAutb6ZXpACLcBGAs/s640/sinnott-careergirl61.jpg" /></a><br /><br />Career Girl Romances # 61, February 1971. Charlotte Jetter lettering.<br /><br /><a href="https://3.bp.blogspot.com/-BLzctqKoWxI/XND7sCyIsRI/AAAAAAAAGxM/Oaf6EkolMZo06GgN8YoEDRnSgHzXOK9ZgCLcBGAs/s1600/sinnott-justmarried75.jpg"><img border="0" src="https://3.bp.blogspot.com/-BLzctqKoWxI/XND7sCyIsRI/AAAAAAAAGxM/Oaf6EkolMZo06GgN8YoEDRnSgHzXOK9ZgCLcBGAs/s640/sinnott-justmarried75.jpg" /></a><br /><br /><i>Just Married</i> # 75, February 1971. The woman's jacket with its fluid lines, coupled with the building details confirms Sinnott's participation. Joe inked a total of four romance covers in this month. <br /><br /><a href="https://2.bp.blogspot.com/-nak6gU6Gnq4/XNDvEhSfKtI/AAAAAAAAGwE/bRBTTpZ_IsURh2Y28RalrNDarSHxkY3mQCLcBGAs/s1600/sinnott-teenconfessions66.jpg"><img border="0" src="https://2.bp.blogspot.com/-nak6gU6Gnq4/XNDvEhSfKtI/AAAAAAAAGwE/bRBTTpZ_IsURh2Y28RalrNDarSHxkY3mQCLcBGAs/s640/sinnott-teenconfessions66.jpg" /></a><br /><br />Sinnott's details on buildings and trees display his craftsmanship. <i>Teen Confessions</i> # 66, February 1971. <br /><br /><a href="https://2.bp.blogspot.com/-UttqTWzN4Yw/XND4z_SkIuI/AAAAAAAAGw0/fA4-fEVvSokdPCxZFmFVESOgaTKKER-CACLcBGAs/s1600/sinnott-sweethearts115.jpg"><img border="0" src="https://2.bp.blogspot.com/-UttqTWzN4Yw/XND4z_SkIuI/AAAAAAAAGw0/fA4-fEVvSokdPCxZFmFVESOgaTKKER-CACLcBGAs/s640/sinnott-sweethearts115.jpg" /></a><br /><br />One of Cappello's better efforts, it includes a soldier in the foreground, providing Sinnott with a figure he can embellish with gusto. <i>Sweethearts</i> # 115, March 1971.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><br /><a href="https://4.bp.blogspot.com/-JtbhHi-kRPk/XND2QufJ4VI/AAAAAAAAGwc/WIHbbWlQVVge0BGSQJrc4Rn1nprbtFIQACLcBGAs/s1600/sinnott-justmarried77.jpg"><img border="0" src="https://4.bp.blogspot.com/-JtbhHi-kRPk/XND2QufJ4VI/AAAAAAAAGwc/WIHbbWlQVVge0BGSQJrc4Rn1nprbtFIQACLcBGAs/s640/sinnott-justmarried77.jpg" /></a><br />With a title like "The Hippy and the Cop" what more needs to be said? Except that Cappello also drew the interior story, which was inked by Vince Alascia. Charlton should have assigned the art to Pete Morisi, who actually WAS a cop and moonlighted as a freelancer for the company! <i>Just Married</i> # 77, June 1971. <br /><br /><a href="https://2.bp.blogspot.com/-bgGApfBOquQ/XND3ulvegYI/AAAAAAAAGwo/KWm-l7wTPrcfVfiGoRoPmtBjFOS0pts6gCLcBGAs/s1600/sinnott-secrethearts115.jpg"><img border="0" src="https://2.bp.blogspot.com/-bgGApfBOquQ/XND3ulvegYI/AAAAAAAAGwo/KWm-l7wTPrcfVfiGoRoPmtBjFOS0pts6gCLcBGAs/s640/sinnott-secrethearts115.jpg" /></a><br /><br />Cappello swiped other artists from time to time, such as the two background figures, whose poses are taken from a John Buscema panel or cover (possibly one inked by Joe!). <i>Secret Romance </i># 13, June 1971<br /><br />In a six month period (January-June 1971 publication dates) Joe Sinnott inked Cappello on a total of ten covers. After that period Cappello either did the inking on his own, or was assisted by Sal Gentile, who, in addition to being an artist, was also editor of the Charlton line. <br /><br />One of the pleasures in researching comics is accidentally discovering something that has been staring back at you all along. Romance comics are often ignored by the superhero-based fan mentality, although historians such as Jacque Nodell on her Sequential Crush blog (highly recommended. Hi Jacque!) <a href="https://www.sequentialcrush.com/">https://www.sequentialcrush.com/</a> have focused a sharper light in that direction. While comic book aficionados admire Joe Sinnott for his embellishment of Jack Kirby's <i>Fantastic Four</i> and </span><span style="font-family: "verdana" , sans-serif;"><i>Captain America</i></span><span style="font-family: "verdana" , sans-serif;">, along with enhancing the work of craftsmen such as John Buscema, Gene Colan, Gil Kane, Neal Adams, Barry Windsor-Smith and many others, and deservedly so, they often overlook his solid work as an artist going back to the Atlas era, on titles such as </span><i style="font-family: verdana, sans-serif;">Kent Blake of the Secret Service</i><span style="font-family: "verdana" , sans-serif;">, </span><i style="font-family: verdana, sans-serif;">Arrowhead </i><span style="font-family: "verdana" , sans-serif;">and countless war, western, crime, horror and fantasy fillers. Another area of Sinnott's oeuvre that escapes notice is his contributions to the pages of </span><i style="font-family: verdana, sans-serif;">Treasure Chest</i><span style="font-family: "verdana" , sans-serif;">. In an interview in </span><i style="font-family: verdana, sans-serif;">Comic Crusader</i><span style="font-family: "verdana" , sans-serif;"> # 9, circa 1970, he explained: "<i>I've also done the life stories of notables such as J.F.K. - Eisenhower - MacArthur - Pope John - Babe Ruth - Gene Tunney - Wright Brothers , and many others for Treasure Chest</i>." Stories which he is justly proud of. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /><a href="https://3.bp.blogspot.com/-Fj7m5_I2mO0/XNEDsC6HuKI/AAAAAAAAGxY/zk7oo6bHDwoRk5sOQNe6Gecknp9PgiMaACLcBGAs/s1600/sinnott-treasurechest480.jpg"><img border="0" src="https://3.bp.blogspot.com/-Fj7m5_I2mO0/XNEDsC6HuKI/AAAAAAAAGxY/zk7oo6bHDwoRk5sOQNe6Gecknp9PgiMaACLcBGAs/s640/sinnott-treasurechest480.jpg" /></a><br /><br />Sinnott's beautifully rendered cover art to <i>Treasure Chest of Fun and Fact</i> Vol 25, #16, May 14, 1970. This was Joe's last cover for the comic, although he continued to illustrate interior stories until the company ended its 24-year run in 1972. While inking <i>Fantastic Four, Captain America</i> and other titles for Stan Lee at Marvel Comics from 1965 onward, Joe's true passion was in doing the complete pencil and ink job when crafting the "straight stuff," as he calls it. He was able to fulfill that ambition in the pages of <i>Treasure Chest</i>. <br /><br />Joe's acclaim at Marvel comics is certainly justified, but his efforts go beyond the pages of superheroes. On a personal note, as anyone who has met him knows, Joe is one of the most sincere and humble professionals I've had the pleasure of spending time with; his warmth and charm is genuine. He is a man who truly loves his work. <br /><br /><br /><a href="https://4.bp.blogspot.com/-rCzRpZ27P1w/XNIUFtkymJI/AAAAAAAAGxk/nd9j2nROFKsPFh2r1vxjTRHboW_wVucMwCLcBGAs/s1600/Joeandmike2019.jpg"><img border="0" src="https://4.bp.blogspot.com/-rCzRpZ27P1w/XNIUFtkymJI/AAAAAAAAGxk/nd9j2nROFKsPFh2r1vxjTRHboW_wVucMwCLcBGAs/s640/Joeandmike2019.jpg" /></a><br /><br /><br /> Joltin' Joe Sinnott with Michael J, Vassallo at the White Plains Con, May 4th, 2019. Photo courtesy of Mike. With thanks to Mark Sinnott and Barry Pearl. </span></div>
Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com12tag:blogger.com,1999:blog-2089733759263636022.post-89410616803032766922019-02-15T14:27:00.000-05:002020-02-23T22:14:49.969-05:00The Corner Candy Store<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-3EGZw0_dsP0/XGxnaEuddQI/AAAAAAAAGug/NHBw6NIRdG0T8xDjOExMCEHZ0xS4CGlPACLcBGAs/s1600/newsstand-JIM124.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1093" height="640" src="https://4.bp.blogspot.com/-3EGZw0_dsP0/XGxnaEuddQI/AAAAAAAAGug/NHBw6NIRdG0T8xDjOExMCEHZ0xS4CGlPACLcBGAs/s640/newsstand-JIM124.jpg" width="436" /></a></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="font-family: "trebuchet ms" , sans-serif;">Thor stops to ponder the latest headlines. Or perhaps he's reading Dick Tracy. The newsstand includes reproductions of Marvel comics on sale at the time, a subtle form of self-promotion. Take notice of the bound bundle on the ground, to be discussed later. Jack Kirby sold newspapers as a kid, so it should come as no surprise that he would remember such details. Journey into Mystery # 124, January 1966.</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></i></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">During the 1960s and 1970s (and indeed several decades beforehand) candy stores and newsstands were a mecca for children who lived in Brooklyn and other New York City neighborhoods. Comparable to a modern day Starbucks or CVS, you could literally find one on every block. From what I've gleaned through reading accounts from people in my age group, this trend was echoed throughout cities and towns across the United States, and had worldwide counterparts. These establishments drew kids in for many reasons, not the least of which included candy, soda and baseball cards, but for me, and quite a few other youngsters, the product I was most obsessed with (which should be absolutely NO surprise to those who have read this blog in the past) were comic books. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Every week my older brother John and I, either together or separately, would saunter the streets of Bushwick (a borough of Brooklyn), pursuing our twelve-cent treasures. John bought every Marvel superhero comic, along with a smattering of DC, Tower, Archie/Mighty Comics, Dell and Gold Key titles, whenever finances allowed (I'd be remiss if I didn't point out that John actually <i>paid</i> for the comics. Being the younger sibling by seven years, I benefited from his purchasing power, which he acquired by selling pretzels). While we went to a variety of stores, the closest, and most convenient -just a block away from my house -was owned and operated by a gentleman named Angelo.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Central Avenue station in recent days. Angelo's store was on the right, somewhere near or before the gate, in the</span> shadow of the elevated M train, which connected residents to Coney Island and Manhattan. On trips with my Mom or brother, either before our departure or upon our return, it was routine to stop in and check out the latest comics. </i></span><br />
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<span style="font-family: "verdana" , sans-serif;">I'll attempt to recreate the interior from memory (with help from my brother John), interspersed with other observations and recollections, in hopes of capturing the flavor of those days. The store was long and narrow. Newspapers were placed outside on a makeshift stand and customers could pay through a window-slot. When you entered the register was to the right; a metal display rack prominently showcased TV Guide on the counter, which was a guaranteed point-of-purchase seller, since practically everyone who owned a television bought the weekly periodical. </span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>TV Guide for the week of August 19-25, 1967. As Jack Doyle opines in his essay <b>Lucy and TV Guide 1953-2013</b>: "By the 1960s TV Guide was the most read and circulated magazine</i><span style="font-style: italic;"> in the United States." You can read the entire piece here:</span></span><span style="font-family: "verdana" , sans-serif; font-style: italic;"> <a href="https://www.pophistorydig.com/topics/lucy-tv-guide-1953-2013/">https://www.pophistorydig.com/topics/lucy-tv-guide-1953-2013/</a></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I'm pretty sure all the assorted candy, chocolate bars and sugary substances, which included Tootsie Rolls, Good and Plenty, Mallo Cups, Mary Jane, Candy Cigarettes, Wax Lips, Sugar Dots (all guaranteed to land you a trip to the dentist), along with cough drops, trading cards and the popular Bazooka Joe Bubble Gum (for the price of one cent!) were below the counter. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Bazooka Joe was an inexpensive treat and kids loved the comic strip that came with it. I learned about inflation when Topps raised the price from one to two cents (and comics increased from 12 to 15 cents in 1969, an astonishing financial hurdle) Image from the Topps archive blog:</i></span><span style="font-family: "verdana" , sans-serif;"> </span><a href="http://toppsarchives.blogspot.com/2014/05/premium-time.html" style="font-family: "helvetica neue", arial, helvetica, sans-serif;">http://toppsarchives.blogspot.com/2014/05/premium-time.html</a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Topps baseball cards were essential items for almost every child, but "non-sport" cards were also commonplace. It was addictive to buy a pack of cards, often at the cost of a nickel a pop, which consisted of 5 cards and a stick of rock-hard gum. Since cards were randomly inserted it sometimes took a while to complete a collection, although trading with friends helped. A few of my favorites included Batman (at the height of the ABC-TV show in 1966), Marvel Super-Heroes (the Grantray-Lawrence cartoon was then in syndication), the Monkees, Dark Shadows and Planet of the Apes. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>A 1966 Topps Batman card with art by Norman Saunders and Bob Powell. A prolific and talented comic book artist, Powell provided layouts which Saunders completed in paint. Quite a few familiar artists plied their trade at Topps, including Jack Davis, Tom Sutton and Wally Wood. </i></span><br />
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<span style="font-family: "verdana" , sans-serif;"><b><br /></b></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Like many kids my age, I raced home from school to watch Dark Shadows, the supernatural soap opera which initially aired weekdays at 3:30. Of course I collected the card set and even had the display box that I asked for at a newsstand. That's long gone, unfortunately. </i></span> <br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>The November 28th, 1970 edition of the Sunday News featuring Dick Tracy by Chester Gould. The Sunday edition was usually bought after attending church. Image courtesy of Michael J. Vassallo. </i></span></span><br />
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<span style="font-family: "verdana" , sans-serif;">In my household <i>The New York Daily News</i> was required reading for my father (also named Angelo). My brother John has often recounted that he had to scour the neighborhood for the paper when Angelo's was sold out (don't come home without it!). I always loved the comic strips and read many of them every day, but Sunday was particularly special, since they were in color and consisted of either half or full pages. Candy stores received the "guts" of the Sunday paper three or four days in advance (minus the main news section, which was inserted on either Saturday nights - the "Night Owl" </span><span style="font-family: "verdana" , sans-serif;">edition - or Sunday mornings). The comics section was in effect the "cover" of the Sunday paper, with each component placed inside it; this gave me a sneak peek at the latest <i>Dick Tracy</i> adventure, which I anxiously anticipated. For years <i>Dick Tracy </i>was the headlined feature and the first thing consumers saw, an indication of just how popular comic strips were for all ages. Waiting for Sunday to arrive, not only to read the latest exploits of my favorite detective, but also the serialized adventures of <i>Little Orphan Annie</i> and <i>Dondi</i>, often felt like an eternity!</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Segueing back to Angelo's store... Located towards the rear was a counter with a few swivel seats, where customers sat down for a snack and perused the latest headlines or sports scores. I'm not certain, but Angelo may have had a fountain and perhaps fresh Ice Cream. In those days small establishments did not have refrigeration units (it was solely the providence of supermarkets if I recall correctly); instead they sold bottled soda in a cooler filled with ice. You had to dip your hand into it and fish out the selected item, which placed you in a state of ecstasy on oppressively hot summer days. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>This scene is perhaps SLIGHTLY exaggerated by Lee and Kirby, but since the entrance bears a resemblance to Angelo's I think it fits perfectly here. Fantastic Four # 11, February 1963. </i></span><br />
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<span style="font-family: "verdana" , sans-serif;">The wall along the left side had wooden racks that housed the latest comic books. That area of the store piqued my interest the most. Comics were distributed to stores on a Tuesday, packaged in a wire-bound bundle which often included <i>TV Guide</i> and an invoice on top, obscuring all but the corners for identification. A major point of contention for anxious youths, who had no understanding - or concern - for business operations, was that the proprietors, or their help, had to inspect the contents and check everything off before the product was placed on sale. When they were busy, or just didn't care, we were told to come back later; instead we usually headed off to the competition, hoping for a more efficient outcome. One of our least favorite owners was a cantankerous old man (everyone was old to us back then!) who seemed to take perverse pleasure in berating us, proclaiming: "You went to the other store first, didn't you?" He was the only person I knew who kept comics <i>behind</i> the counter, which meant that he had to take the extra time to hold up each individual title and ask us: "You want THIS one?," which we would either accept or reject. The only visible comics were those placed high above our heads, hanging on a wire. In retrospect his behavior may have been completely justified. Perhaps too many comics were pilfered by hooligans in the past. </span><br />
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<span style="font-family: "verdana" , sans-serif;">From what John and I recall Angelo was pretty good at putting the comics out quickly. In later years I was given the ultimate honor: allowed to cut open the fabled bound wire and put the comics on display. Angelo even dubbed me "The Comic Book Kid!"</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-family: "verdana" , sans-serif;">Angelo's likeness is unclear after all these years; I originally thought this image of the gruff-looking newsstand vendor with the stogie, as illustrated by Carmine Infantino and Murphy Anderson, was similar, but my brother John offers a description which rings true</span><span style="font-family: "verdana" , sans-serif;">: </span></i></span></span><span style="background-color: white; color: #202020; font-family: "arial" , sans-serif; font-size: 13px;"> </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; color: #202020;">"</span><span style="background-color: white; color: #202020;">I remember more of a fairly good looking tough Italian gentleman in his late 40's to early 50s, who had a mustache."</span></span><i style="font-family: Verdana, sans-serif;"> </i><i style="font-family: "trebuchet ms", sans-serif;">Batman # 199, February 1968. Image from the Grand Comic Book Database. </i><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Metal shelves took up the rear, populated with a multitude of magazines; <i>Time, Newsweek, Popular Mechanics, Esquire</i>, along with the forbidden <i>Playboy </i>and other "girlie" titles. There were also plenty of Men's Adventure mags, quite a few which were published by Martin Goodman, who ran Marvel comics. Some famous names got a start writing for those publications, including Mario Puzo, before he became acclaimed as author of <i>The Godfather</i>. We ventured into this area to check out <i>Mad, Creepy, Eerie</i> or <i>Famous Monsters of Filmland</i>.</span><br />
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<i><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Male, August 1969, previewing Mario Puzo's bestseller The Godfather, which would gain further notoriety when it was adapted into film by director Francis Ford Coppola in 1972. Cover painting by Mort Kunstler. Image from <a href="http://www.menspulpmags.com/2015/08/">http://www.menspulpmags.com/2015/08/</a></span> where you can read much more about this and other pulp mags. </span></i><br />
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<span style="font-family: "verdana" , sans-serif;">Like every candy store, Angelo's also sold wooden airplanes, spinning tops, rubber balls, (Spalding, pronounced "spaul-deen" by New Yawkers, or Pensie Pinkie) and other inexpensive toys. In those days we didn't have hand-held devices or computer games to play with; they were far in the future. On the other hand you didn't need much money to have fun. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>EVERY kid had a Spaldeen or Pensie Pinkie in his possession! Which one was better continues to be a point of contention to Brookynites. Pensie Pinkies were cheaper, but both were used to play stickball, punchball, stoop ball or just plain bouncing. </i></span><br />
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<span style="font-family: "verdana" , sans-serif;">While Angelo's candy store was our primary source for comic book purchases, many similar shops populated Bushwick. We often went elsewhere to track down comics Angelo didn't carry, particularly Gold Key titles. The one company that was absent from almost every store in my neighborhood were the line of Charlton comics. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>While this photo was taken in 1940, the store on the corner of Knickerbocker Avenue and Starr Street remained in business at least into the early 1970s. This was another candy store that my brother and friends bought comics at, since it was conveniently located across the street from the park and close to my school. Image from Brooklyn's Bushwick and East Williamsburg Communities by Brian Merlis and Riccardo Gomes, an excellent history of the neighborhood. Thanks also to my friend Sunita Shiwdin, who gifted me with the book. As owner of Mahalo New York Bakery, Sue's store evokes the best aspects of the Mom and Pop stores of the past. If you live nearby, or are traveling to Queens, stop by her shop for delicious cupcakes and extraordinary treats, all freshly baked. Her made-to-order cakes are truly out of this world. And while Sue doesn't SELL comics, she does have a mini-library with donations from yours truly and my buddy Barry Pearl, including books, fanzines and comics to enjoy while you're having a snack. You can learn more about her store here: <a href="http://www.mahalonewyorkbakery.com/">http://www.mahalonewyorkbakery.com/</a> (End of free plug. Now can I have a cup of Coffee?)</i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Yours truly at Mahalo New York Bakery, reading a copy of Ghosts # 92, September 1980, sporting a Don Heck cover. Coffee, Cupcakes and comics. Who could ask for more? </i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-weight: bold;"> </span><i><span style="font-family: "trebuchet ms" , sans-serif;">One fine day in June, 1971, Steve Ditko's cover to Haunted # 1 appeared out of the blue in Angelo's store. Charlton comics finally began to receive distribution in Bushwick. I was familiar with the company from issues of Captain Atom and Thunderbolt in my brothers collection, possibly purchased at a discount store on Knickerbocker Avenue (the main shopping thoroughfare). The comics were often stacked in piles and consisted primarily of old Hot Rod titles, which I had no interest in. A copy of Ghostly Tales surfaced at my Barbershop and the local used bookstores sold a few. Even at a young age I was a devotee of Ditko's work and immediately snatched this comic off the rack! </span><span style="font-family: "trebuchet ms" , sans-serif;"> </span></i></span><br />
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<span style="font-family: "verdana" , sans-serif;">Luncheonettes also often carried comics, magazines and paperbacks. I discovered <i>All in Color for a Dime</i> when I stopped with my Mom at a huge luncheonette on the corner of Knickerbocker and Myrtle Avenue. Somehow I managed to coerce her to part with the $1.50 to buy the book. A treasured item, it remains in my collection to this day. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>My beat-up copy of All in Color for A Dime, the book that propelled my interest in comic book history. </i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">Once we moved out of Bushwick into Ridgewood, Queens I lost track of Angelo's. In the 1970s, and into the early 1980s I frequented a candy store located about seven blocks from my apartment. The owner was a pleasant man named Walter, who treated me (and everyone) with kindness. Whenever I came in for new comics he would bring the stack out from the back and read each title out loud. I would tell him what I wanted and sometimes put books out for him. Walter told me he originally tended bar just a few doors down from the candy store where I met him; he became the owner (I believe) in the early 1960s. Walter lived only a block or two away from me and I sometimes saw him and his wife when they walked home. When my brother started to work in Manhattan he discovered that new comics were sold two weeks in advance and bought them regularly on his trip home. We also found out about a store that specialized in comics and related ephemera, the Little Nemo Shop on Ascan Avenue in Forest Hills. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>The site of Walter's store as it stands today on the corner of Woodard Avenue and Woodbine Street in Ridgewood. I believe it has been a grocery store since he closed up but the physical structure outside is pretty much the same as I remember it, without the 7 Up, Coke and other signs that were displayed. When you walked in a metal rack several rows long was directly on the left side. On the right was another section that held some of the higher priced and over-sized comics (Marvel Treasury Editions and DC Dollar titles). To the right of the comics was a section that had newspapers and magazines. The store also had a huge candy counter and a few swivel seats where you could sit (in earlier years he made egg creams and sold fresh ice cream). There was no such thing as hand-held devices back then, so people actually had to use a phone booth when they needed to call someone. Like many stores in that period Walter had one in his store. I also recall that Walter had a few older paperbacks for sale, such as the Man From Uncle. </i> </span><br />
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<span style="font-family: "verdana" , sans-serif;">In my teenage years I began collecting my own comics, and despite other options I made it a point to stop by Walter's store, often buying a few westerns or reprint titles. One day I learned Walter was robbed and assaulted. Shaken up by the event, he closed the business and sold the store. I never encountered either him or his wife afterward; he most likely moved out of the neighborhood. I often thought about Walter and hoped the remainder of his days were peaceful. He was a good man. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-family: "trebuchet ms" , sans-serif;">I bought this copy of Marvel Tales # 137 (March 1982) in Walter's candy store, explaining to him that it was a reprint of Amazing Fantasy # 15, the original which he probably had for sale back in 1962. If only he had kept a few for resale 20 years later. Jack Kirby pencils; Steve Ditko inks.</span><span style="font-family: "trebuchet ms" , sans-serif;"> </span></i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i style="font-family: "Trebuchet MS", sans-serif;">Eddie's News Stand, located on Forest and Putnam Avenue in Ridgewood, was one of the last neighborhood candy stores I frequented. It remained in business, I believe, until a few years ago, but I took this recent photo (February 2019) to preserve its memory, since it may soon be gone.</i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>I clearly recall buying this issue of Sgt. Fury at Eddie's, the final issue of an 18 year run. In a nice touch, the last issue reprinted the first issue. Jack Kirby pencils; Dick Ayers inks, Sgt. Fury and his Howling Commandos # 167, December 1981. </i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Walter's closing symbolized the end of an era for me. Into the late 1980s there were a few neighborhood candy stores that still carried comics, but they were rapidly dwindling away. Not</span><span style="font-family: "trebuchet ms" , sans-serif;"> as profitable as they once were - and taking up valuable rack space - comic books were largely discarded from newsstands. The growth of the direct sales market, where publishers sold comics to specialty stores on a non-returnable basis, escalated in the 1980s, but It also meant that comics were becoming marginalized. Children in particular found other interests and were often ignored by the publishers. Less places to sell magazines eventually affected all periodicals to a large extent. In Manhattan, where newsstands were once ubiquitous, they now are barely part of the landscape (and many only sell soda, candy and Lotto). In my Glendale, Queens neighborhood I can canvas Fresh Pond Road or Myrtle Avenue and find hardly a trace of magazines, let alone comics (only a few large stores, such as CVS or Stop and Shop supermarket carry a small selection of periodicals, and the Archie digests are the sole comics item). It is indeed a different world. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The candy stores I frequented in those bygone days</span><span style="font-family: "trebuchet ms" , sans-serif;"> were populated with distinct characters that embodied their surroundings. Comic books were part of that landscape, one magical fragment that has stood the test of time. I hope I've provided a glimpse into that era, when a candy store was more than just a place to buy comics: it was a gathering of friends on their way to a movie, the park or after a game of stick-ball. Like Judy Garland singing "Over the Rainbow" with great longing and beautiful simplicity, there was at times a truthfulness to those childhood days that I continue to cherish. </span><br />
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<i style="font-family: "trebuchet ms", sans-serif;">One of the last times I may have bought a new comic book in my neighborhood was at a stationary store on Eliott Avenue in Maspeth, accompanied by my friend Frank. As we perused the spinner rack I noticed one of Charlton's new titles. Perhaps it was prophetic that a comic book from this company, which relied on sales by the average consumer, often boys and girls reading westerns,war, mystery, romance, hot rod and other genre material, would have their final titles sold in the waning days of the candy store. Charlton Action # 11, October 1985, Steve Ditko art. </i><br />
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<b><span style="font-family: "georgia" , "times new roman" , serif;"><i>Special thanks to my brother, John Caputo and my cousin, Jack Sanzone, for their recollections. </i></span></b>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com22tag:blogger.com,1999:blog-2089733759263636022.post-58927253106221540682018-11-12T19:01:00.000-05:002018-12-04T23:30:09.150-05:00Stan Lee:The Final Chapter (1922-2018) <div class="separator" style="clear: both; text-align: center;">
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<i>Copy written by Stan Lee promoting the nascent line of Marvel Heroes. House ad appeared in Fantastic Four # 14, May 1963. Art by Jack Kirby and Steve Ditko; lettering by Artie Simek; colors by Stan Goldberg. </i><br />
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<span style="font-family: "verdana" , sans-serif;">With the passing of Stan Lee the Marvel Age of Comics has ended. The triumvirate of Jack Kirby, Steve Ditko and Lee initiated an exciting, innovative and freewheeling atmosphere at Marvel Comics in the early 1960s. Lee had worked for decades as editor, writer and art director for publisher Martin Goodman's comics, previously known as Timely, followed by Atlas (before becoming Marvel) and produced countless successful, long-running titles, from <i>Strange Tales</i> to <i>Millie the Model. </i>In those years he collaborated with a plethora of talented artists: Syd Shores, Bill Everett, John Severin, Russ Heath, and one of the most prolific and versatile of them, Joe Maneely, who died a few years before the superhero boom. It was Jack Kirby, however, who rejoined Lee after Maneely's passing in 1958. He along with a small group of artists, notably Steve Ditko, began to revitalize the line, producing dynamic, entertaining and moody fantasy stories, featuring over-sized monsters and weird thrillers. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Lee utilized tropes he honed initially in romance and humor comics, incorporating them into the new superheroes that slowly overtook the monster titles. As co-creators of that era, Kirby and Ditko were no doubt instrumental in bringing a wealth of creativity and concepts to the table. Lee, however, led the charge as promotional wizard for the Marvel line. He infused everything - cover copy, replies to fan letters, editorial pages - with a child-like enthusiasm, making him the perfect company cheerleader. Most importantly, Lee conveyed a bemused, self-deprecating mockery in a period when other editors echoed the tone of a stern school principle. From this framework Lee molded the "Marvel Comics Group" into an entity which was not only successful in terms of the bottom line (which was the primary concern of publisher Martin Goodman) but was critically acclaimed by older fans and cognoscenti of the medium. </span><br />
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<span style="font-family: "verdana" , sans-serif;">There are those who have questioned Lee's persona, opining that it was all an affectation. I don't believe so. I think Lee was a big kid who never quite grew up. My conclusion is based on personal correspondence, which often displays the same jocular writing style. From 2009 or so I began to email Lee (thanks to my pal Michael J. Vassallo), sometimes on serious questions related to the field, other times in a more humorous vein. Lee always replied to my emails promptly, and they were clearly his words, not those of an assistant. That raised the bar in my respect for him, because he could easily have ignored, or had someone else reply, to my missives. I thought I'd share a few here in tribute to the man.</span><br />
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<span style="font-family: "verdana" , sans-serif;">In this email dated March 27, 2008, Lee replies to a question I asked about how important he felt letters pages and fan interaction were: </span><br />
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<span style="font-family: "verdana" , sans-serif;"> Stan often seem the most energized when I sent him satirical letters. In this one, dated June 21, 2009, he follows up on a joke I made about one of my favorite goofy villains, Paste Pot Pete: </span><br />
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<span style="font-family: "verdana" , sans-serif;">My email to Stan on learning about Disney purchasing Marvel, dated September 8, 2009: </span><br />
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<span style="font-family: "verdana" , sans-serif;">Stan's reply: </span><br />
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<span style="font-family: "verdana" , sans-serif;">Since Stan often employed humor in his stories so I inquired as to what comedians he admired (December 16, 2009):</span><br />
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<span style="font-family: "verdana" , sans-serif;"> From March 6, 2010. My comment on a cameo video (was this really at the Academy Awards?) and his reply</span>:<br />
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<span style="font-family: "verdana" , sans-serif;">From June 22 & 23rd, 2011, I questioned Stan on some of the editors who he looked up to in the comics industry and received a serious and illuminating response:</span></div>
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<span style="font-family: "verdana" , sans-serif;">I'll end with another aspect of Stan Lee that I admired, his forward-looking attitude. I wrote him lamenting the superhero movies and my belief that they would replace the comics themselves. His reply, from May 24, 2012: </span><br />
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<span style="font-family: "verdana" , sans-serif;"> And there you have a glimpse of Stan Lee, not under the lights of a camera or surrounded by throngs of fans at a comic con, but in one-on-one personal correspondence. I think these words gives a glimpse of his true personality, one that echoed throughout his career and brought a buoyancy to the countless comics he authored over the decades. </span>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com16tag:blogger.com,1999:blog-2089733759263636022.post-16704762487249534222018-10-06T20:00:00.000-04:002018-11-21T23:09:47.647-05:00Steve Ditko's Shade, The Changing Man: A Look Back<span style="font-family: "verdana" , sans-serif;"><i>The Steve Ditko Omnibus Volume 1</i> <i>starring Shade, the Changing Man</i> reprints, for the first time, the original eight-issue run of Ditko's 1977 creation, along with the unpublished 9th installment (in addition, all of Ditko's 1970s mystery, humor, sci-fi and war output for DC is collected). A little background is necessary: when DC had a downturn in sales, management demanded massive cuts throughout their line. Contents of the completed comics (minus coloring, which was the final level of production before heading to the printers) were compiled in order to retain copyright ownership. Totaling at a massive 942 pages, 40 xerox copies were printed in two volumes as <i>Cancelled Comics Cavalcade </i>and<i> </i>sent out to contributors. An additional copy was reserved for Bob Overstreet, publisher of <i>The Comic Book Price Guide</i>. A few have surfaced on the secondary marketplace and can be found online. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">While the compilation and preservation of Ditko's work is laudatory, one aspect that troubled me, and which I believe is worth addressing, is the decision to print <i>Shade</i> # 9 in black and white. When Ditko's</span><span style="font-family: "verdana" , sans-serif;"> unpublished </span><em style="font-family: verdana, sans-serif;">Blue Beetle</em><span style="font-family: "verdana" , sans-serif;"> and </span><em style="font-family: verdana, sans-serif;">Capt. Atom</em><span style="font-family: "verdana" , sans-serif;"> stories surfaced in fanzines, the addition of color in a small press publication was cost-prohibitive. In this instance the concern was of an editorial nature: to present the material without alterations (akin to a DVD release of an uncut film). However, I believe it has the exact <i>opposite</i> effect, since <i>Shade </i>was earmarked for color; the only reason it lacked hues was due to production being called to a halt. Color would invariably have enhanced the work and rendered it closer to what the artist had originally intended. </span><br />
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">House ad promoting Shade, incorporating Ditko's cover art to issue # 1, appeared in May-June 1977 dated DC comics. Lettering by Gaspar Saladino. </span></b></i><br />
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<i><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></b></i><i><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Comics Journal # 33, April 1977 heralded Ditko's new character. Was this intended to be the original cover to issue # 1? A presentation piece? Promotion art for fanzines or conventions? It includes a hand-lettered title by the artist, emphasizing the word "Changing." Perhaps the logo was a preliminary design Ditko suggested to DC? </span></b></i><i><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This issue also includes a review by Mike Catron: "Shade: Ditko's new book shows potential."</span></b></i><br />
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<i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Gaspar Saladino was one of the top letterers in comics, often sought-after by editors at both DC and Marvel to craft attractive cover copy and logos. Saladino created the "Shade" title, while Bill Morse devised "The Changing Man." </b></span></i><br />
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<i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b> DC had planned to feature Ditko's name above the title, but since this was a collaborative effort and not a sole creation, the unerringly ethical artist vetoed that idea. From The Comics Journal # 32, January 1977.</b></span></i><br />
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<span style="font-family: "verdana" , sans-serif;">It's clear that these stories look infinitely better on higher grade paper. In 1977 the printing quality in most comics was abysmal. Straight lines wobbled and pages bled through consistently, making it difficult to appreciate the art, and sometimes hard to read. Here we see Ditko's illustrations reproduced with a much sharper texture, achieving a more rewarding experience.</span><br />
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<a href="http://1.bp.blogspot.com/-tbudahXASBE/ToE0GirwdrI/AAAAAAAAAJU/b_7rWLbp4_g/s1600/shade2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" kca="true" src="https://1.bp.blogspot.com/-tbudahXASBE/ToE0GirwdrI/AAAAAAAAAJU/b_7rWLbp4_g/s400/shade2.jpg" width="400" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><i>An example of DC's hardcover reprinting of Shade. Unless otherwise noted, images are taken from the original publications. </i></b></span><br />
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<span style="font-family: "verdana" , sans-serif;">Ditko created the character of <i>Shade</i>, who fits into his concept of a hero and a moral ideal. As with many Ditko protagonists, Rac Shade is a man wanted for crimes he did not commit and pursued by both criminals and the law. He wears an outfit that gives him the ability to alter his appearance based on his opponent's fears. Like his later character, Static, the device could be used for good or evil, depending on the wearer. Although there is a base on earth, much of the story takes place in other-dimensional realms. </span><br />
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<i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Ditko adds conflict to the strip in Shade's relationship with Mellu. "The Forms of Destruction," Shade the Changing Man # 2, September 1977. Michael Fleisher dialogue, Bill Morse lettering, Liz Berube colors. </b></span></i><br />
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<span style="font-family: "verdana" , sans-serif;">Ditko's plot is thick with characters and concepts - perhaps a little too dense in places - but he devises a number of interesting twists and turns throughout the series. Shade's love interest, Mellu, is a strong, independent woman. A Government agent, she blames Shade for the crippling of her parents, but harbors a modicum of doubt over his apparent guilt. While others may have played this plot-line out interminably, Ditko wisely resolves it in the 6th issue. </span><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A trio of bizarre villains crafted by Ditko. From top to bottom, Form, Sude and Khaos. </span></b><br />
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<span style="font-family: "verdana" , sans-serif;">Ditko's visual concepts stand out in his design of villains such as Form: a woman who can change into a misty substance, Sude: a large mechanical face with arms and enormous teeth, and Khaos: a distorted figure who represents anarchy. </span><br />
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<a href="http://2.bp.blogspot.com/-b9SGug0sEFw/ToE0Wm5Tu_I/AAAAAAAAAJY/8LdQ6cfD-yY/s1600/shade3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" kca="true" src="https://2.bp.blogspot.com/-b9SGug0sEFw/ToE0Wm5Tu_I/AAAAAAAAAJY/8LdQ6cfD-yY/s400/shade3.jpg" width="385" /></a></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Ditko's use of lighting for dramatic effect is evocative of cinematographers such as Karl Struss and reminiscent of his friend and fellow artistic powerhouse, Wally Wood. Image from DC's hardcover edition. </b></span><br />
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<span style="font-family: "verdana" , sans-serif;">While Shade has a lot to offer, there are a few drawbacks. I find Shade's visual signature of "changing" his appearance and frightening his foes lacking in drama. A big fist and a scary face can only go so far. One of the most inventive designers in comics, Ditko's costuming of Shade lacks his usual flair (his villains, as seen above, are much more dramatic visually). Michael Fleisher wrote the dialogue for every issue, which is at best workmanlike (the author stated in interviews that he didn't particularly care for the assignment). while I've enjoyed his solo writing on strips such as <em>Jonah Hex</em>, it's unfortunate DC didn't employ an author sympathetic to Ditko's philosophy; someone who could have invested as much into the dialogue as Ditko did his plotting and artwork.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>Shade was reprinted in other countries, including Brazil and France. O Mutante cover from Shade # 6, May 1978. Super Heroes image is reworked from the splash page of Shade # 3, November 1977. </b></span><br />
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<span style="font-family: "verdana" , sans-serif;">This was essentially Ditko's last hurrah at DC in terms of investing effort in his own concepts. As the article by Joe Brancatelli below reveals, Ditko was growing disgusted with the policies of the major companies, who wanted their product to fit into a comfortable niche. This was anathema to Ditko, who thrived on seeking out new concepts to explore. After the cancellation of <i>Shade</i> most of Ditko's new creations would go the independent route, his work for DC and Marvel concentrating primarily on pre-existing characters. </span><i style="font-family: verdana, sans-serif;">Speedball, </i><span style="font-family: "verdana" , sans-serif;">created in</span><i style="font-family: verdana, sans-serif;"> </i><span style="font-family: "verdana" , sans-serif;">1988, was an exception, although a number of hands were involved in the character's development, which lead to a retreading of the teenage superhero motif. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Joe Brancatelli's column, The Comic Books, from Creepy # 93, November 1977:</span></b></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> DITKO—AS ALWAYS </span></blockquote>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">It always seems that no matter how often the four-color comic book business goes into a creative nosedive, Steve Ditko is there with-a new concept, a new character or some new idea. Lately, Ditko has been plying his trade at DC, plotting and drawing a book called. Shade, The Changing Man.. Three issues into the book, Shade doesn't look to be another Spider Man. or another Dr. Strange, or even another Mr. A, but it is easily the most intriguing comic on the market. It's got everything a classic Ditko series has: a character, who is unalterably good, somehow finding himself in combat with organized society; an underlying battle between good and evil; philosophic musings about society, corruption and idealism; and a bunch of typically Ditkoish characters, plot twists, strange and exotic dimensions and artwork. And if the art itself isn't quite up to Ditko's usual exacting standards, it's -improving immensely with each issue.</span></blockquote>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Unfortunately, the coloring on the book is atrocious ("I always give them color guides," Ditko says, "and they never fol</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">low them.") and Ditko's work has never prospered on the smaller pages of today's comic books. "I've plotted up to issue 15 of the book," Ditko says, "but I don't know anything about the book except for the fact that (Mike) Fleischer is writing the sixth issue. I don't know anything at all about sales, either. DC doesn't tell you anything. For all I know it could be a big bomb." Always fiercely outspoken about industry matters, Ditko claims DC editors have been forcing Shade into the standard superhero niches at every opportunity. "I always try to do something different. I never wanted Shade to be just another costumed superhero. I'd have done it differently, but they (DC) want to stay with the hackneyed old stuff. "You look at the long-range prospects of the character and you know Shade isn't the kind of book you can do in 17 pages an issue. But after a while, I just blank out after I take the book in to the office." "You learn," he says bitterly, "that all they ever want is a half-assed reprint of the story you did for them last week. You learn that if you want to survive you have to put up a wall and stay away from all the comic people before they make you as dull and repetitive as they are."</span></blockquote>
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<i style="font-family: verdana, sans-serif;">Shade the Changing Man</i><span style="font-family: "verdana" , sans-serif;"> was not only a victim of economics but an example of the limited 17-page format that plagued creators (including Jack Kirby) in the 1970s. Less than a decade later high quality, longer, complete stories (called Graphic Novels) became part of the comics landscape. Unfortunately, the formats that would have been perfect for Ditko's work were reserved for fan favorites such as Frank Miller, John Byrne or Alan Moore. If you were not the current flavor-of-the-month Marvel or DC had no intention of spending money on what they believed to be a money-losing proposition. It took over 30 years for DC to publish a collection of Ditko's work for the company, including </span><i style="font-family: verdana, sans-serif;">Shade</i><span style="font-family: "verdana" , sans-serif;">. That is to be commended, but imagine if the artist was given the opportunity years ago to complete the </span><i style="font-family: verdana, sans-serif;">Shade</i><span style="font-family: "verdana" , sans-serif;"> saga? What might that have looked like? </span></div>
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<a href="https://2.bp.blogspot.com/-3WcN0qjNfkg/W7kuUq3-WUI/AAAAAAAAGgk/VcD-OLheKR8l8M4bNA66znd7XnY3NC5NQCLcBGAs/s1600/ditko-shade-whoswho20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1043" height="640" src="https://2.bp.blogspot.com/-3WcN0qjNfkg/W7kuUq3-WUI/AAAAAAAAGgk/VcD-OLheKR8l8M4bNA66znd7XnY3NC5NQCLcBGAs/s640/ditko-shade-whoswho20.jpg" width="416" /></a></div>
<span style="font-family: "verdana" , sans-serif;"> </span><i><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ditko revisited Shade for the final time when he agreed to provide an illustration for Who's Who: The Definitive Directory of the DC Universe # 20, October 1986. </span></b></i><br />
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<i><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Steve Ditko Omnibus starring Shade is available for purchase at Amazon:</span></b></i><br />
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<i><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.amazon.com/Steve-Ditko-Omnibus-Starring-Shade/dp/140123111X">https://www.amazon.com/Steve-Ditko-Omnibus-Starring-Shade/dp/140123111X</a> </span></b></i>Nick Caputohttp://www.blogger.com/profile/05096100224095280865noreply@blogger.com13