Alter Ego #108 by TwoMorrows Publishing

Roy Roy T Thomas homas’ Marvel Marvel of of a a Comics Comics F Fanzine anzine

A 1970s BULLPENNER TALKS ABOUT

8.95

MARVEL COMICS No.108 & SOME COMIC BOOK LEGENDS

WARREN REECE

ON ON CLOSE CLOSE ENCOUNTERS ENCOUNTERS WITH: WITH:

BILL EVERETT CARL BURGOS STAN LEE JOHN ROMITA MARIE SEVERIN NEAL ADAMS GARY FRIEDRICH ALAN KUPPERBERG ROY THOMAS AND AND OTHERS! OTHERS! PLUS: PLUS:

GOLDEN AGE ARTIST

MIKE PEPPE

82658 27763

AND AND MORE! MORE!

In the USA April 2012

Edited by ROY THOMAS The greatest ‘zine of the 1960s is back, ALL-NEW, and focusing on GOLDEN AND SILVER AGE comics and creators with ARTICLES, INTERVIEWS, UNSEEN ART, P.C. Hamerlinck’s FCA (Fawcett Collectors of America, featuring the archives of C.C. BECK and recollections by Fawcett artist MARCUS SWAYZE), Michael T. Gilbert’s MR. MONSTER, and more!

2011 EISNER AWARD Nominee Best Comics-Related Journalism

Other issues available, & an ULTIMATE BUNDLE with all issues at HALF-PRICE!

ALTER EGO #98

ALTER EGO #99

Spotlight on Superman’s first editor WHITNEY ELLSWORTH, longtime Kryptoeditor MORT WEISINGER remembered by his daughter, an interview with Superman writer ALVIN SCHWARTZ, art by JOE SHUSTER, WAYNE BORING, CURT SWAN, AL PLASTINO, and NEAL ADAMS, plus MR. MONSTER, FCA (FAWCETT COLLECTORS OF AMERICA), and a new cover by JERRY ORDWAY!

GEORGE TUSKA showcase issue on his career at Lev Gleason, Marvel, and in comics strips through the early 1970s—CRIME DOES NOT PAY, BUCK ROGERS, IRON MAN, AVENGERS, TEEN TITANS, HERO FOR HIRE, and more! PLUS: JIM AMASH’s interview with Golden Age Fiction House artist BILL BOSSERT, MICHAEL T. GILBERT in MR. MONSTER’S COMIC CRYPT, FCA (Fawcett Collectors of America), and more!

(84-page magazine with COLOR) $7.95 (Digital edition) $2.95

ALTER EGO #103

ALTER EGO #104

DIEDGITIIOTANSL BL AVAILA

ALTER EGO #95

Marvel’s NOT BRAND ECHH madcap parody mag from 1967-69, examined with rare art & artifacts by ANDRU, COLAN, BUSCEMA, DRAKE, EVERETT, FRIEDRICH, KIRBY, LEE, JOHN and MARIE SEVERIN, SPRINGER, SUTTON, THOMAS, TRIMPE, and more, GEORGE KASHDAN interview conclusion, FCA, MICHAEL T. GILBERT and MR. MONSTER, and more! Cover by MARIE SEVERIN! (84-page magazine with COLOR) $7.95 (Digital edition) $2.95

ALTER EGO: CENTENNIAL (AE #100)

ALTER EGO #96

Focus on Archie’s 1960s MIGHTY CRUSADERS, with vintage art and artifacts by JERRY SIEGEL, PAUL REINMAN, SIMON & KIRBY, JOHN ROSENBERGER, tributes to the Crusaders by BOB FUJITANE, GEORGE TUSKA, BOB LAYTON, and others! Plus an interview with MELL LAZARUS, FCA, MICHAEL T. GILBERT and MR. MONSTER, and more! Cover by MIKE MACHLAN! (84-page magazine with COLOR) $7.95 (Digital edition) $2.95

ALTER EGO #101

ALTER EGO #97

The non-EC Horror Comics of the 1950s! From Menace and House of Mystery to The Thing!, we present vintage art and artifacts by EVERETT, BRIEFER, DITKO, MANEELY, COLAN , MESKIN, MOLDOFF, HEATH, POWELL, COLE, SIMON & KIRBY, FUJITANI, and others, plus FCA, MICHAEL T. GILBERT and MR. MONSTER, and more, behind a creepy, eerie cover by BILL EVERETT! (84-page magazine with COLOR) $7.95 (Digital edition) $2.95

ALTER EGO #102

A/E celebrates 100 issues, and 50 years, of ALTER EGO magazine in a double-size BOOK! ROY THOMAS interviewed by JIM AMASH about ALL-STAR SQUADRON, INFINITY, INC., ARAK, other DC work, and more! Art by PÉREZ, McFARLANE, BUCKLER, ORDWAY, MACHLAN, GIL KANE, COLAN, GIORDANO, and more, plus Mr. Monster, FCA, BUCKLER/ORDWAY cover!

Fox Comics of the 1940s with art by BAKER, FINE, SIMON, KIRBY, TUSKA, FLETCHER HANKS, ALEX BLUM, and others! “Superman vs. Wonder Man” starring EISNER, IGER, MAYER, SIEGEL, and DONENFELD! Part I of an interview with JACK MENDELSOHN, plus FCA, Comic Fandom Archive, MR. MONSTER’S COMIC CRYPT, and new cover by SpiderMan artist DAVE WILLIAMS!

Spotlight on Green Lantern creators MART NODELL and BILL FINGER in the 1940s, and JOHN BROOME, GIL KANE, and JULIUS SCHWARTZ in 1959! Rare GL artwork by INFANTINO, REINMAN, HASEN, NEAL ADAMS, and others! Plus JACK MENDELSOHN Part II, FCA, MR. MONSTER’S COMIC CRYPT, and new cover by GIL KANE & TERRY AUSTIN, and MART NODELL!

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ALTER EGO #105

ALTER EGO #106

ALTER EGO #107

The early career of comics writer STEVE ENGLEHART: Defenders, Captain America, Master of Kung Fu, The Beast, Mantis, and more, with rare art and artifacts by SAL BUSCEMA, STARLIN, SUTTON, HECK, BROWN, and others. Plus, JIM AMASH interviews early artist GEORGE MANDEL (Captain Midnight, The Woman in Red, Blue Bolt, Black Marvel, etc.), FCA, MR. MONSTER’S COMIC CRYPT, and more!

Celebrates the 50th anniversary of FANTASTIC FOUR #1 and the birth of Marvel Comics! New, never-beforepublished STAN LEE interview, art and artifacts by KIRBY, DITKO, SINNOTT, AYERS, THOMAS, and secrets behind the Marvel Mythos! Also: JIM AMASH interviews 1940s Timely editor AL SULMAN, FCA, MR. MONSTER’S COMIC CRYPT, and a new cover by FRENZ and SINNOTT!

See comic art and script BEFORE and AFTER the Comics Code changes, with art by SIMON & KIRBY, DITKO, BUSCEMA, SINNOTT, GOULD, COLE, STERANKO, KRIGSTEIN, O’NEIL, GLANZMAN, ORLANDO, WILLIAMSON, HEATH, and others! Plus: FCA, Mr. Monster’s Comic Crypt, BILL SCHELLY, JIM AMASH interviews Timely/Atlas artist CAL MASSEY, and a new cover by JOSH MEDORS!

DICK GIORDANO through the 1960s—from freelance years and Charlton “Action-Heroes” to his first stint at DC! Art by DITKO, APARO, BOYETTE, MORISI, McLAUGHLIN, GIL KANE, and others, Dick’s final convention panel with STEVE SKEATES and ROY THOMAS, JIM AMASH interviews Charlton artist TONY TALLARICO, FCA with MARC SWAYZE and ROY ALD, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY, GIORDANO cover, and more!

Big BATMAN issue, with an unused Golden Age cover by DICK SPRANG! Interviews SPRANG and JIM MOONEY, with rare and unseen Batman art by BOB KANE, JERRY ROBINSON, WIN MORTIMER, SHELLY MOLDOFF, CHARLES PARIS, and others! Part II of the TONY TALLARICO interview by JIM AMASH! Plus FCA, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY, and more!

(84-page magazine with COLOR) $7.95 (Digital edition) $2.95

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $2.95

Vol. 3, No. 108 / April 2012 Roy Thomas

Editor

Bill Schelly Jim Amash

Associate Editors Jon B. Cooke

Design & Layout John Morrow

Consulting Editor P.C. Hamerlinck

FCA Editor

Michael T. Gilbert

Comic Crypt Editor Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich

Editorial Honor Roll

Rob Smentek

Proofreader

Carl Burgos & Bill Everett

Cover Artists

AT LAST! ALL IN COLOR FOR $8.95!

Tom Ziuko

Cover Colorist

Contents

With Special Thanks to:

Writer/Editorial: Magnificent Obsession . . . . . . . . . . . . . . . . . 2 “With The Fathers Of Our Heroes” . . . . . . . . . . . . . . . . . . . . . 3

Glenn Ald Barbara Harmon Roy Ald Heritage Comics Heidi Amash Archives Michael Ambrose Roger Hill Dave Armstrong Douglas Jones (“Gaff”) Richard Arndt David Karlen [blog] Bob Bailey David Anthony Kraft John Benson Alan Kupperberg Dominic Bongo Batton Lash Lorraine Broertjes Len Leone Susan Burgos Jim Ludwig Mike Burkey Russ Maheras Aaron Caplan Timothy Marion Nick Caputo Barry Pearl James Cassara Fern Peppe Dewey Cassell Michele Peppe Shaun Clancy Warren Reece Bob Cosgrove Gene Reed Jose Delbo Marc Swayze Mike Delisa Tony Tallarico Jackie Estrada Mitch Tart Justin Fairfax Jeff Taylor Sholly Fisch Dann Thomas Shane Foley Dorothy Tuska Joe Frank Albert Val Stephan Friedt Gary Watson Paul Gambaccini Gregg Whitmore Janet Gilbert Robert Wiener Kevin Greenlee Bill G. Wilson Jennifer Hamerlinck

This issue is dedicated to the memory of:

Bill Everett & Carl Burgos

1970s Marvel Bullpenner Warren Reece talks about legends Bill Everett & Carl Burgos— and how he amassed an incomparable collection of early Timelys.

Part III of Jim Amash’s candid conversation with artist Tony Tallarico—re Charlton, this time!

“I’m Responsible For What I’ve Done” . . . . . . . . . . . . . . . . . 35

Dewey Cassell talks with Fern Peppe about her husband, Golden/Silver Age inker Mike Peppe.

“Being A Cartoonist Didn’t Really Define Him”. . . . . . . . . . . . 47 Michael T. Gilbert on the 97-pound weakling who transformed all the rest of us!

Mr. Monster’s Comic Crypt! Charles Atlas—Man And Myth! . 57

Bill Schelly begins his coverage of that 2011 San Diego Comic-Con event—with a photo festival!

Comic Fandom Archive: Fandom’s 50th Birthday Bash, Part I . . . 63

re: [correspondence, comments, & corrections] . . . . . . . . . 69 FCA [Fawcett Collectors Of America] #167 . . . . . . . . . . . . . .73 P.C. Hamerlinck proudly presents two of Fawcett’s finest—Marc Swayze & Roy Ald.

On Our Cover: What do you do when most of the art and story mentioned in an issue’s featured piece has been reprinted in hardcover Marvel Masterworks: Golden Age volumes over the past few years? Well, first of all, you realize that it really hasn’t—’cause most of those vintage pages have had to be retouched and fixed up (albeit with increasing skill and improved results in recent times), 99% of the original art having been blown away forever by the errant winds of time. Luckily, thanks to collector/historian Robert Wiener, Ye Editor has been in possession for some years of good photocopies of pristine Photostats of original art for a number of those early Timely pages—including the Torch/Namor splash page of Marvel Mystery Comics #17 (March 1941), the first time the mag’s two stars battled the Axis together rather than pasting each other. Presto—a Carl Burgos & Bill Everett image which has never before appeared on a cover! [© 2012 Marvel Characters, Inc.]

Above: The first image (out of many) in this issue which is reproduced from color photocopies made from original comics of late 1939 through the early 1940s: Carl Burgos’ “Human Torch” splash panel (plus one) from Marvel Mystery Comics #4 (Feb. 1940), courtesy of Warren Reece. The “Torch” scripting, too, is presumed to be by Burgos, at least in the earliest issues. [© 2012 Marvel Characters, Inc.]

Alter EgoTM is published 8 times a year by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: roydann@ntinet.com. Send subscription funds to TwoMorrows, NOT to the editorial offices. Eight-issue subscriptions: $60 US, $85 Canada, $107 elsewhere. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in Canada. ISSN: 1932-6890 FIRST PRINTING.

writer/editorial

Magnificent Obsession

o call this an “offbeat” issue, as I did in #107’s next-issue ad, was an understatement, at least when describing—or trying to describe—our cover-featured lead article written by Warren Reece.

I’ve known Warren since around 1970. Even then, he was an avid fan and collector already in the process of amassing a distinctly uncommon assemblage of comics—namely, early runs of such Timely mags as The Human Torch, Sub-Mariner, Captain America Comics, Mystic Comics, Daring Mystery Comics—and, above all, Marvel Mystery Comics, the flagship Timely title to end all Timely titles. Along the way, he was getting those classic issues autographed by not only “Sub-Mariner” creator Bill Everett, but even by the elusive Carl Burgos, creator of “The Human Torch.”

Still, what makes Warren virtually unique among fans is that he has always considered his collection as basically a sacred trust. Selling one of his early Timelys—except for the purpose of gaining an even more soughtafter one—has never even entered his mind. His mission in life—well, not his only mission, for he has interests besides comics, and among other things also owns a couple of super-rare artifacts related to the original King Kong—has been to amass and preserve a collection of the first few years’ worth of Martin Goodman’s comics as a pop-cultural national treasure. Along the way, he has also been tireless in his efforts to publicize their creators, particularly Everett and Burgos. To this end, he has often made parts of his collection—which begins with a copy of the Oct. (not Nov.) 1939 Marvel Comics #1, which introduced “The Human Torch” and “Sub-Mariner”—available for exhibits and special events. (As an avocation, he tirelessly does battle with those who believe the “SubMariner” story in Marvel #1 was largely a reprint from Motion Picture Funnies Weekly #1. But we’ll let him argue his own case on that score. We don’t have a dogfish in that fight.) Ordinarily, though I naturally have an appreciation for the joys of

comics collecting in its various facets, I haven’t felt the subject was a good fit for coverage in Alter Ego. However, fascinated by Warren’s lifelong quest, a couple of years ago I invited him to write about his intertwined experiences re collecting and his encounters with Everett, Burgos, and a few others along the way. Warren responded, after some time, with an article twice as long as the one I’ve edited down for inclusion on the pages that follow.

In addition, unbidden, he made gorgeous color photocopies of key pages from his vintage issues, since it seemed wrong to illustrate his quest with artwork from Marvel Masterworks volumes—or even from other people’s collections. Thus, readers will have a chance to see the original versions of those pages, all in color, even if necessarily at a reduced size.

No, this isn’t the start of a trend. Alter Ego isn’t going to turn into a latter-day version of Comic Book Marketplace, much as I admired many aspects of that sadly defunct magazine. It’s extremely unlikely that anything much resembling Warren’s article will be printed in a future edition of this zine. Still, just this once, I wanted to give a lifelong fan and super-collector—and a guy who, for a time in the 1970s, even realized his ambition to become a Marvel staffer—a chance to tell what it’s been like.

In the end, he and I and publisher John Morrow agreed it would be a Good Thing to give readers a chance to peruse Warren’s entire article, just as he wrote it. Thus, if you wish, you can download a PDF version of it at this link: http://www.twomorrows.com/media/FathersOfOurHeroes.pdf Bestest,

P.S.: In answer to a couple of puzzled folks: Because my wife Dann and I throw a mammoth Halloween party every year, which takes considerable preparation, I felt a need to avoid having a deadline fall in October, so it was arranged with publisher John M. to switch from January and March issues to February and April ones… which means A/E will be monthly from April through August this year. And chances are that we’ll keep to that schedule next year, as well.

COMING IN MAY & ALL IN FULL COLOR!

STILL MORE ALL-STAR SECRETS OF THE

109

JUSTICE SOCIETY OF AMERICA! • Juicy JSA cover by GEORGE PÉREZ—never before seen at full size! • The secrets we couldn’t squeeze into The All-Star Companions! Spotlight on Spectre & Hour-Man artist/co-creator BERNARD BAILY, by KEN QUATTRO—the ROY THOMAS/ MICHAEL BAIR 1980s series JSA: Invasion from Fairyland that never was (but with plenty of art that is!)—and “What If” 1940s JSA-style groups from an alternate Earth! Plus rare JSA-related art by Golden Age icons KUBERT, INFANTINO, HASEN, NODELL, RICE, MOLDOFF, NAYDEL, et al.! • The fabulous finales of JIM AMASH’s interview with TONY TALLARICO—and of DEWEY CASSELL’s look at Golden Age artist MIKE PEPPE! • MICHAEL T. GILBERT’s Comic Crypt—BILL SCHELLY with more on the San Diego Comic-Con’s 50th-Anniversary of Fandom Celebration—FCA with ROY ALD & MARC SWAYZE’s Ibis the Invincible!—& MORE! Edited by ROY THOMAS • SUBSCRIBE NOW! Eight issues in the US: $60 Standard, $80 First Class • (Canada: $85, Elsewhere: $107 Surface, $155 Airmail) • NEW LOWER RATES FOR INTERNATIONAL CUSTOMERS! SAVE $4 PER ISSUE!

TwoMorrows—A New Day For Comics Fandom! TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 E-mail: twomorrow@aol.com • Visit us on the Web at www.twomorrows.com

“ With The Fathers Of Our Heroes” Personal Memories Of CARL BURGOS, BILL EVERETT, & Others—And Of Collecting The Earliest Appearances Of Their Seminal Brainchildren by Warren Reece

A World Discovered

artooning fandom was a different world when I was a teenager, back in a period that was, metaphorically, analogous to what Australian aborigines term “the dream time.” In that bygone era, there were few shops where you could find old “comic books” (cartoon magazines might be a more accurate term), few books about their history (and little money to buy them), and even fewer opportunities to meet the creators of the legendary characters: “the fathers of our heroes.”

For me, the first of these awesome encounters occurred when I was seventeen and I became aware of the new phenomenon of comics conventions. Until then, besides, I had been considered too young to be traveling to and from Manhattan on trains. All I’d had up till that time was the printed page, but that was a wondrous fate:

In 1966, following my first few months of collecting The Amazing Spider-Man, Fantastic Four, and the anthologies that presented “Hulk,” “Iron Man,” “Captain America,” and company, I bought Marvel Super-Heroes #1. In this one-shot, 25¢ special edition, a lost era was briefly glimpsed through a somewhat blurry reprint “window,” when Smilin’ Stan Lee elected to include the “Sub-Mariner” story from Marvel Mystery Comics #8 (June 1940). Readers like me witnessed a furious young Prince Namor destroy a Hudson River tunnel and an airplane, release animals from their enclosures in the Bronx Zoo (an act softened by his rescue of an infant from the path of stampeding elephants), damage the George Washington Bridge, and, as a

Marvel Super-Heroes – From 1939 To The 1960s Warren Reece (then Warren Storob) in the 1980s with his collection of goodies—which includes the Oct. ’39 edition of Marvel Comics #1, the very first Timely/Marvel title. At the time the photo was taken, only one copy with an October cover date (as opposed to the larger-print-run second edition of #1, which had a cover date of November) was known to exist. Warren’s copy is autographed by three of the artists featured therein: Bill Everett, Carl Burgos, and humor-cartoonist Fred Schwab. Photo by Mary Jane Medvecky originally taken for Spigot magazine, as reproduced in Comics Interview #8 (Feb. 1984); with thanks to David Anthony Kraft. [© 2012 the respective copyright holders.] Also shown: the composite Bill Everett & Jack Kirby cover of Marvel Super-Heroes #1 (1966), which trumpets at bottom the first Golden Age super-hero story ever reprinted by Marvel—or seen by young Warren. All comic art repro’d with this article was provided by Warren, unless otherwise noted. [© 2012 Marvel Characters, Inc.]

Personal Memories Of Carl Burgos, Bill Everett, & Others—And Of Collecting The Earliest Appearances Of Their Seminal Brainchildren

A Herd Of Stampeding Elephants Couldn’t Stop Me! (Left & right:) A key “Sub-Mariner” page written and drawn by Everett for Marvel Mystery Comics #8 (June 1940)—and that page as reprinted (as retouched on Photostats) in 1966’s Marvel Super-Heroes #1. Thanks to Barry Pearl for the latter scan. [© 2012 Marvel Characters, Inc.]

topper, have his first bout with the original, android Human Torch. This was not only their first meeting; according to one scholarly source, it was the first time in publishing history that cartoon characters from separate strips “crossed over” into one story. The opening caption explained that the fantastically-powered SubMariner, master of travel undersea, on land, and in the air, was seeking revenge on humanity for attempting to electrocute him after he had refused to lend his powers to its cause. I didn’t thoroughly understand, but I soon found myself obsessed with the quest for every rare old issue that could tell me more!

With further vintage stories being reprinted in Fantasy Masterpieces #7, 8, & 9 in 1967, I became more familiar with the lost “Golden Age” genesis of Marvel from 1939-41. Of particular interest to me were Prince Namor, the Sub-Mariner, and his encounters with the original Torch in Marvel Mystery Comics #8-10. The reprints were slightly edited and condensed, but they were all that were available at the time, at least for kids. I saw more of Namor’s savage rampage against what he perceived as a villainous America, as the Torch and the authorities tried to stop him. I was also introduced to Namor’s undersea people, and was particularly struck by the largeeyed male Sub-Mariners with their huge, spine-like mustaches, which I mistook for products of primitive drawing technique by signing artist Bill Everett. I soon learned not to underestimate his titanic talent, for those undersea guys looked just as their creator

wanted them to look in those pre-revisionist Marvel times.

I also quickly came to look upon the character of Officer Betty Dean with great respect. This clever, classy, charismatic, cute, courageous cop, introduced in the Marvel Mystery for January 1940, was originally assigned as a decoy to trap Namor, but soon became his friend, an ally against the Nazis, and the mediator who settled his battle with the Torch and humanity. As a character and a female role model, she was, I think, ahead of her time. I had to get more old mags and learn more.

Shortly after my return from living in England for a year and a half, the opportunities for fulfillment began to present themselves. I was sixteen when I purchased Marvel Mystery Comics #78, 81, & 85, for $15, at My Friend’s Book Store in Brooklyn, NY. Before that, I had never seen any older Marvels. That summer, one of the first big conventions for comic book collectors was held in New York.

Meanwhile, Jules Feiffer’s 1965 book The Great Comic Book Heroes, featuring an impressive array of Golden Age reprints, came belatedly to my attention. Among the stories therein was the “SubMariner” episode from Marvel Mystery #7. In it, the hero renewed his quest for vengeance, planning to invade and conquer America single-handed. Before long, he was shoving a ferryboat into the path of an ocean liner, wrecking a trestle and train, and hurling the

“With The Fathers Of Our Heroes”

Comics #1 (the series’ first issue lacked the word Mystery in its title) was missing its back cover; even so, he treasured it, and it was not for sale. His face beamed with wonder and delight as he made reference to “the Torch in the bottle.” For my part, I was transfixed by artist Frank R. Paul’s cover rendering of The Human Torch as a fiery, pointy-eared genie with a blazing top-lock. After I snapped out of my trance, I worked out a deal for Captain America #1 and Marvel Mystery #13, 24, & 28, the earliest issues he had for sale. The batch was priced at $152, but Roger, perhaps touched by my awe, let me have it for $125, which constituted my life savings. Then, some big guy at the door was shouting for everyone to get out of there, because the convention was closing soon. What a drag that was!

For the rest of the summer, I found myself dealing doubles of old mags and saving my allowance. I phoned Phil Seuling, who told me he had a beautiful Marvel Comics #1 for sale at $250. I think I worked for my dad in order to earn a little extra. After some rocky negotiations, the two of us went to the Seulings’, The Great Comic Book Nostalgia whose apartment overlooked the famous (Top left:) The cover of the original 1965 Dial Press edition of Jules Feiffer’s all-important collection The Cyclone roller-coaster in Coney Island. I Great Comic Book Heroes, with its Joe Shuster Superman figure. This book, and an excerpt from it that think my dad, who didn’t approve of my appeared a couple of months earlier in Playboy, did much to trigger the nostalgia (or at least the admission hobby, loaned me $150 so I could make of nostalgia) of a number of adults for the comics of their allegedly misspent youth. the purchase before another collector [Superman art © 2012 DC Comics.] could beat me to the treasure. Upstairs, I (Top right:) The splash page of the vintage “Sub-Mariner” story reprinted in GCBH, complete with a recognized Phil as the loud guy at the footnote by Feiffer, enlarged above. His full text for the tome was reprinted by Fantagraphics a couple convention who’d been ordering of years back, but minus the comics reprints, all of which are available elsewhere today. everyone out. I also met his wife Carole, [Sub-Mariner page © 2012 Marvel Characters, Inc.; text © 2012 Jules Feiffer.] who, like Phil, eventually did some writing for Marvel, and their two sweet dirigible mooring-mast atop of the Empire State Building down little daughters, whom I recognized from the newspaper photo. upon the crowds below! There was more than a little King Kong in

the latter two depredations. I was hooked, and I don’t think I was the only one, because The Great Comic Book Heroes was always checked out from my local public library, and my high school’s library, as well.

Phil took my dad and me into a little back room, where he kept lots of Golden Age mags and two framed pieces of original art. He pulled Marvel Comics #1 from a box on a top shelf. With trembling hands, I glimpsed wonders as I paged through the mag. I noticed that the Human Torch’s costume was blue, not red as it It was a hot vacation day in July of 1968 when my had been in the Fantasy Masterpieces reprint. I flipped father brought me some newspaper articles about the past the debuts of “The Angel” and “The Masked convention. One featured a photo of old Henry Raider” to reach “The Sub-Mariner,” which was Keller, a dealer of cartoon treasures, with Gwen drawn by Bill Everett with an artistic process and Heather Seuling, young daughters of Marvel had been unable to reproduce in FM. convention chairman Phil Seuling. On Sunday, Apparently the use of Craft Tint, an illustration July 7th, my father’s birthday, he and I took the board that allowed shading by bringing out train into Manhattan to attend the last day of fine parallel and cross hatchings by brushing the convention. On the way into the Statler two different photographic developers on the Hilton Hotel, I bought a Marvel Boy #1 for $4. illustration boards, combined with the screened Up on the hotel’s 18th floor, I went from table tones of the colored inks added at the printers, to table, asking the dealers if they had Marvel had been perceived as “muddy” by the Mystery Comics #1 or Captain America Comics #1. artist/writer and his superiors in 1939, so its use Finally, I was directed to Roger Nelson, an was dropped after the first two stories. elderly, bespectacled gentleman from Still, I was captivated by Namor’s origin: Phil ’Er Up! Chicago with an impressive batch of Captain Leonard McKenzie’s accidental Golden Age mags, including those two Comics dealer Phil Seuling at the 1969 New York Comic bombardment of the Antarctic undersea first issues! Art Convention—his first solo con, after he’d been a cocity of the Sub-Mariners; the Emperor’s host of the SCARP-Con the year before. Reprinted from Roger explained that his copy of Marvel deployment of the lovely Princess Fen as Alter Ego [Vol. 1] #10, 1969.

Personal Memories Of Carl Burgos, Bill Everett, & Others—And Of Collecting The Earliest Appearances Of Their Seminal Brainchildren

One final story: This one, appropriately enough, involves young people and their experience with those wonderful old mags, likewise in a time long after their original release.

“These are better than the comics they make now!’”

At that moment, I felt that my efforts to collect those rare old treasures was worthwhile. In that classroom, I was able to use those mags for a useful purpose, and continued to do so for the rest of the course—in which, by the way, I received an A in the middle of a bunch of real teachers, many of whom who went down in a hail of C’s, D’s, and F’s.

It was summer, years ago. I was required by the New York City Board of Education to take a course in how reading was taught. I hated taking it, but I needed it in order to maintain my Temporary Per Diem Teaching License. The course was In those moments offered at Brooklyn with Mrs. Smith and College, by three my classmates, with instructors. Our my late mother, and work wasn’t done on with those wonderful campus, though. We little guys on couldn’t be that lucky. Albemarle Road, I We all met in a big, think that the spirits ancient school on of Carl and Bill stood Albemarle Road in there smiling at us, Brooklyn. As we all like the spirits of stewed in that hot Obi-Wan, Anakin, old place, we underand Yoda did at the stood why schools conclusion of Return are closed in New of the Jedi. Their York during the “force” was with summer. The kids me… with us… and, who needed help my dear “cousins,” with their reading may their force be didn’t want to be with you, as you there. The student discover their works Timely Keeper Of The Chamber Of Fantasy teachers didn’t want and go on, inspired, to be there. I’m quite This photo of Warren Reece with his rare Oct. 1939 copy of Marvel Comics #1 was taken by Anastasia to create wonderful sure our three superWalsh some years back, for an article published in the South Florida Sun-Sentinel, as repro'd in Comics works of your Interview #8 (Feb. 1984); thanks to David Anthony Kraft. [© 2012 the respective copyright holders.] visors didn’t want to own…. be there. I felt it was lucky that Greenwood Cemetery (a national historic site) was only a few blocks away. In case any of us dropped dead of the heat, I Dedications figured that they didn’t have far to take us! To the memory of my father, Jesse, for those no-interest loans My instructor was a very bright and dedicated woman from one and rides to where the rare mags were when I was a younger kid of the Caribbean islands—Jamaica, I think—named Joyce Gerald. than I am now, even though he hated comics—and to the memory Both of us had known British education, so we were kindred of my mother, Sylvia, for all her support; she became a Bill Everett spirits. Around lunch time, everyone needed a break. So our “Sub-Mariner” fan at a time when it made a very important instructors, knowing our backgrounds, put us in charge of special difference to her. activity groups; and they put me in charge of (you guessed it!) The I am indebted to Gary Friedrich, a highly intelligent and Comics Club! talented wordsmith, who provided some revealing stories about There I was, several days a week, in a small classroom with a the times he and Roy Thomas spent with the great Bill Everett. group of little boys—maybe third-graders, mostly AfricanI am thankful to Darlene, Casey, and Josh of the “211 for Palm American kids—having to fill their time in some kind of Beach County” telephone counseling and resource service, for their meaningful way. I looked at their tired, bored little faces, as they feedback during the development of this project. were stuck in this oven with this long-haired paleface; and, remembering my time years before at George Gershwin Junior High My gratitude to Roy Thomas for the wonderful professional School, I decided to bring those treasured old Marvel Mystery opportunities he has extended to me is beyond words. Comics for them to see. Last but not least (because He is the most important), I thank Session after session, I showed those amazing “Human Torch” thankful for the Creator of the Universe, whose help makes all and “Sub-Mariner” stories to them. I watched those great little wonderful things possible, and in my life, real, time and again. The guys come to life, viewing those old pages with enthusiasm and Force was with me when I built the archival collection that made wonder. The Torch blasted enemies with flame, Namor was this project, and many others, realities. cheated and mistreated and rampaged through Manhattan like King Kong. I still remember what those hard-boiled kids, from a —Warren Reece, 17th of March, 2011 generation described by Professor Gerald as being “very into ‘the now,’” had to say about those old mags:

“ I’m Responsible For What I’ve Done ” Part III Of A Candid Conversation With Veteran Artist TONY TALLARICO NTERVIEWER’S INTRODUCTION: In parts 1 & 2 of this interview with the comic book artist (and sometimes writer), we discussed his entry into comics as an assistant to various artists and his early work for Avon, Youthful/Story, et al., as well as his long partnership with fellow artist Bill Fraccio both for Charlton and elsewhere. This time, we conclude the part of our talk that deals primarily with the Charlton years. —Jim.

Conducted by Jim Amash

Transcribed by Brian K. Morris

“[Editor Pat Masulli] Was Always The Boss’ Pet”

JIM AMASH: You started working at Charlton under Al and Blanche Fago. Pat Masulli soon became your editor. Tell me about him.

Tony Gets Toasted TALLARICO: I felt he didn’t really know that much about Tony Tallarico at an exhibit of his work, at a “Berndt Toast Gang” function in conjunction with the comics, editing, or anything National Cartoonists Society—and a chapter-splash else, but he was there. He was from Geronimo Jones #1 (Sept. ’71) that he both a body, which is all you can JA: After Charlton closed the New York office, did you go scripted and inked, with pencils by Jose Delbo. That say about most of the people in person or did you do it by mail? issue’s opening splash was seen last issue. Tony says who were there. I guess that’s in this installment that creating, writing, and inking TALLARICO: By messenger. They would send a a criticism to say that the latter series was his most pleasurable experience at messenger down to the city, and we still met at the somebody was just there. He the Connecticut-based comics company. Thanks to same office. Only they weren’t Charlton anymore—it didn’t strike you as being Gary Watson for the comics page scan. [Page © 2012 was a law office, and they allowed Charlton to use brilliant or bad or anything. the respective copyright holders.] the office as a drop-off or pick-up area. Then I Masulli had a coloring started doing illustration spots for their Word Search company with a man named magazines. Somebody at Charlton went to Canada and saw a Word Pallet, but that didn’t mean he [knew much about putting a good Search magazine, and thought it was great, so they did a knock-off. book together]. As far as my work was concerned, he was very uncritical. JA: You hardly ever went to the Derby, Connecticut, offices? JA: How long did Charlton have that New York office? TALLARICO: I was there twice. Once for this magnificent feast to try to talk us all into moving up there; and the second time, Sal TALLARICO: They had it for several years, because at one time [Gentile, editor] invited my whole family to have a barbeque at his they had a knock-off of Playboy that they were doing out of that house, and we had to stop at Charlton to pick him up. It was a office. I don’t remember the title.

Part III Of Our Career-Spanning Interview With Tony Tallarico

worked with the Underground. He had a hell of a background, and this little twerp Wildman didn’t care for him. Well, that’s too bad.

JA: Do you think Wildman might have forced Gentile out?

TALLARICO: Yes.

JA: So, because that happened, you decided to quit.

TALLARICO: Yes. They had absolutely no loyalty. They demanded that from you, though. Santangelo was way beyond anything like that. If you’re working for a nice guy, you don’t mind [what’s going on above you], but if you’re working for George Wildman...

JA: How critical was Wildman, compared to the other editors?

TALLARICO: They weren’t critical at all. He was just nasty, and who needs that? JA: Would he put you down?

TALLARICO: Not to my face. He did that to other people, so if he does it to somebody else, he’ll do it to you when you’re not there. He wouldn’t do it to your face.

JA: I don’t think Joe Gill liked him much, either.

TALLARICO: There you are.

JA: Did you have much personal contact with Joe Gill?

TALLARICO: Just on the phone. We met, maybe two or three times. I liked working with him, and he made sure I got back every original painting that I did for his magazine covers.

JA: So he was much easier to work for as an editor than to draw his scripts?

TALLARICO: Yes, absolutely. Well, I can understand why he wrote scripts the way he did. He was forced to. I don’t know what kind of a page rate he was getting.

JA: I think his highest rate ended up being like four bucks a page or something, so that’s the reason he had the attitude he did. That’s why he didn’t care.

TALLARICO: But the thing is, the longer you stay in a place like that, the angrier you get. The best thing is to try to get out, and he tried, when Dick went to DC, to do things for Dick, but Dick didn’t want any part of him.

JA: I know Joe did a little work for DC, but nothing substantial. I figured it was because Dick just saw him as a jobber. But I don’t know whether, if he’d had more time, or if he’d gotten paid better, Joe Gill might have done better work.

TALLARICO: I don’t think so, at that point. I think he was stuck in a rut. JA: When I interviewed Joe, he was nice and everything, but I got the impression he didn’t care. TALLARICO: No, and that was because of being at Charlton. I have to blame them, I really do.

JA: Was there a reason why you stopped working for Charlton? Were you

The Gill Man When editor Jon B. Cooke ran this photo in his comics-history magazine Comic Book Artist #9 (Aug. 2000) with its massive Charlton coverage, he referred to this as a “fuzzy picture of Joe Gill with his trusty typewriter, which saw him through thousands of script pages at Charlton.” And since JBC is now the ever-lovin’ layout guru for Alter Ego, we figured we’d repeat both photo and phrasing. Thanks, Jon. Sadly, Joe passed away in 2006.

just too busy with the other books?

TALLARICO: No. I stopped doing the Charlton comics because all the guys who were up there were fired, and I said, “This son of a bitch [Santangelo, Jr.], he really used us.” I said, “I don’t want to have anything to do with you.” But I could afford to say that because I was doing well doing books. JA: You weren’t surprised when they quit publishing comics, were you?

TALLARICO: I was out of comics, so I didn’t even know about it until later on. I had nothing to do with them. I don’t know who was the editor. I would have no contact with them.

Jim Amash’s interview with Tony Tallarico will be concluded next issue.

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“Being A Cartoonist Didn’t Really Define Him ” Spotlight On Golden & Silver Age Inker MIKE PEPPE —By His Wife FERN PEPPE And Others Who Knew Him NTERVIEWER’S INTRODUCTION: Inkers are the unsung heroes of comic artistry. Their craft is often undervalued and their contribution frequently overlooked. But there are many pencilers of the Golden and Silver Ages whose graphite was refined, enhanced and improved by the work of exceptional inkers. The best of them were able to finish the artwork, leaving it better than when they started without overpowering the pencils with their own style. Mike Peppe (pronounced “pep’-i”) was one such unsung hero, whose inks graced the work of such legendary comic artists as Alex Toth, Mike Sekowsky, Steve Ditko, Mike Roy, John Celardo, and George Tuska.

Interview Conducted & Transcribed by Dewey Cassell

Mike Peppe was born on October 4, 1921, in the Greenwich Village area of New York City. His family was of Italian descent, but his parents were born in America. His father worked as a truck driver and later as a bartender. His mother raised four children, of which Mike was the oldest.

Mike started with the S.M. (“Jerry”) Iger shop in 1944. Iger had many clients, Fiction House being one of the biggest. Rumor has it that Mike left Iger after making a delivery to Fiction House and discovering that company had much better working conditions. Mike joined the staff at Fiction House in 1945. While at Fiction House, Mike penciled and inked a number of two-page filler pieces with titles like “Jungle Facts” that appeared in Jungle Comics and other books of their line. He remained at Fiction House for several years, working with artists like Celardo, Tuska, and Bob Lubbers. Mike left Fiction House in 1948 for Standard Publications, where in

The Hands Of Mike Peppe Mike Peppe during the comic book years— and the splash page he inked superbly over Alex Toth’s dramatic pencils for Standard’s Adventures into Darkness #9 (April 1953), as re-colored for the mid1980s Eclipse reprint title Seduction of the Innocent. Scripter unknown. Thanks to Fern Peppe for photos and other artifacts accompanying this piece; all comic art herein was provided by Dewey Cassell, unless noted otherwise. [Page © 2012 the respective copyright holders.]

some respects he made his biggest mark in the comics industry as art director, alongside editor Joe Archibald. Mike worked closely with artist Alex Toth at Standard, and the two of them defined the style by which Standard would be best known in both romance and adventure stories. Mike reportedly encouraged Standard artists to draw like Toth, but Mike’s own influence is clearly evident in the brushstrokes of other inkers who were working at Standard at that time, such as Frank Giacoia.

Mike left Standard in 1954. As a freelance inker, he did some crime, adventure, and romance stories for Timely and St. John. He also assisted Mike Roy on newspaper strips such as Ken Weston and Nero Wolfe. In addition, he was one of the artists who contributed to the Picture World Encyclopedia.

T THE ART ART AR RT T OF OF THE T AR

RT JOE KUBERT KUBER A gor gorgeous, geous, 9" x 12", 232-page, 232-page, full-color full-colo or coffee-table book ook celebr celebrating ating the very very best best of JJoe oe K Kubert's ubertt's 75-y 75-year ear career career in comics! By Alter E Ego go contributor co ontributor BILL SCHELLY! SCHELL LY L Y!

significant eevents vents in comics history, history, the exact exact details are ar somewhat hazy. Leonar d Maurer, Maurer, Norm’s Norm’s older brother, brother, remembered remembered in a later interview intervie that he Leonard w as in the car when Kubert Kubert floated this idea. Other accounts suggest Leonard Leonar was Maurer Maur er was was brought brought in afterward afterward to deal with the technical issues of the printing pr ocess, since he had experience experience in that area. area. In any any case, it was Kubert’s idea to process, pr oduce 3-D comics, comics, and it took all three three of them to make mak it happen. produce first step w as to sell Ar cher St. John on the pr The first was Archer process. The second w as solving the many many technical and practical practical issues involved. inv was Norman Maurer quickly w orked up a sample “Abbott “Abbott and Costello” page using clear acetate to worked cr eate different different layers. laay yers. Kubert Kubert did a single-panel sample s create of his new caveman char acter Tor Tor the Hunter. Hunter. He dated his sample March Mar 25th, 1953. character process w orks because human eyes eyes are binocular, with the eyes The 3-D process works about tw o-and-a-half inches apart, each seeing objects from fr two-and-a-half a slightly different angle allowing us to perceive perceive objects in depth. When one looks at a 3-D comic angle,, allowing book without the glasses off-register red red and green gr glasses,, one sees off-register images. But with glasses with one rred ed and one green green lens, lens, a monochromatic monochr image with the illusion of multiple la ay yers at different different depths is achieved. achie layers was thrilled with the effect and committed to publishing a 3-D St. John was comic book to both test their ability to pr oduce it and find out if it would w produce sell.

ABOVE: “Bloody Yesterday” from Weird Horrors #8 (6/53), and the covers of two issues of that title. Kubert did only a handful of horror comic book covers. OPPOSITE: “Bonhomme Richard!” from Frontline Combat #14 (9-10/53), reproduced in b&w from Russ Cochran’s EC Horror Library.

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Comic Fandom Archive

Fandom’s 50th Birthday Bash! Part 1: The Reunion Party—A Photo-Feature by Bill Schelly hen I heard, sometime in late 2010, that the Comic-Con folks had designated the 50th anniversary of comic fandom as one of the themes of their next mega-gathering in San Diego, it occurred to me that this would be a perfect opportunity to have some sort of a Fandom Reunion.

The 1997 Fandom Reunion held in Chicago during the 1997 Chicago Comicon was one of the greatest experiences of my fannish life. How could meeting Jerry Bails, Howard Keltner, and Grass Green and the other 29 old-time fans in attendance not be an immutable memory? And, since the San Diego con would be bringing in (as Guests of Honor) celebrated fan writer Richard Kyle, Comic Art coeditor Maggie Thompson, Xero’s progenitors Dick and Pat Lupoff, Alter Ego co-editor/editor Roy Thomas, and Jean Bails on behalf of her late husband, the founder of A/E—as well as yours truly—there was already a good start for a special gathering.

Accordingly, I sent out the first of several e-mails to my mailing list touting the idea and urging members of fandom from those early years to come to San Diego for a 50th-anniversary blow-out. Others, most notably Aaron Caplan (fanzine collector extraordinaire), passed the query-announcement to even more fans, and soon the buzz began building.

Understandably, the expense and other difficulties caused many to opt out. For some, the staggering size of ComicCon was more than they wanted to handle. But there were also those who enthusiastically ratified the idea and vowed to be there, and a fairly large group who said they would like to go and would see if they could. Already I was looking forward to the fourth week in July!

But…. to what, exactly? How would Reunion 2011 come together, what form would it take, and where would it be held?

Enter: Gary Sassaman, intrepid purveyor of peerless publications for Comic-Con and their other events. Actually, I had already been in touch with Gary, when I contributed an article about fandom’s history to the Comic-Con Annual (the full-color publication that has taken the place of the old Updates).

Just to get his reaction, I sent Gary an e-mail “wondering” the best way to ask the Powers That Be if they would provide a room at the San Diego Convention Center for a reunion. Next thing I knew, the CCI Board of Directors had not only given us a room, but had committed substantial funding to the event (to print programs and provide food). We were off and running! Saturday night, July 23, 2011, in the San Diego Convention Center, the reunion/party—now dubbed a “Meet and Greet”—was officially “on”! (And, happily, longtime fan Jackie Estrada, chair of the Comic-Con committee, was deemed coordinator of the event.)

As Comic-Con and the Reunion approached, excitement built. Flurries of anxious e-mails arrived from fans wanting to confirm this, that, and the other thing. Aaron Caplan designed a special commemorative button (which he generously paid for)... Gary Sassaman lined up “history of fandom” features for the con’s official program book... the Shel Dorf Memorial Society was creating a display... Jackie Estrada kept a list of names of people who had RSVP’d her e-mail invitations... Steven Fears was bringing the Guest Book... and Dave Armstrong, at the eleventh hour, organized special displays of original fan art and photographs to line the room.

Sooner than seemed possible, I found myself looking out the window as the ancient Boeing 737 that I’d boarded in Seattle was chugging over downtown San Diego on Wednesday, July 20th. Could that really be butterflies in my stomach? Most certainly it was! Future installments of the Comic Fandom Archive will include transcripts of the special “Fanzine” panel and the “Founders of Comics Fandom” panel, as well as an interview with the loquacious Richard Kyle. But, though the “Meet and Greet” party occurred after those panels, Roy and I felt it was appropriate to begin our coverage with a 2-part photo feature of this historic fan reunion.

Special thanks must obviously go to the photographers: Jackie Estrada, Russ Maheras, Aaron Caplan, Dave Armstrong, Lorraine Broertjes, Bob Cosgrove, Bill G. Wilson, and Batton Lash. We weren’t able to include a pic of all 150 guests, but we will be running more in Part 2, as well as a list of everyone who came. And now, let the festivities begin!

NOTE: This is the first installment of our extended, multi-issue coverage of the "50th anniversary of comics fandom" events at Comic-Con International 2011 (San Diego).

Comic Fandom Archive

(Above:) The commemorative Fandom Reunion button, depicting the 1960-61 covers of Comic Art #1, Alter Ego #1, and Xero #1, was designed and paid for by Aaron Caplan. One was given away free to each attendee as a memento of this historic gathering. It measures 3" in diameter.

(Above:) The Reunion Program, designed by Gary Sassaman, gave each attendee a place to gather autographs of fandom's founders and others on hand.

(Above:) Jackie Estrada hands out badges at the registration table for the Fandom Reunion. Also on the registration table were programs, special buttons, and a guest book. Later, it was determined that about 150 people were in attendance. Photo: hubbie Batton Lash.

(Above:) As they approached the registration table, Lorraine Broertjes snapped this photo of a trio of fans from the Sunshine State (left to right): Gary Brown, Alan Hutchinson, and Harry Broertjes.

1 2

(Above:) Moments before it filled up, Bill Schelly (#1), Bud Plant (#2), and Mark Wheatley (#3) were already inside the large room in the San Diego Convention Center that was provided for the event. Photo: Aaron Caplan.

(Left:) Fans are quickly drawn to the wonderful displays of fan photos and original art from the fanzines put together by Dave Armstrong. The original art was donated by Buddy Saunders, Mike Vosburg, and others. Photo: Dave Armstrong.

Fandom’s 50th Birthday Bash!

(Above:) Jackie Estrada brought a portion of her fanzine collection, which helped evoke many memories of comics fandom of the 1960s and early 1970s. Photo: Bob Cosgrove.

(Above:) Aaron Caplan's camera catches Dave A. as he puts the final touches on a display. Thanks to Dave for his tremendous effort, which was appreciated by all. (Left:) Maggie Thompson signs a copy of Comic Art. Photo: Russ Maheras.

(Right:) Jackie with her copy of Fantasy Illustrated #6, featuring a great sciencefiction cover by D. Bruce Berry. Photo: Russ Maheras. (Right:) Stan Landman points to his own likeness in the famous photograph taken at the 1969 New York Comicon, provided by Fantagraphics Books and enlarged by the Comic-Con folks. Photo: Aaron Caplan.

(Above:) Denis Kitchen (center) and Bob Beerbohm, talking with Terry Stroud, whose back is to us. Photo: Jackie Estrada.

student is that way and content to stay that way. I would suggest that they be dead serious about their other studies, and if they hope to be successful at commercial art they better be able to write and speak well.

[FCA EDITORS NOTE: From 1941-53, Marcus D. Swayze was a top artist for Fawcett Publications. The very first Mary Marvel character sketches came from Marc’s drawing table, and he illustrated her earliest adventures, including the classic origin story, “Captain Marvel Introduces Mary Marvel (Captain Marvel Adventures No. 18, Dec. ’42); but he was primarily hired by Fawcett Publications to illustrate Captain Marvel stories and covers for Whiz Comics and Captain Marvel Adventures. He also wrote many Captain Marvel scripts, and continued to do so while in the military. After leaving the service in 1944, he made an arrangement with Fawcett to produce art and stories for them on a freelance basis out of his Louisiana home. There he created both art and stories for The Phantom Eagle in Wow Comics, in addition to drawing the Flyin’ Jenny newspaper strip for Bell Syndicate (created by his friend and mentor Russell Keaton). After the cancellation of Wow, Swayze produced artwork for Fawcett’s top-selling line of romance comics, including Sweethearts and Life Story. After the company ceased publishing comics, Marc moved over to Charlton Publications, where he ended his comics career in the mid-’50s. Marc’s ongoing professional memoirs have been a vital part of FCA since his first column appeared in FCA #54 (1996). Last time Marc reminisced about two Golden Age colleagues … and one infamous Captain Marvel villain. This time around, I transcribe a May 1979 audio tape wherein Marc discussed commercial art versus fine art after Captain Marvel artist C.C. Beck—soon to take over the editorial reins of FCA(/SOB)—asked Marc for his perspective on the subject…. —P.C. Hamerlinck.]

ello Beck,

About my thoughts concerning commercial art training, you and I have discussed these and similar matters many times in the past. I’ll try to be as argumentative as possible for you, but it goes against my sweet nature!

The first thing that I would do when teaching a class of new art students is relieve them of their switchblades … disarm them completely… or threaten to have them kicked off the football team! Then I would explain to them, in very simple terms, the differences between commercial art and fine art. I say simple terms because I understand that our schools today are failing to simply teach pupils to read and write. Then I would point out to them that the study of art is the study of everything… that learning to draw better, for example, will not eliminate basic stupidity if the

I don’t mean to sound as though I consider ourselves all that articulate, but I do believe we’ve been better off for being able to communicate and elucidate what we’ve done in terms of the needs of various clients.

Art might, as some people have said, “speak for itself,” but in my mind the audience would have to be made up of very sensitive souls. A commercial art client is a businessman, and the wellspoken/well-written word is a language he understands. Beyond the basics I would talk to the students about art media. At that point, I’d draw the first distinction between fine art and commercial art… and I would explain those matters at considerable length. And, when we finally got around to the first assignment, I’d have them all do the same subject and all working in the same medium. In that way, my criticism to any one student would be for the benefit of the entire class. Before they can hit a golf ball, they must all learn the same basic swing together; individuality can come later. Commercial artists don’t flounder if they’re any good; they don’t have time to. They are professionally creative, deliberate and methodical.

A relationship between fine and commercial art might exist after all. For example, whereas the fine artist may never be expected to do anything of a commercial art nature, if a client should approach a commercial artist with a need for, say, a Rembrandt-type painting, the real professional would answer him with: “When do you need it?” It’s called accepting the challenge, isn’t it? It reminds me once when I was in a band and we were rehearsing for a show, and a typically big showbiz-type female singer who was going to do some type of recitation approached the band and shouted (rather rudely, I thought), “Hey, piano player, can you play mood music?” And, without any hesitation, our piano man turned to her and said, “What kind of mood are you in?” Accepting the challenge!

[Marc Swayze’s reminiscences continue in future issues!]

"We Didn't Know… It Was A Golden Age!"

Accepting the Challenge C.C. Beck once considered comic books “the strictest kind of commercial art”; Marc Swayze accepted the challenge of working in various art media, and capably produced beautiful work in both comics and fine art. Complementing Marc’s letterhead for his paintings (on page opposite) are two of his salient canvassed pieces: “Little House by the Bridge” and “Dixieland Gig.” To the left of them is a “fine” Swayze comic book sample from Sweethearts #93 (Nov. 1950) in which the artist’s background as a musician had again emerged in his work. [Paintings © 2012 Marcus D. Swayze; Sweethearts page © 2012 the respective copyright holders.]

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The WHO’S WHO of American Comic Books (1928-1999) Online Edition Created by Jerry G. Bails FREE – online searchable database – FREE www.bailsprojects.com – No password required

A quarter of a million records, covering the careers of people who have contributed to original comic books in the US. The Sub-Mariner and The Human Torch reach their legendary standoff in Marvel Mystery Comics #9 (July 1940)—courtesy of artists Bill Everett & Carl Burgos and writer John Compton. Thanks to Warren Reece. [© 2012 Marvel Characters, Inc.]