No.137 January 2016
LEGiONNAiRES! GO BACK TO THE 1960s AND ALTER THE FATE OF COMiCS BY FiNDiNG
JIM SHOOTER!
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Vol. 3, No. 137 / January 2016 Editor
Roy Thomas
Associate Editors Bill Schelly Jim Amash
Design & Layout
Christopher Day
Consulting Editor John Morrow
FCA Editor
P.C. Hamerlinck J.T. Go (Assoc. Editor)
If you’re viewing a Digital Edition of this publication,
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Comic Crypt Editor Michael T. Gilbert
Editorial Honor Roll
Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich
Proofreader
William J. Dowlding
Cover Artists
Curt Swan & George Klein
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With Special Thanks to: Paul Allen Heidi Amash Ger Apeldoorn Richard J. Arndt Bob Bailey Steven Barry Alberto Becattini Rick Bierman Gail Beckett Bernie & Lucille Bubnis Aaron Caplan Dewey Cassell Nick Caputo Shaun Clancy Comic Vine (website) Jon B. Cooke Bill Crawford Bira Dantas DC Comics Database Craig Delich Gerald Edwards Harlan Ellison Justin Fairfax Shane Foley Doug Fratz Janet Gilbert Grand Comics Database (website) Roberto Guedes Carolyn Hayes Greg Huneryager Tony Isabella JayJay Jackson Joyce Kaffel Sharon Karibian Jim Kealy Joseph Kramar Jonathan Levey
Paul Levitz Mark Lewis Alan Light Doug Martin Robert Menzies Dusty Miller Will Murray Andy Mushynsky Barry Pearl Joe Petrilak Richard A. Pileggo Jay Piscopo Joe Policastro Gene Popa Gene Reed Ethan Roberts Herb Rogoff Howard Rogofsky Randy Sargent Jim Shooter Dean Smith Harvey Sobel Emilio Soltero J. David Spurlock Joe Staton Flo Steinberg Steve Stiles Jeff Taylor Dann Thomas Amelia Trimpe Art Trip Jim Van Dore Irene Vartanoff Hames Ware Len Wein Paulette Willard Andy Yanchus Pat Yanchus Eddy Zeno
This issue is dedicated to the memory of
Herb Trimpe
Contents Writer/Editorial: “It Was 50 Years Ago Today…”. . . . . . . . . . . 2 “The Kid Who Wrote Comic Books” Speaks Out . . . . . . . . . . 3
Jim Shooter’s first decade at DC Comics—and a bit about Marvel, too—told to Richard Arndt.
Dan Barry: The Latter Days Of Flash Gordon & A Return To Comic Books . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Concluding Alberto Becattini’s study of a controversial artistic talent.
Mr. Monster’s Comic Crypt: In The Interests Of Science! . . 47 Michael T. Gilbert talks about his very first comic strips.
Comic Fandom Archive: Survivors Of The First Comicon . . 55 Bill Schelly presents the 50th-anniversary panel of those who were there—in 1964!
In Memoriam: Herb Trimpe . . . . . . . . . . . . . . . . . . . . . . . . . . 60 re: [correspondence, comments, & corrections] . . . . . . . . . 66 FCA [Fawcett Collectors Of America] #196 . . . . . . . . . . . . . .73 P.C. Hamerlinck ushers in Gerald Edwards’ take on Fawcett in the UK—1943-62!
On Our Cover: As it happened, the cover that accompanied one of Jim Shooter’s earliest comics— and which is probably based on a cover sketch by the then-14-year-old writer of “Tales of The Legion of Super-Heroes”—turned out to be the perfect image to accompany our unabashed interviewee’s commentary on his early career, which began half a century ago. Pencils by Curt Swan; inks by George Klein. See the original printed cover of Adventure Comics #352 (Jan. 1967) on p. 30 of this issue. Thanks to Doug Martin; the photo of young Jim Shooter first appeared on the writer’s blog. [Art TM & © DC Comics.] Above: Jim Shooter’s script for an early Superman-vs.-Flash race, in Superman #199 (Aug. 1967), brought gambling and organized crime into the mix for 24 pages. Art by Curt Swan & George Klein. Thanks to Doug Martin. [TM & © 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: $67 US, $85 Canada, $104 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.
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writer/editorial
A
“It Was 50 Years Ago Today...”
t the very outset of my comics career, and several years before we met even in passing, Jim Shooter made me feel old.
It occurred sometime during the two weeks I worked for “Superman” editor Mort Weisinger. Jim himself, in this issue, is uncertain precisely when he submitted his first script to Mort from Pennsylvania. He thinks it was “sometime in June 1965, or a little later.” As it happens, I’m in a position to attest it couldn’t have been any later than early July of that year, and may have been late June. For, I arrived in New York City on Monday, June 28th, ready to begin my new job as Weisinger’s editorial assistant on the seven “Superman” and “Superboy” titles. Mort speedily arranged a hotel room for me and sent me there, with instructions to start work the next morning. After the July 4th holiday, I worked Tuesday through Friday of the next week, July 6th through 9th… before, already fed up with Weisinger’s browbeating, I accepted a job offer from Stan Lee and was at once ordered out of the DC offices. Sometime during one of those eight workdays, Mort accosted me in the halls and proudly waved in my face a script (it must've consisted of penciled art layouts, as well) that he said was from a youngster… “a kid,” “a teenager,” I don’t recall the precise word… who was clearly way younger than I myself was. (I was 24. Jim, I’d learn later, was still a bit shy of 14!) Weisinger was volubly impressed with the script and clearly intended to buy it, far as I could tell. It pretty much had to be Jim’s first script for the “Legion of Super-Heroes” series in Adventure Comics. Mort made no comparisons, invidious or otherwise, between Jim’s first submitted script and my own initial “Jimmy Olsen” one, written that spring while I was still in Missouri, and which I was to rewrite at some future date. But I can’t believe that any comparison at that time would’ve been worded to my advantage. How in the world can I—or Jim, for that matter—reconcile the
above not dissimilar memories with Jim’s recollection that Mort only purchased that script, plus several others, in one fell swoop in February 1966—at least seven months after I saw it? I won’t even try, except to say: “Weird were the ways of Weisinger.” I don’t recall hearing anything more about Jim Shooter— including, quite possibly, his very name—during those two truncated weeks; but in the ensuing months, there was much talk in comic fandom circles about the teenage “Superman” writer. Then, in 1969, Jim was suddenly working on staff at Marvel in some capacity; he gives the how and why this issue. (I don't recall ever knowing before.) We had little contact. I’m sorry to say I never sought him out, and if he made any attempt to engage me in conversation, I don’t remember that, either. Of course, if he’d stuck around a while, we definitely would’ve talked…but then, suddenly, after only three weeks, he was gone, and I didn’t know why (and was too preoccupied to try to find out). I’ve always kind of regretted that. It was a missed opportunity for both of us.
It’s well known now that Jim and I had—to put it simply—differences back in 1980. But those differences are neither here or there. Jim Shooter is an undeniable comic book talent; and 2015, just ending, is the 50th anniversary of his entry into the field as much as it is mine. So I felt it was high time he was featured in Alter Ego, and I appreciate his consenting to be interviewed by Richard Arndt. Their talk was intended to deal with Jim’s first decade in comics (1965-75), but the two of them also got off onto the topic of the Marvel years—and I’m proud to present the entirety of their conversation. Happy 50th to you, Jim—from one who started out in 1965 ten years ahead of you—or ten years behind you, depending on how you count it! Bestest,
COMING IN FEBRUARY
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Science-Fiction Great
HARLAN ELLISON
On CAPTAIN MARVEL, MR. MIND, & THE MONSTER SOCIETY OF EVIL!
t holders; Art © the respective copyrighd TM & © DC Comics. Min Mr. and on, Bats Billy , Shazam hero
• Vintage cover art by Captain Marvel co-creator C.C. BECK! • Special double-length FCA [Fawcett Collectors of America] section! HARLAN ELLISON, author of such SF classics as A Boy and His Dog and groundbreaking editor of Dangerous Visions, talks to BRIAN CREMINS about the enduring impact of the landmark “Monster Society of Evil” serial in Captain Marvel Adventures #22-46 (1943-45)—with art & artifacts by BECK, BINDER, CROWLEY, BESTER, ORLANDO, NEWTON, & others! Plus—BECK himself on the DC/Fawcett lawsuit of the 1940s & ’50s, when Superman took on the World’s Mightiest Mortal! • The blockbustin’ bibliography of AMY KISTE NYBERG’s Seal of Approval—and two titanic tributes to Golden Age artist FRED KIDA! • Plus—Mr. Monster’s Comic Crypt, Comic Fandom Archive, & MORE!!
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“The Kid Who Wrote Comic Books” Speaks Out! JIM SHOOTER On His First Decade In The Biz—And Then Some! Interview Conducted & Transcribed by Richard J. Arndt
I
NTERVIEWER’S INTRODUCTION: Jim Shooter was born in Pittsburgh in 1951 and saw his first story written for comic books appear in Adventure Comics #346 (July 1966), when he was just fourteen. For the next four years, he drew pencil layouts for every story, including covers, that he wrote for DC Comics. Those stories ranged from the adventures of “The Legion of Super-Heroes” to “Supergirl,” “Superman,” and “Jimmy Olsen,” spread over various titles. He left DC for a short stint at Marvel in 1969, then vanished from the mainstream comic scene for six years. He returned to write for both DC and Marvel in 1975 and became an associate editor at Marvel in 1976. In 1978 he became the editor-in-chief of Marvel Comics and continued in that job until 1987. In 1989, he attempted to actually purchase Marvel but was unsuccessful. In 1989, Shooter launched Valiant Comics, which
revived Dell/Gold Key titles such as Magnus – Robot Fighter, Turok, and Doctor Solar, as well as beginning new titles, including The Eternal Warrior, X-O Manowar, and the team of Archer and Armstrong. Shooter parted ways with Valiant in 1992 and launched Defiant Comics in 1993. Defiant lasted only a little more than a year. In 1995 Shooter launched yet another comic book company—Broadway Comics—but the company folded when it was sold to Golden Books. Since then, Shooter has worked periodically for Acclaim Comics (which was a renamed version of Valiant Comics), Marvel Comics, DC Comics, and Dark Horse Comics. He also writes a blog on his comic experiences and his views on modern day comics at www.jimshooter.com. This interview was conducted by phone on February 14, 2015.
I Was A Teenage “Superman” Writer Jim Shooter (at top of page) as a teenager—and two prime products from those years: the “Tales of The Legion of Super-Heroes” splash page of Adventure Comics #346 (July 1966)—and the lead splash from Superman’s Pal, Jimmy Olsen #110 (April ’68). The former is the first story Jim ever sold, and was written in the summer of ’65, when he was thirteen; the latter was produced as he neared the end of his first tenure as a DC Comics writer, which lasted into 1969. The first yarn was drawn by Sheldon Moldoff from Shooter’s layouts; the second was penciled by Curt Swan and inked by George Klein. Thanks to Doug Martin. The photo came, originally, from Shooter’s blog, although we picked it up from the Internet. [Pages TM & © DC Comics.]
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Jim Shooter On His First Decade In The Biz—And Then Some!
JIM SHOOTER Checklist [This checklist is adapted from information in the online edition of The Who’s Who of American Comic Books 1928-1999, established by Dr. Jerry G. Bails. Names of features that appeared both in comic books with that title and in other magazines, as well, are generally not italicized. Key: (w) = writer; (a) = full artist; (p) = penciler; (i) = inker. Jim Shooter sent penciled layouts with all his early scripts for DC Comics, but since these were mere guides for the penciler, not intended to be pencils for that artist to trace, we have not listed them in this checklist—but that does not mean that Jim Shooter did not contribute materially to the artistic storytelling of those tales. Some of this data was supplied to the Who’s Who by Jim Shooter himself; the Who’s Who covers the years through 2006.] Name: James Charles Shooter (b. 1951) business; editor; writer; artist; colorist Pen Names: Ken McDonald, Paul Creddick Influences: Jack Kirby, Mort Weisinger, Stan Lee, Steve Ditko Print Media (non-comics): writer – books: After the Dinosaurs (1989); The Official Marvel Comics Try-Out Book (1983). Novel: The Avengers (1979), Marvel Performing Arts: Actor: Nannaz (1983); co-creator of film project Copperhead: The Legend of Mongrel (1983) Commercial Art & Design: Art director/advertising: Lando/Bishopric (Pittsburgh; circa early 1970s) Honors: Comics Buyer’s Guide Award Favorite Editor (1984); Inkpot Award – San Diego Comic-Con (1980) Creator: Captain Action (comic character tie-in with toy) and several members of DC’s Legion of Super-Heroes (see main text) Promotional Comics: Advertising comics (w) for U.S. Steel (date unknown) Fan & Trade Zines: Brimstone (w)(a) 1968; Comics Journal (contributor) #51-52, #89, #96 – 1979/1984-85 COMIC BOOK CREDITS (U.S. Mainstream Publications):
Acclaim Comics (imprint: Valiant): Archer and Armstrong (w) 1992; covers & back covers (p) 1991; editorials (w) 1991-92; Eternal Warrior (w) 1992; Game Boy (p) 1990; Harbinger (w) 1992; Magnus (w/some p) 1991-92; Rai (p) 1991; Shadowman (w) 1992; Solar, Man of the Atom (w) 1991-92; support (editor-in-chief/president) 1990-92; Unity (w) 1992; WWF Battlemania (p) 1991; X-O Manowar (w) 1992 Continuity Comics: The New Heroes (w) c. 1989 Dark Horse Comics: Predator vs. Magnus, Robot Fighter (plot) 1992 (imprint: Acclaim) DC Comics: Captain Action (w) 1968-69; Jimmy Olsen (w) 1966-69; Legion of Super-Heroes (w/some layout p) 1966-70, 1975-78; Spider-Man and Superman (w) 1981 (inter-company crossover with Marvel Comics); Superboy (w) 1967; Supergirl (w) 1966-67; Superman (w) 1966-69, 1975 Defiant Comics: The Defiant Universe (w) 1993; The Defiant Universe (w) 1994 graphic album; Michael Alexander (w/plot) 1993-94 Marvel Comics: The Avengers (w) 1976-82; The Black Panther (w) 1979; Captain America (w) 1979, 1981; Captain Marvel (w) 1978; Crystar (w) 1983; Daredevil (plot) 1985, (w) 1977-78; Dazzler (adaptation of movie script) 1984; Dazzler (w) 1983-85; Fantastic Four (w) 1977, 1986; Ghost Rider (w) 1977; Hulk (w) 1980; Iron Man (w) 1976-77; Marvel Super Heroes Secret Wars (w) 1984-86; Ms.
Shooter’s Pal, Jimmy Olsen Jim Shooter scripted and Pete Costanza drew (probably from JS’s layouts) this tale for Superman’s Pal, Jimmy Olsen #121 (July 1969). Thanks to Doug Martin. [TM & © DC Comics.]
Marvel (w) 1977; Spider-Man (layout p) 1981; (p)(i) 1987; (w) 1977; Spider-Man and Hulk (w) 1983; Spider-Man and Superman (w) 1981 (inter-company crossover with DC Comics); Star Brand (w) 1986-87; Storm, Tigra, Wasp, and She-Hulk (plot ) 1985; SubMariner and Dr. Doom (p) 1976), (w) 1975; support (editorial assistant 1969, assoc. editor 1976-77, editor 1977-78, editor-in-chief 1978-87, production/colorist 1976-78; text (w) 1982-84; Thing and Black Goliath (w) 1977; Thing and Thor (w) 1977; Thor (plot) 1987; Tigra (w) 1976; What If Avengers…? (w) 1977, 1982; X-Factor (plot) 1986; X-Men: Heroes for Hope (w) 1985
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The Many Facets Of DAN BARRY: The Latter Days Of Flash Gordon —And A Return To Comic Books The Final Chapter Of Our Look At A Controversial Artistic Talent by Alberto Becattini
A/E
EDITOR’S INTRODUCTION: Issues #130, 131, & 134 presented the first three parts of this artistic biography of Dan Barry (1923-1997). Unless otherwise noted, all art and photos accompanying this article were provided by Alberto Becattini. In his day, Dan Barry was both a leading comic book illustrator and the long-running force behind the iconic Flash Gordon newspaper comic strip that had been created in 1934 by Alex Raymond. The earlier installments dealt with Barry’s comic book career; his and King Features’ 1951 re-launching of the daily Flash Gordon strip (dormant for seven years since Mac Raboy’s death); and Barry’s first three decades of work on it, often with the help of a revolving door of friends and hired scripters and artists, with many of whom he had an often difficult relationship, including important artistic collaborator Bob Fujitani. In early 1978, Barry hired comic book artist Rich Buckler to ghost the daily strip, while he and Fujitani moved toward a parting of the ways after Barry unilaterally altered the financial terms under which they were co-creating a poster for the early-’80s Flash Gordon film produced by Dino DeLaurentiis. Fujitani kept drawing the strip for a time, despite their estrangement….
Four Decades Of Dan Dan Barry in Connecticut, early 1970s—flanked by a primo example of his early comic book work (a “Vigilante” splash for Action Comics #145, June 1950) and the Flash Gordon comic strip daily for April 11, 1977, drawn by Barry and Bob Fujitani (reproduced from a scan of the original art). The photo is courtesy of Fujitani and Shaun Clancy, via Alberto Becattini. [“Vigilante” splash TM & © DC Comics; Flash Gordon strip TM & © King Features Syndicate, Inc.]
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Mr. Monster’s Comic Crypt!
“In The Interests Of Science!” by Michael T. Gilbert
P
reviously, “The Crypt” spotlighted my “lost” late-’70s Berkeley Barb comic strip, Inkspots. At the time I stated that it was my first attempt at a newspaper strip. But that’s not quite true. My very first strip—and indeed my very first completed comic story—was one I drew shortly after graduating high school. A few months earlier, I’d met a fellow Commack High student at a gathering at my old girlfriend’s house. Harvey Sobel was a couple of years younger, but the two of us were rabid comic fans and quickly hit it off. A few months later, he called and asked if I’d be interested in illustrating a sci-fi comic strip he’d come up with called In the Interests of Science. Earlier, I’d attempted a couple of comic book stories, but my
ambitions outstripped my abilities and I’d given up after a page or two. But this was different. Harvey planned to offer the strip to our high school paper, Varohi. The paper came out monthly, which meant I only had to do one daily strip every 30 days. Even at my snail’s pace, that sounded quite doable. I was still living on Long Island with my parents while commuting to nearby Suffolk Community College, which made it easy for Harvey and me to collaborate. We also stayed in touch after I transferred to SUNY New Paltz (in upstate New York) a couple of years later. I hated lettering, so Harvey typed out the balloons and captions for me to cut and paste. With a month to draw four or five panels, you’d think it would be a snap getting the strips in on time. But college classes kept me busy, and I invariably found myself rushing to make my deadlines. The story of my life! But it was a great training ground, and the single-strip format gave me the opportunity to experiment with a variety of layouts and art techniques. At age nineteen, my drawing skills were nothing to write home about, but my storytelling was solid enough, thanks to years studying Eisner and Ditko.
In the Interests of Science! #2 & 3 [© 2015 Michael T. Gilbert & Harvey Sobel.]
In The Interests Of Science!
Scientific Experiments!
In the Interests of Science! #4-6 [© 2015 Michael T. Gilbert & Harvey Sobel.]
As a teenager, I was mesmerized by the art appearing in early issues of Warren’s Creepy and Eerie. Warren’s oversized black-&white format spurred Gray Morrow, Gene Colan, Reed Crandall, Alex Toth, and Steve Ditko to new artistic heights—and their
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mastery of wash, charcoal, pebble-board, and Craftint inspired me. In the Interests of Science! allowed me to try my own tiny experiments, month by month. For instance, I inked both the Nixon strip (on this issue’s intro page) and the last panel of strip #2 with a #000 Koh-i-noor mechanical pen. I quickly discovered why professional
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THE INCREDIBLE HERB TRIMPE
BONUS 100-PAGE issue as ROY THOMAS talks to JIM AMASH about celebrating his 50th year in comics—and especially about the ‘90s at Marvel! Art by TRIMPE, GUICE, RYAN, ROSS, BUCKLER, HOOVER, KAYANAN, BUSCEMA, CHAN, VALENTINO, and others! Plus FCA, MR. MONSTER’s Comic Crypt, AMY KISTE NYBERG on the Comics Code, and a cover caricature of Roy by MARIE SEVERIN!
Science-fiction great (and erstwhile comics writer) HARLAN ELLISON talks about Captain Marvel and The Monster Society of Evil! Also, Captain Marvel artist/ co-creator C.C. BECK writes about the infamous Superman-Captain Marvel lawsuit of the 1940s and ‘50s in a double-size FCA section! Plus two titanic tributes to Golden Age artist FRED KIDA, MR. MONSTER, BILL SCHELLY, and more!
JIM AMASH interviews ROY THOMAS about his 1990s work on Conan, the stillborn Marvel/Excelsior line launched by STAN LEE, writing for Cross Plains, Topps, DC, and others! Art by KAYANAN, BUSCEMA, MAROTO, GIORDANO, ST. AUBIN, DITKO, SIMONSON, MIGNOLA, LARK, secrets of Dr. Strange’s sorcerous “177A Bleecker Street” address, and more! Cover by RAFAEL KAYANAN!
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“Batman AND Superman!” Bronze Age World’s Finest, Super Sons, Batman/Superman Villain/Partner Swap, Jimmy Olsen and Lois Lane go solo, Superman/Radio Shack giveaways, and JLA #200’s “A League Divided” (as a nod to Batman v. Superman)! Featuring work by BRIAN BOLLAND, RICH BUCKLER, GERRY CONWAY, JACK KIRBY, GEORGE PÉREZ, JIM STARLIN, and more. Cover by DICK GIORDANO!
“Comics Magazines of the ‘70s and ‘80s!” From Savage Tales to Epic Illustrated, KIRBY’s “Speak-Out Series,” EISNER’s Spirit magazine, Unpublished PAUL GULACY, MICHAEL USLAN on the Shadow magazine you didn’t see, plus B&Ws from Atlas/Seaboard, Charlton, Skywald, and Warren. Featuring work by NEAL ADAMS, JOHN BOLTON, ARCHIE GOODWIN, DOUG MOENCH, EARL NOREM, ROY THOMAS, and more. Cover by GRAY MORROW!
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55
Two Heartfelt Tributes To HERB TRIMPE, Artist I. The Accomplished Herb: A Remembrance HERB TRIMPE (1939-2015)
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by Jon B. Cooke
y the time I was in my teens, I’d seen a fair share of famous people. I had viewed the Queen of England visiting the Smithsonian Institution, watched President Richard Nixon zoom through Dublin in a motorcade, and shaken hands with Dr. Benjamin Spock at an anti-war fundraiser. But, go figure, all of those encounters pale beside my experience when, while walking along in New York’s Central Park, “Happy Herbie” Trimpe brushed by my brother and me while he was out taking a run. The Marvel Comics contributor, whom Stan Lee dubbed the Bullpen’s “smilin’ sunbeam,” was tall, dark, and handsome, no doubt about that, but what impressed Andy and me the most was that this was the incredible Herb-freakin’-Trimpe, stalwart artist on The Incredible Hulk, whose work had given us so much joy and who had proven, at the 1973 Comic Art Convention we were attending at the time, an all-around nice guy, always ready with a smile and warm greeting for his fans. Years later, Herb would confirm with an embarrassed chuckle that he did indeed take regular jogs through the park, and Roy Thomas recently remarked in this magazine that his dashing figure would be “mistaken for Alan Alda when he went running in Central Park, during the heyday of M*A*S*H on TV. (At least one guy yelled out to him, ‘Hey, Hawkeye!’ And they weren’t talking about an archer.)” If you had the pleasure of ever meeting Herb— and especially of becoming a friend—you’d agree that Heaven bestowed not only artistic talent on the late comics creator, but also that indefinable gift of charisma.
Robin Green, who had replaced “Fabulous Flo” Steinberg at the House of Ideas and would go on to fame as a writer on Northern Exposure and The Sopranos, discussed his sex appeal in her 1971 Rolling Stone feature about Marvel: “I had lunch with Herb, and it was good to talk to him. He’d been my favorite Bullpen artist, not just because I dug the way he drew the Hulk, but because he was so nice to look at. He’s incredibly handsome, tall, and wiry with deep-set eyes and black hair. He looks like a super-hero, like the Phantom Eagle, or a good-looking Hulk. Or maybe the Hulk looks like an angry, ugly him.” Obituaries about the artist, who passed away suddenly on April 13, at age 75, all invariably mention in the lead the fact he was the first to draw Wolverine in a story, sometimes mentioning that Trimpe years ago gave away the page of Incredible Hulk #180 that featured the mutant’s very first appearance (a page that fetched over $650,000 in auction for a fan named Ben, who, it must be said, donated a sizable chunk of the proceeds of that sale to Hero
Two Tall, Two Dark, One Handsome… (Top left:) An undated snapshot of the “tall, dark, and handsome” Herb Trimpe, shared by his second-oldest daughter Amelia, via Jon B. Cooke. (Above:) A detail from Trimpe’s back-cover art for the “Hulk on the Rampage” issue of Marvel Treasury Edition (#5, 1975), depicting Dr. David Bruce Banner in various stages of metamorphosis changing into Ol’ Greenskin. Thanks to JBC. [TM & © Marvel Characters, Inc.]
Initiative, as well as giving a chunk of the remainder to the artist, in gratitude for his generosity to a kid). But, most of all, they describe the freelancer’s long association with a certain greenskinned goliath, a character he drew for nearly eight years. In the fourth volume of the Marvel Masterworks: Incredible Hulk collection, Trimpe wrote, “Me being a textbook Gemini, the Hulk and I suited each other very well. People have commented on this, and I reluctantly admit that there were times when I related very closely to the Hulk’s dual personality.” Trimpe’s second daughter, Amelia, shares: “Herb was a fantastically complex man.” And that is certainly true. The guy was
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Comic Fandom Archive
Survivors Of The First Comicon Fans “Who Were There” Appear On Panel To Celebrate 50th Anniversary Of The First-Ever Comics Convention The Panelists: BERNIE BUBNIS, LEN WEIN, ETHAN ROBERTS, HOWARD ROGOFSKY, ART TRIPP, FLO STEINBERG, and RICK BIERMAN
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guest column by Bernie Bubnis that appeared in A/E #118 (July 2013).
Introduction by Bill Schelly
n July 27, 1964, comic fans from the New York and New England area—as well as a number of fans from states to the west, such as California—gathered at the Workmen’s Circle Building in Manhattan for what is generally considered the first comic book convention. The Comic Fandom Archive presented a special feature describing the event in detail in Alter Ego, Vol. 3, #7 (Winter 2001). “The 1964 New York Comicon—Two Views” consisted of an article by Ethan Roberts, who was part of the organizing effort, and a discussion of Bernie Bubnis’s 1964 Comicon Souvenir Booklet by Yours Truly. (A few copies of that issue are still available at www.twomorrows.com.) This panel transcript serves as a perfect adjunct to that original piece, and to the
The “Survivors of the First Comicon” panel was organized by Ethan Roberts, who chaired it and taped it for posterity. The panelists were Ethan himself, Bernie Bubnis, Len Wein, Howard Rogofsky, Art Tripp, Flo Steinberg, and Rick Bierman. As you’ll discover, due to certain technical deficiencies of the recording and to some panelists’ tendencies to ramble, the discussion in places is a bit difficult to follow. However, the CFA is dedicated to presenting such important historical moments, whatever their vagaries—and with a minimum of editing. In that spirit, we present the following piece, transcribed by Brian K. Morris. First, however: I asked Ethan to write a brief piece describing how the panel came about….
On The Button (Clockwise images, from above left, of the “Survivors” panel members, around the Comicon 1964 button designed by Art Tripp:) Group shot of most of the panelists. (Standing, left to right:) Bernie Bubnis, Art Tripp, Rick Bierman, Ethan Roberts. (Seated:) Len Wein. Howard Rogofsky; photo courtesy of Aaron Caplan. Flo Steinberg (with the afore-seen Bernie Bubnis); photo taken by Bernie’s wife Lucille.
Survivors Of The First Comicon
Putting On The “Survivors Of The First Comicon” Panel By Ethan Roberts Fifty years is a long time. The first comicon, held July 27, 1964, with 44 attendees, has now been superseded by events with over 100,000 individuals. In 2012 it looked to me as if no one was paying attention to the con’s upcoming anniversary. Public memory is short. Most comic book enthusiasts weren’t alive for the first comicon. Comicon focus had shifted from Manhattan to San Diego. I thought the 50th anniversary should be commemorated. So I decided to do something. For me, San Diego could not be the proper place anyway. San Diego celebrates its own milestones, but not those of other comicons. It had to be Manhattan. For two years, I tried to interest ReedPop, sponsors of the New York Comicon (the largest NYC comicon) to host a celebration. I got no commitment. In early 2014 I tried again. A young female representative of ReedPop was favorably disposed to the idea. With that encouragement, I tried to invite survivors of the first con to the celebration. I attempted to find attendees in several ways. I contacted Roy Thomas and Bill Schelly. I put announcements with attendee names on the CFA-APA and comicart-l websites. I went on “white pages” computer sites to look for NYC area residents with rare names. There were too many Howard Levines or Thomas Wilsons to find the right ones. I checked names by age (64-70) to determine possibility and sent them letters. I was able to contact the panel members plus Joe Azzato, Paul Gambaccini, Steve Keisman, Phil Liebfred, George R.R. Martin, Carole Seuling, Paul Vizcarrondo, Rick Weingroff, Malcolm Willits, and Andrew and Patricia Yanchus. Some did not want to come. Some could not
Members Remembered (Above:) Dr. Jerry Bails, fandom founder who first got the ball rolling for the 1964 comicon—by appointing fan George Pacinda to organize it. 1960 photo. (Right:) Roster of the “members” of the 1964 New York Comicon, as published in the comicon booklet published by Bernie Bubnis after the event. Ethan writes: “The list is not completely accurate. Jerry [Bails] did not make it to the First Con. I found out later than Pat Yanchus was there but not listed….” Unfortunately, due to policies of the New York Comic Con, Ethan found himself unable to get Andy and Pat Yanchus, or Carole Seuling and her daughter, free tickets to attend the panel, even though they had attended the con in 1964. Oh, and incidentally, despite Ethan’s addressing him tentatively at the start of the panel, Paul Gambaccini, who has been a major presence on BBC-Radio for decades, was not at the con, though he had hoped to attend and Ethan thought perhaps he had showed up at the last moment.
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come (illness, funding, other commitments). Some wanted to, as you will see. Complications arose. I found out on June 14, 2014, that a panel spot was not assured. I had to apply for one, which I did. Our spot was confirmed on August 23, 2014. Unfortunately, tickets to the con began selling earlier in August, without my knowledge. By the time I learned about the situation, tickets were only available through ticket brokers. Prices were $100 a day rather than $35. I could only get five free tickets for panel members. Some survivors could not afford to buy tickets at $100 and didn’t come. I wish more could have attended. I think the panel was a success, but it would have been better had more survivors been able to attend.
And Now—The Transcript: ETHAN ROBERTS: If there are any other survivors who are in the audience or weren’t formally on the panel… I’ve been looking for Len Wein. He’s still to show up. Paul Gambaccini… anyone else who was at that first convention, we have a couple of extra chairs. You’re welcome to come up and sit. [pause] Folks, it’s closing in on time. We have a couple of panelists who haven’t made it, but we’re going to get started. This is the “Survivors of the First Comicon” panel. [audience cheers] We are here. We are all slightly older than we were on July 27th, 1964. MALE AUDIENCE MEMBER: You need to be louder.
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Britain’s Fawcetts— L. Miller Style! Captain Marvel & Co. In The UK—1943 To 1962 by Gerald Edwards Edited by P.C. Hamerlinck
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ritish publisher L. Miller & Son, Ltd., used their country’s ban on importing printed matter to their full benefit (and to the satisfaction of UK comics fans) by producing hundreds of British editions of American comic books for 23 years— predominantly comics that had originally been published in the United States by Fawcett Publications… an association which eventually led to the 1954 creation of their Captain Marvel byproduct known as Marvelman. (The full story of Miller’s hybrid hero was told in Alter Ego #87, July 2009.) Established in 1943, Leonard Miller and his son Arnold signed a licensing agreement with Fawcett Publications two years later and launched their line of Fawcett black-&-white reprint comics with their own versions of Captain Marvel Adventures, Whiz Comics, The Marvel Family, and Captain Marvel Jr. L. Miller also went on to publish other Fawcett-originated books Marvel Family Values over the years (most with patchy Variant UK covers that you probably never knew existed! Many of the British firm L. Miller’s reprints of U.S. Fawcett frequency), including: Gift Comics, material utilized 100% of the cover proof art, unlike the American versions—as seen here with Miller’s larger-sized Marvel Master Comics, Wow Comics, Mary Family #59 from 1951 (reprinting the Beck-Costanza cover and contents from U.S. issue #19, Jan. 1948) … and, with a Marvel (1 issue), Spy Smasher, later Miller issue, #88 (reprinting the Pete Costanza cover and material from Fawcett’s Marvel Family #54, Dec. 1950), Bulletman, Captain Midnight, Ibis revealing even more “expanded” proof art, if you look close enough. Afraid you’ll have to seek out the U.S. covers in the the Invincible, Lance O’Casey, Grand Comics Database or somewhere, though—we’ve barely room to print all these UK covers, let alone their U.S. forebears! All covers accompanying this article courtesy of Gerald Edwards. [Shazam heroes TM & © DC Comics.] Nyoka the Jungle Girl, Captain Video, Don Winslow of the Navy, takes us on L. Miller & Son’s sprightly journey throughout the Golden Fawcett’s Funny Animals, Slam-Bang, Puppetoons, Battle Stories, Age of Fawcett comics in the UK. —P.C. Hamerlinck. Soldier Comics, Life Story, Romantic Story, Romantic Secrets, Bob Swift, Mike Barnett, Motion Picture Comics, Fawcett Movie Comic, and numerous Western titles: Golden Arrow, Rod Cameron, L. Miller’s Tale Hopalong Cassidy, Bill Boyd, Ken Maynard, Bob Colt, Bob Steele, After the end of World War II, Britain had no spare foreign Lash Larue, Rocky Lane, Tom Mix, Tex Ritter, Monte Hale, Young currency to trade with the United States. This meant that no Eagle, Western Hero, Six-Gun Heroes, Smiley Burnette, and Gabby American comic books could be imported into Britain; this Hayes. In their heyday, some titles were even bestowed with deluxe situation lasted until late 1959. In the meantime, in order to meet hardcover annuals. the demand for U.S. comics, some enterprising British companies By the late ’50s, the Fawcett super-heroes were long gone, and Miller bought the rights to reprint American comics in Britain. One of the had dropped all their cowboy books. Even their very own Marvelman had biggest of these companies was L. Miller & Son of London, shouted “Kimota!” one last time in 1963, after a prodigious 9-year run. L. England. Len Miller owned the company and partnered his son, Miller held on for a few more years, publishing pre-Code horror/mystery Arnold. (Later on, Arnold split away and formed his own comic comics before shutting their doors for good in 1966. book company called ABC—Arnold Book Company. They published many of the EC horror titles that were later banned, just Great Britain resident and erudite comics connoisseur Gerald Edwards like in America.)
Britain’s Fawcetts—L. Miller Style!
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For example, the L. Miller Ibis the Invincible comic showcased in this article is the only copy known to exist. This particular issue, circa 1948, partially reprints the contents of the original U.S. Ibis the Invincible #5 (Fall ’46). The cover is slightly different, reflecting the removal of the cents price and U.S. issue numbering. The beauty of the Miller comics is their deviation from their U.S. counterpart covers, thus giving Fawcett collectors an alternative or “variant” cover to add to their collections. Miller obviously had access to Fawcett’s original cover proofs. As many collectors are aware, cover proof artwork tends to be slightly larger than the final product, and allows for a full bleed of the image. Due to their size, many Miller covers have “extra artwork” at the edges of the cover image. Some of the early-’50s Miller reprints were What Is So Rare As A Day In June? Well, As A Matter Of Fact… quite a bit larger than standard Many early L. Miller comic books had a low survival rate. So, unless if you have one of these two old British issues comic size… then they became the stashed under your bed, then only one copy of each book is known to exist! The Miller Ibis the Invincible—circa same dimensions as US comics… 1948—partly reprints Fawcett’s Ibis the Invincible #5 (Fall ’46), cover art by Gus Ricca… and the Miller Whiz Comics and were later reduced to be even #50 (actually #1) reprints material from the U.S. of A.’s Whiz #115 (Nov. 1949), with art by Kurt Schaffenberger. smaller in size! It appeared that If these two issues were any rarer, they’d be nonexistent! [Shazam hero & Ibis TM & © DC Comics.] Miller used different printers, so the sizes of their comics often varied. L. Miller & Son had a deal with Fawcett Publications and took a The covers were altered in Britain to insert the L. Miller name and large part of their previously published comic book inventory and new numbering, and to take into account the various differing reprinted it in London for the British market. This led to many comic sizes, yet in all cases the “expanded” artwork still retains a Fawcett comics titles being reprinted in unusual combinations and seamless look to it. L. Miller simply used the entire cover art on the often with divergent, British-produced covers, to a greater or lesser proof. The “extra artwork” modification on the Miller covers extent. presents even more appeal to the Fawcett aficionado. At the core of Miller’s reprint objectives were Captain Marvel and family, as well as the rest of the Fawcett heroes. Many Fawcett Into The 1950s Western books were also produced. In fact, L. Miller turned their In June of 1950, undoubtedly as a result in an easing of wartime hand to just about anything they could get the rights for. The restrictions, L. Miller started a new series of monthly issues of British comic market had only just begun to recover by April of Fawcett title reprints. This was the first regular series of books that 1950 with the arrival of Eagle featuring “Dan Dare.” At this stage, was ongoing and had consecutive numbering. They mainly started Miller comics were already well-established. They had started from issue #50, so as to appear to be a long-standing magazine; earlier publishing comics, beginning in the mid-1940s with just a consequently, any issue bearing “No. 50” is actually issue #1. handful of Fawcett comics titles. These initial Fawcett-Miller reprints were un-numbered and photogravure in nature—basically The comic size dimensions increased only for The Marvel Family just newsprint publications with covers containing minimal colors, and Whiz Comics. The other titles remained closer to U.S. comic and with interiors mainly in black-&-white. sizes. The larger-sized Whiz and Marvel Family only lasted 20 issues each before reverting to a standard U.S. comic book size. These Only the prime Captain Marvel/Fawcett titles were reprinted in early issues were printed in France; hence the probable reason for Miller’s early days. They were issued very haphazardly during the their size disparity. Page numbers also were variable… 28-, 32-, ’40s, undoubtedly because there was still rationing in Britain and and 36-page comics were printed, perhaps due to paper shortages paper was hard to come by. These early Miller comics were at given times. Generally, the British versions had a smaller page unpriced, as they were designed to be sold by street traders or count, and not all the stories from the U.S. Fawcett edition would small corner shops, so a fixed price was not necessary. The early be in the Miller British edition. This was another cover variation to Miller-Fawcett reprints are extremely scarce, due to the poorthe books, since at times a reader could see the name of a strip that quality paper not surviving the passage of time, and the relatively had been dropped in the British version. It was all a bit unsyslow print runs. They are also difficult to quantify, because there are tematic, and in some cases completely inaccurate. no records extant from this early period; hence no one can be sure exactly what was printed. (Because of this rarity, all L. Miller The cover of L. Miller’s Whiz Comics #50 (reprinting U.S. version comics pre-1950 are in the Gerber 8/9/10 categories and, I suspect, #115, Nov. 1949), has Golden Arrow pictured in the circle at the top all will be Gerber 10s, as they are rarely seen.) of the cover, but he does not actually appear in the comic. Also,