Issuu

JOE KUBERT A GOLDEN & SILVER AGE LEGEND REMEMBERED

May 2013

In the USA

No.116

82658 27763

8.95

Roy Thomas’ Kubert Tribute Comics Fanzine

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!

2012 EISNER AWARD Nominee Best Comics-Related Journalism

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

ALTER EGO #106

ALTER EGO #107

DIEDGITIIOTANSL BL AVAILA

ALTER EGO #103

ALTER EGO #104

ALTER EGO #105

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, & 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!

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

ALTER EGO #108

ALTER EGO #109

ALTER EGO #110

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, & DITKO/GIORDANO cover!

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!

1970s Bullpenner WARREN REECE talks about Marvel Comics and working with EVERETT, BURGOS, ROMITA, STAN LEE, MARIE SEVERIN, ADAMS, FRIEDRICH, ROY THOMAS, and others, with rare art! DEWEY CASSELL spotlights Golden Age artist MIKE PEPPE, with art by TOTH, TUSKA, SEKOWSKY, TALLARICO Part 3, plus FCA, MR. MONSTER, BILL SCHELLY, cover by EVERETT & BURGOS, and more!

Spectre/Hour-Man creator BERNARD BAILY, ‘40s super-groups that might have been, art by ORDWAY, INFANTINO, KUBERT, HASEN, ROBINSON, and BURNLEY, conclusion of the TONY TALLARICO interview by JIM AMASH, MIKE PEPPE interview by DEWEY CASSELL, BILL SCHELLY on “50 Years of Fandom” at San Diego 2011, FCA, Mr. Monster’s Comic Crypt, PÉREZ cover, and more!

SHAZAM!/FAWCETT issue! The 1940s “CAPTAIN MARVEL” RADIO SHOW, interview with radio’s “Billy Batson” BURT BOYAR, P.C. HAMERLINCK and C.C. BECK on the origin of Captain Marvel, ROY THOMAS and JERRY BINGHAM on their Secret Origins “Shazam!”, FCA with MARC SWAYZE, LEONARD STARR interview, 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

ALTER EGO #111

ALTER EGO #112

ALTER EGO #113

ALTER EGO #114

ALTER EGO #115

GOLDEN AGE NEDOR super-heroes are spotlighted, with MIKE NOLAN’s Nedor Index, and art by MORT MESKIN, JERRY ROBINSON, GEORGE TUSKA, RUBEN MOIRERA, ALEX SHOMBURG, and others! Plus FCA, MR. MONSTER, more 2011 Fandom Celebration, and part II of JIM AMASH’s interview with Golden Age artist LEONARD STARR! Cover by SHANE FOLEY!

SUPERMAN issue! PAUL CASSIDY (early Superman artist), Italian Nembo Kid, and ARLEN SCHUMER’s look at the MORT WEISINGER era, plus an interview with son HANK WEISINGER! Art by SHUSTER, BORING, ANDERSON, PLASTINO, and others! LEONARD STARR interview Part III—FCA—Mr. Monster—more 2011 Fandom Celebration, and a MURPHY ANDERSON/ARLEN SCHUMER cover!

MARV WOLFMAN talks to RICHARD ARNDT about his first decade in comics on Tomb of Dracula, Teen Titans, Captain Marvel, John Carter, Daredevil, Nova, Batman, etc., behind a GENE COLAN cover! Art by COLAN, ANDERSON, CARDY, BORING, MOONEY, and more! Plus: the conclusion of our LEONARD STARR interview by JIM AMASH, FCA, MR. MONSTER, BILL SCHELLY, and more!

MARVEL ISSUE on Captain America and Fantastic Four! MARTIN GOODMAN’s Broadway debut, speculations about FF #1, history of the MMMS, interview with Golden Age writer/artist DON RICO, art by KIRBY, AVISON, SHORES, ROMITA, SEVERIN, TUSKA, ALLEN BELLMAN, and others! Plus FCA, MR. MONSTER and BILL SCHELLY! Cover by BELLMAN and MITCH BREITWEISER!

3-D COMICS OF THE 1950S! In-depth feature by RAY (3-D) ZONE, actual red and green 1950s 3-D art (includes free glasses!) by SIMON & KIRBY, KUBERT, MESKIN, POWELL, MAURER, NOSTRAND, SWAN, BORING, SCHWARTZ, MOONEY, SHORES, TUSKA and many others! Plus FCA, Mr. Monster’s Comic Crypt, BILL SCHELLY, and more! Cover by JOE SIMON and JACK KIRBY!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95

Vol. 3, No. 116 / May 2013 Roy Thomas

Editor

Bill Schelly Jim Amash

Associate Editors Christopher Day

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 William J. Dowlding

Proofreaders

Daniel James Cox & Joe Kubert

Contents Writer/Editorial: Just A Guy Called Joe . . . . . . . . . . . . . . . . . . 2 Joe Kubert: How A Comics Legend Built His Remarkable Career. . 3

Cover Artists

With Special Thanks to:

Heidi Amash Ger Apeldoorn Richard J. Arndt Bob Bailey Mike W. Barr Rod Beck John Benson Kevin Brogan Mike Bromberg Pete Carlsson Diego Ceresa Shaun Clancy Pierre Comtois Daniel James Cox Craig Delich Al Dellinges Michaël Dewally Michael Dunne Shane Foley Stephan Friedt Janet Gilbert Golden Age Comic Book Stories (website) Grand Comics Database (website) Great American Comic Book Stories (website)

Jennifer Hamerlinck Douglas (Gaff) Jones Adam Kubert Andy Kubert Dominique Leonard Alan Light Jim Ludwig Doug Martin Bruce Mason Joan Maurer Mark Mayerson Jim McLauchlin Jim Murtagh Jerry Ordway Jake Oster Palantine News Network (website) Ethan Roberts Jim Salicrup Randy Sargent Eric Schumacher Keif Simon Anthony Snyder Dann Thomas Jim Vadeboncoeur, Jr. Dr. Michael J. Vassallo John Wells

This issue is dedicated to the memory of

Joe Kubert

Bill Schelly pays tribute to one of the last—and best—of Golden Age artists.

Kubert talks to Richard J. Arndt about being an artist, editor, and entrepreneur.

“We’re In The Kind Of Business Where The Story Is King” . . . 11 Excerpts from Bill Schelly’s interviews with Kubert for his 2008 biography Man of Rock.

A Chat With Joe Kubert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Daniel James Cox queries the artist on the unique Kanigher/Kubert series.

Behind The Lines With The Enemy Ace . . . . . . . . . . . . . . . . 49 Kevin Brogan’s speech posthumously presenting JK the Giordano Humanitarian Award.

A Brief Eulogy For Joe Kubert—Humanitarian . . . . . . . . . . . 56 Michael T. Gilbert looks at Joe’s re-visitations to his characters and concepts of yore.

Mr. Monster’s Comic Crypt: The Joe Kubert Sketchbook . . 61 re: [correspondence, comments, & corrections] . . . . . . . . . 67 FCA [Fawcett Collectors Of America] #175 . . . . . . . . . . . . . 73 The powerful finale of “The Indestructible Antagonist!” from Captain Video #3.

On Our Cover: Cover-portrait artist Daniel James Cox is the man who persuaded A/E’s editor to launch this issue in the pipeline just when he did—for ’twas put on TwoMorrows’ schedule several weeks before Joe Kubert’s untimely passing. Daniel had sent in his interview with Joe about “Enemy Ace” which would dovetail well with material we had on hand from Bill Schelly and Richard J. Arndt… but Ye Editor had no idea Daniel was an artist until he received a scan of the fabulous portrait he’d painted of Kubert. Roy T.’s response: “Great! We’ll make this the centerpiece of the cover, and I’ll have images of Hawkman, Viking Prince, Enemy Ace, Sgt. Rock, Tarzan, and Tor added to frame it.” Almost before I finished that e-mail, Daniel had assembled the entire cover, melding black-&white Kubert images with his portrait into a beautiful, flawless whole. We’re both glad Joe saw and approved it; we only wish he were also around to read the issue. [Portrait ©2013 Daniel James Cox; Tor TM & ©2013 Estate of Joe Kubert; Tarzan TM & ©2013 Edgar Rice Burroughs, Inc.; other characters TM & ©2013 DC Comics.]

Above: Point of personal privilege. Ye Editor feels Joe Kubert was at his all-time best in 1953-54 issues of Tor; but even so, Roy’s favorite Kubert art was his 1940s “Hawkman”—and his all-time favorite drawing from that body of work is the splash panel of the “Hawkman” chapter of the “Justice Society of America” story “The Revenge of Solomon Grundy” in All-Star Comics #33 (Feb.-March 1947). So here it is—reproduced not from the DC Archives, but from RT’s personal bound volumes. Script by Gardner F. Fox. [©2013 DC Comics.]

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 China. ISSN: 1932-6890 FIRST PRINTING.

writer/editorial

Just A Guy Called Joe

“discovered” Joe Kubert when I was four years old. Sometime in the first half of 1945, I persuaded my indulgent mother to buy me a copy of All-Star Comics, which starred the Justice Society of America. By coincidence, that was just the time when Joe inherited the “Hawkman” feature in both All-Star and Flash Comics. (Actually, I might have seen the latter mag first.)

How much of the initial appeal to me of Hawkman is owed to the look of the Feathered Fury himself (with that dramatic doublebeaked, flaring-winged helmet and those huge, seemingly boundless wings on his back)—and how much to the dynamism of Kubert’s artwork (so much more exciting than the art in most comics)—it’s impossible to say. But when he left the feature for a time in 1946, it was obvious to me that the visual spark was missing from the Hawk’s exploits.

I was truly bowled over when, at age 12, I spotted the first issue of 1,000,000 Years Ago. The primitive but heroic Tor gave Joe a chance to truly shine. What’s more, there was Joe’s image on the printed page, in both photos and drawings, talking to me like a big brother.

And if “The Viking Prince,” in the mid-’50s, wasn’t quite Tor— well, it was still some of the best work being produced. In my eyes, only a few creators had rivaled Kubert’s impact over the previous decade: the who-did-what team of Joe Simon & Jack Kirby with credits popping up on so many thrillingly-told stories… the short-lived combo of Jerry Robinson & Mort Meskin on The Black Terror and The Fighting Yank… Alex Toth on “Green Lantern”… a few of the boys who drew that truncated Atlas revival of “Sub-Mariner,” “Captain America,” and “Human Torch”… Walt Kelly in Dell’s Pogo Possum… and just about everything in the first 23 color issues of Mad. To me, Kubert was at least the equal of any of them.

I’ll admit, I didn’t lay down my dime for much of his output related to crime… or horror… or romance… or, God forbid, war comics. But I usually skimmed Kubert-drawn stories in such mags, before I put them down in favor of the latest issue of Tor or The Brave and the Bold (stomping-ground of “The Viking Prince”). Thus,

I found it only fitting when my 15-year-old eyes told me that at least part of the mid-1956 artwork that introduced a new, more streamlined Flash had been done by none other than Joe Kubert. And when he returned to draw a new “Hawkman” in 1960, it was like an oft-recurring dream come true.

So you can probably imagine the thrill I felt in summer of ’65, on my first full day of work at National/DC, when “Superman” editor Mort Weisinger introduced me to Kubert—and Joe deigned to spend several minutes talking to me, assuring me he was familiar with the Alter Ego fanzine I was putting out. Sure, he was also feeling me out about my helping him publicize a projected publication of his own that would bring back “Tor” (that tabloid would emerge briefly a few years later as Sojourn)… but he was treating me as a fellow professional… and as an adult. (Well, okay, so I was 24 at the time… but in Joe’s presence I’m afraid I reverted to the kid who’d first been dumbstruck by his version of “Hawkman.”)

I had already scheduled this issue of A/E to be the first one truly dedicated to Joe and his work when the startling word came that he had passed away. For a moment, a little of the light went out of the world.

But it soon flared brightly again… and it will continue to do so, as long as comics readers admire sheer talent and artistic integrity.

Joe was always fond of disparaging the view that he had any special ability… insisting that most people could learn to draw and tell a story as well as he did, if they only applied themselves and worked hard. Work is good… work is valuable.

But it won’t turn most people into Joe Kubert.

Thank God, it did so once, at least. Bestest,

# COMING IN MAY 117 L.B. COLE & JAY DISBROW! 13 the respective copyright The Original Cat-Man ©20

Two Talented Golden Age Artists, Colleagues—& Friends!

holders.

• 1940s Cat-Man & Kitten cover art by L.B. COLE! • L.B. COLE (Cat-Man, Miss Victory, Black Venus, Magno, Black Cobra, Captain Flight, and a mountain of memorable covers) is remembered by JAY DISBROW—while JAY D. (Sheena, Kaänga, Firehair, Rulah, Unsane, horror, etc.) is interviewed by RAY (3-D) ZONE! Lavishly illustrated in color—and even in 3-D! • P.C. HAMERLINCK’s FCA takes a long look at Captain Video! Plus MICHAEL T. GILBERT’s Comic Crypt—BILL SCHELLY completes his talk with RICHARD KYLE! Plus special surprise features! Edited by ROY THOMAS • SUBSCRIBE NOW! Eight issues in the US: $60 Standard, $80 First Class

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-I-

in the GOLDEN & SILVER AGES A Six-Part Remembrance

JOE KUBERT

How A Comics Legend Built His Remarkable Career by Bill Schelly

n Sunday, August 12th, 2012, the comics world was rocked by the announcement that Joe Kubert, one of its towering figures, had passed away that day in Morristown, New Jersey. The cause was multiple myeloma.

The news was greeted with first shock and disbelief, then a deepening sadness as we contemplated the loss of a man of such towering importance in the history of comics, who was admired for his character as much as for his talents and many achievements. The writer-artist of Hawkman, Tor, and Sgt. Rock was gone.

The Internet abounded with heartfelt tributes to Joe from his colleagues, graduates of The Kubert School, and fans across the United States and around the world. More were expressed at his funeral on August 14th. We at Alter Ego—Kubert fans and admirers, all—owe a special debt to Joe, and while this Kubert-themed issue was planned before his passing, we would like to take this opportunity to express our condolences to the entire Kubert family, and to celebrate his life by reviewing some of the highlights of his extraordinary career in comics.

Seventy Years—And Counting! In this 1973 photo, Joe Kubert appears to be looking both backward and forward in time: at the splash page of the very first story he ever drew as a professional (for Holyoke’s CatMan #8, Feb. 1942), at the tender age of 15— and his last comics work, when he inked this cover and the early pages of DC’s Nite Owl #3 (Nov. 2012) over pencils by his son Andy. And, even then, stories written and drawn by Joe were still forthcoming from DC in the Joe Kubert Presents series. The “Volton” splash, which reveals the influence of the excellent Fox/Quality artist Lou Fine, was scanned from Mike Bromberg’s Volton Fanzine #1 (May 2004), which in turn was reproduced from a vintage comic book Joe signed for Mike. [“Volton” art ©2013 the respective copyright holders; Nite Owl cover ©2013 DC Comics.]

Alter Ego’s special debt to Joe, of course, arises in part from his role in cementing the love of the Justice Society of America in the hearts of the founders of Alter Ego. Jerry Bails and Roy Thomas formed a friendship specifically in appreciation of the JSA, and A/E’s original impetus in 1961 was to support the team’s recent revival as the Justice League of America. Joe’s “Hawkman” chapters in All-Star Comics were among its best, and contributed in a very significant way to that inspiring run of issues (#33 to #37) which are some of the JSA’s most memorable... for, as it happened, Joe was the favorite comic

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-II-

in the GOLDEN & SILVER AGES

A Six-Part Remembrance

“We’re In The Kind Of Business Where The Story Is King” A 2010 Interview With JOE KUBERT Conducted & Transcribed by Richard J. Arndt NTERVIEWER’S INTRODUCTION: Joe Kubert began his career in 1938 at the age of twelve, either working for the comics shop run by Harry “A” Chesler or, if you count published work, in 1942 for MLJ Studios (the future Archie Comics Publications), inking a story of their new character, Archie. He did his first work for National/DC Comics in 1944 and did the bulk of his comic art for that company over the next seven decades. He worked there as a group editor from 1968 until 1986 and has done occasional freelance editing for DC since then. In the early 1950s, he was also an editor at St. John Publications, along with his partner and childhood friend Norman Maurer. Kubert’s most notable work has been on such characters as Tor, Enemy Ace, Sgt. Rock, Hawkman, Viking Prince, and Tarzan. He has also been a strong presence in the world of graphic novels with such books as Fax from Sarajevo, Yossel - April 29, 1943, Jew Gangster, Tex, and Dong Xaoi, April 1965. There are also hardcover collections of his work on all six of the above-named heroes.

In addition, he founded The Joe Kubert School of Cartoon and Graphic Art in 1976, which has taught and prepared numerous artists for the professional world of comics. He was also the editor-artist for PS Magazine, a U.S. military publication that specializes in the care and maintenance of military equipment….

There’s Gold In That Thar Silver Age! Joe Kubert, in a photo that appeared in the 1980s magazine Comics interview—and an image of the original art for his cover for The Brave and the Bold #34 (Feb.-March 1961), the debut of the Silver Age “Hawkman,” courtesy of collector/dealer Mike Burkey’s website (www.romitaman.com). Incidentally, the suggested bid for this page was a staggering $150,000, so save your pennies. Photo credited to Jim Salicrup. [Photo ©2013 David Anthony Kraft; B&B cover art ©2013 DC Comics.]

A 2010 Interview With Joe Kubert

Comics [Tor] (w)(a); 3-D House of Terror (p) 1953; Three Dimension Comics [Mighty Mouse] art transformation to 3-D 1953; The Three Stooges (package)(a) 1953; Tor (w)(a) 1953; Whack (a) 1953 Star Publications: crime (a) 1953

Trojan Comics: covers (a) c. 1950; crime (a) 1950

White Cliffs Publishing: Sojourn (publisher & ed) 1977; Tor (w)(a) 1977 Whitstone Publications: Cockeyed (a) late 1950s; Lunatickle (a) 1956 [A/E EDITOR’S NOTE: Other Internet sources say that Lunatickle was published in 1958.] Ziff-Davis Comics: The Hawk (p) 1952; horror (a) 1952

Shell-Bent For Leather Get out those 3-D glasses again! Here comes a giant prehistoric turtle headed for the water, desperate to flee a raging fire—and Tor and Chee-Chee are right in its path! From the second 3-D Comics #2. [©2013 Estate of Joe Kubert.]

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 “silver print” of Joe Kubert’s Hawkman cover for Flash Comics #94 (April 1948), showcasing the coloring of production chief Jack Adler. We’ve reproduced this before—but only in black-&-white! [©2013 DC Comics.]

-III-

in the GOLDEN & SILVER AGES A Six-Part Remembrance

A Chat With JOE KUBERT Talking About Tor… Sgt. Rock & Robert Kanigher… The Kubert School… & The Future Of Comics

Interview Conducted by Bill Schelly

NTERVIEWER’S INTRODUCTION: Hard as it is for me to believe, over eight years have passed since I sat down with Joe Kubert in his office at the Kubert School to tape an interview with him for my biography Man of Rock. Joe and his wife Muriel made me feel very welcome during my visit to Dover, New Jersey, in 2004, even though Joe himself wasn’t all that enthusiastic about the project. He wanted to focus on current and future projects, and isn’t the type of guy who spends a lot of time thinking about the past. Moreover, he found the idea of a book about his life to be embarrassing, and he certainly didn’t want anyone to think that it was his idea. Even so, I found that Joe was, by nature, a gracious individual, who tolerated my intrusion into his life with remarkably good grace. Maybe he realized how much the project meant to me.

Transcribed by Brian K. Morris

Anyway, I have nothing but warm memories of that visit, and the response to Man of Rock when it was published in 2008 was most gratifying. Only now, for this issue of Alter Ego, have I revisited the transcript of the conversation Joe and I had that day, to pull out a few choice sections which I think will be as interesting to you as they were to me.

After discussing his childhood and his early years as an aspiring artist, his marriage to Muriel, and the 3-D period at St. John, our talk turned to a subject near to his heart: Tor, his caveman with a conscience, who was a huge milestone in his career in 1953 and 1954. I wanted to hear in his own words how the idea for Tor was born, and what it was that he was trying to accomplish with the character, as well as about numerous other matters. What follows is an excerpt from that interview, conducted on October 23, 2004. —Bill.

Talking about Tor

BILL SCHELLY: When you returned from the military, it seems to me like this is the beginning of your mature period, artistically speaking. Because the themes you explored in Tor, your caveman character, are pretty deep. Would you agree?

JOE KUBERT: Yeah.

BS: As I understand it, it came right after your military experience.

KUBERT: Actually, the idea for Tor came when I was going over to Europe when I was in the military, not after. I still have notes that I made when I had the idea—someplace in the house.

BS: How did the idea come about?

KUBERT: When I was heading out, I was on the boat. I was working for a small newspaper they turned out on the boat, a daily thing they printed on—what do you call it again? A mimeograph machine.

BS: If it had black printing, it would probably be mimeograph. You did the artwork on stencils with a stylus.

School Days The Joe Kubert School of Cartoon and Graphic Art, photographed in 2007 by Joe’s son Adam Kubert—and a caricature of Joe done in 1982 (but probably not by him) for the National Cartoonists Society (with thanks to Shane Foley). [©2013 Estate of Joe Kubert.]

KUBERT: Yeah. They put out daily bulletins like that, and I was doing some work on that. I’ll never forget the trip on the boat. Anybody who’s been on a troop ship, you’re sleeping four or six people on these pallets, packing one on top of another, down in the hold. But, you know, we’re a bunch of guys who are all going through the same thing, so no big deal. But during the trip, I was sketching a character in a little spiral notebook ... that I felt was really a Stone Age Tarzan. And I named him Tor. That was my intention, my initial thought. I just got to thinking about the character in the, if I remember correctly, ten days to Europe on the boat. We landed in Hamburg, Germany, and I took the train down to the southern end of Germany where I was stationed in Sonthofen.

BS: When you read the stories, you just feel that there was a sort of message in the “Tor” strips. That was new, although.... you hadn’t written much before “Tor.” KUBERT: No, just a little.

BS: So this was you emerging as a writer/artist, coming into your full thing. KUBERT: That’s right.

BS: But you really can see a maturity, because Tor—he’s sort of like Tarzan with dinosaurs, but the hook that makes Tor work so well is the idea of a caveman dealing with situations that might show him developing ethics and so on.

-V-

in the GOLDEN & SILVER AGES A Six-Part Remembrance

A Brief Eulogy for JOE KUBERT – Humanitarian A Speech By KEVIN BROGAN, September 8, 2012 A/E EDITOR’S INTRODUCTION: Many at the 2012 Harvey Awards ceremony held at the Baltimore Comic Con were touched by the speech given by Hero Initiative volunteer Kevin Brogan to introduce the Dick Giordano Humanitarian of the Year Award on September 8, 2012. Some were moved to tears. Kevin and Hero Initiative Administrator Jim McLauchlin made a transcript of this short speech available to us, and, after a few introductory notes which we asked Kevin to write, it is presented below….

One Fan’s Story

y childhood hobby was comics. I loved the stories and the art. I wrote and drew my own characters when I was young. (E.g., “BIRD Squad”―a 12-member team in the Bureau of Illegal Research and Development. In one of my stories the BIRD Squad yanks Superboy from the time current for illegal time travel. My thought at the time was it would be the predecessor to the Science Police. Jeanette Kahn never returned my phone calls.) Today I am an engineer, but in a parallel world where Gwen Stacy had lived or where The Huntress is Helena Wayne, only child of Batman and Catwoman, I am a comic book creator.

To bring some of that life into this world I work with Hero Initiative. As many of you know, Hero Initiative is dedicated to helping creators in need of financial assistance or dealing with medical issues. By being a part of this charity run by and for comics professionals, I am given the chance to be part of the comic book community. Where this community really thrives is at conventions; my favorite one is Baltimore Comic Con.

If you’ve ever been to Baltimore Comic Con, then you know what it feels like. Baltimore Comic Con is different

Memories Of Joe Joe Kubert at the Big Apple Con in New York City in November 2008 and a Hawkman drawing he did especially for Kevin Brogan that same year. The photo is courtesy of Jim Murtagh & Keif Simon. [Hawkman TM & ©2013 DC Comics.]

from the rest of the convention scene. It is 100% comic books, comic book art, comic book artists and writers. All things comics; nothing else. If you have been there, you know we are all the proverbial kid in the candy store, more so than any other convention. What makes this show special are the comic creators that have been guests, and Baltimore’s commitment to them. Baltimore Comic Con is the host of the Harvey Awards.

Baltimore’s commitment to the artists and its award show made it the ideal place for Hero Initiative to offer up its award of Lifetime Achievement and The Dick Giordano Humanitarian Award. Over the years we have given awards to legends―Stan Lee, John Romita, Jerry Robinson, Nick Cardy, Joe Kubert, Neal Adams―and the superstars―George Pérez, Walt Simonson,

A Brief Eulogy For Joe Kubert – Humanitarian

Mike Gold, John Romita, Jr., Tim Sale. I am fortunate to have been a part of this award show for the last seven years. It has given me the opportunity to meet and work with these artists on a personal level.

All of this―my childhood hobby, my own desire as an artist, the conventions, and the charity―allows me the opportunity to be at play in the field of the heroes. I am Snapper Carr; I am Rick Jones. Nothing makes me happier at a show than John Romita, George Pérez, Walt Simonson, and the like stopping their sketching or signing just to say “hey.” It is with this excitement that I approach Baltimore Comic Con and the Hero Initiative Awards.

In early summer, the Hero Initiative determined the recipients for the two awards; this year, 2012, John Romita, Jr., for Lifetime Achievement, and Joe Kubert for the Dick Giordano Humanitarian Award. I was elated; I knew both of them and was looking forward to working with them again. All summer long e-mails were exchanged in preparation for the convention and the award show. I had the honor of preparing the introductory notes for our two guests.

The show began with cocktail hour and a mingling of the guests. I spent the time attending to last-minute details while many of the guests took the opportunity to meet with friends, fans, and peers. Then we took to the banquet hall, where we focused on comics as a forgotten art form and how this creative community has changed the world. That night we were able to make fun of ourselves in our geeky hobby, as well as realize

that comics are moving into the mainstream of culture. We then began the awards.

For the Hero Initiative awards, Stan Lee (and John Romita, Sr.) would present to “JRJR,” and I was to find another artist to present to Joe Kubert. Unfortunately, we lost Joe a month before the show. My notes for the introduction speech became a eulogy―reprinted below. As with all his fans and friends, I am saddened, but I am encouraged that by continuing to volunteer no other legend will remain a stranger….

Kevin Brogan’s Speech At 2012 Harvey Awards Ceremony

As many of you know, Hero Initiative is dedicated to helping creators in need of financial assistance or dealing with medical issues. At the Harveys, we honor outstanding creators with two awards: the Lifetime Achievement Award and the Dick Giordano Humanitarian Award. But if you can indulge me for a moment…

When I was young, I read a book titled A Day No Pigs Would Die. It was the story of a pig farmer and his 10-year-old son. It went on for 300 pages, but the title was an allusion to the father dying of a heart attack, and the day of his funeral. On that day, in this oneindustry town, the slaughterhouse shut down, the packing district emptied out, and Cannery Row closed, as seemingly everyone turned out for the father’s funeral. On that day, “No Pigs Would Die.” The boy learned the value of his

Mr. Monster’s Comic Crypt!

The Joe Kubert Sketchbook! The Rock of DC Co.

oe Kubert’s comics have been part of my life ever since I was a kid in the late ’50s. Even then, Joe’s elegant art always packed an emotional punch, whether on “Sgt. Rock” (“The Rock of Easy Co.”), “Rip Hunter,” “Sea Devils,” or his classic “Hawkman” comics.

When I was a teenager drawing my own amateur comics, Joe was there to inspire me. No one drew wrinkles and baggy eyes better. He and Steve Ditko demonstrated how beautiful human imperfection could be.

Though Joe worked primarily for DC, he also produced striking work for Avon, Lev Gleason, EC, Marvel, St. John, and others. Regardless of the company logo, Joe Kubert always delivered art with uncommon heart and humanity. His lithe heroes, sexy women, and gritty backgrounds were instantly recognizable.

This was especially evident when I recently visited the Joe Kubert Never Dies website at: http://kubertneverdies.wordpress.com. This site consists of dozens of commissioned sketches and finished art by Joe, posted by his fans. We’re pleased to present a small sampling of these rarely-seen treasures in honor of Joe Kubert―the Rock of DC Co.!

A Sad Day (Right:) Joe drew this pensive Hawkman drawing in 1993. Hawkman was one of Joe’s signature characters in the ’40s. Later he and writer Gardner Fox co-created a new Silver Age version in The Brave and the Bold #34 (Feb. 1961). [Hawkman TM & ©2013 DC Comics.]

The Joe Kubert Sketchbook!

“The Rock and The Wall!”

The Rock of Easy Co!

Joe Kubert drew more “Sgt. Rock” stories than any other character in his long career. Rock first appeared in G.I. Combat #68 (Jan. 1959). The story simply titled “The Rock” by Bob Kanigher and Joe Kubert is generally considered a prototype of the character. A second proto-Rock story, “Hold Up, Easy!,” appeared in Our Army at War #82 (May 1959). This was followed by the first “official” Sgt. Rock story, “The Rock and the Wall!” in Our Army at War #83 (June 1959). That tale was written by Bob Haney and drawn by Joe.

The first official “Sgt. Rock” story appeared in Our Army at War #83, coverdated June 1959. Script by Bob Haney, edited by Bob Kanigher, with art by Joe. [Sgt. Rock TM & ©2013 DC Comics; cover ©2013 DC Comics.]

FCA [Fawcett Collectors Of America]

Roy T. here: The names that comics writers give incidental characters in their stories fascinates me. I’m forever trying to figure out their origins. Now, “Sir Reginald Darsely,” the captive Nobel-winner from the preceding few pages, may have got his name from the celebrated “Mr. Darcy” in Jane Austen’s immortal novel Pride and Prejudice… or maybe not. “Prof. Arvin Priestley” is a bit easier, since Joseph Priestley (1733-1804) was a famed natural philosopher and chemist who is generally (though not exclusively) credited with the discovery of oxygen. Wonder what we were all breathing before then?

Part III Of “The Indestructible Antagonist!”

Once again Video and the Ranger foil Makino—just barely. And once again he reaches out a super-extended metal arm which barely comes short of grasping the auxiliary jet as they take off with Prof. Priestley. Either the story’s writer believed in subtlety, since the robot’s two uses of that technique are only drawn, never referred to verbally… or else the extending was something that penciler George Evans tossed in on his own, and hence there’s no reference to it in dialogue or captions.

Alter Ego #116