Roy Thomas' Always-Timely Comics Fanzine
MARTIN GOODMAN PRESENTS
MARVEL COMICS (1939-1971)
Art © 2020 Drew Friedman
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AND THAT MEANS YOU’RE GONNA SEE PLENTY OF: STAN LEE JACK KIRBY JOE SIMON BILL EVERETT CARL BURGOS LLOYD JACQUET SYD SHORES JOE MANEELY STEVE DITKO JOHN ROMITA DICK AYERS DON RICO ALEX SCHOMBURG MARIE SEVERIN WILL MURRAY ROY THOMAS & MANY MORE!
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No. 165 September 2020
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Vol. 3, No. 165 / Sept. 2020 Editor
Roy Thomas
Associate Editor Jim Amash
Design & Layout
Christopher Day
Consulting Editor John Morrow
FCA Editor
P.C. Hamerlinck J.T. Go (Assoc. Editor)
Comic Crypt Editor
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Michael T. Gilbert Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich, Bill Schelly Rob Smentek William J. Dowlding Drew Friedman
With Special Thanks to: Heidi Amash Pedro Angosto Ger Apeldoorn Bob Bailey John Benson John Brezina Ricky Terry Brisacque Frank Brunner Bernie Bubnis John Cimino Adam Cohen Maddy Cohen Comic Book Plus (website) Chet Cox Teresa R. Davidson Craig Delich Wendy Everett Justin Fairfax Shane Foley Drew Friedman Jeff Gelb Janet Gilbert Grand Comics Database (website) Gary Groth Heritage Auctions Sean Howe Maureen Jones Sharon Karibian
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Jim Kealy Mark Lewis Jim Ludwig Nancy Maneely Marvel Database (website) Harry Matetsky Robert Menzies Brian K. Morris Ron Murphy Will Murray Michelle Nolan Peter Normanton Barry Pearl Chris Petry J.C. Preas Warren Reece David Saunders Cory Sedlmeier Tara Seymour Mark Storchheim Stripper’s Guide (website) Dann Thomas Jean Thomas Mike Tiefenbacher Mark Trost Michael Uslan James Van Hise Dr. Michael J. Vassallo Derek Wilson
This issue is dedicated to the memory of
Bill Schelly & Martin Goodman
Contents
Writer/Editorial: In Remembrance Of Bill Schelly . . . . . . . . . 2 Marvel’s Founding Father—Martin Goodman . . . . . . . . . . . . 5 Will Murray on Timely’s original publisher, plus addendum by Mike Tiefenbacher.
Comic Fandom Archive: Tributes To Bill Schelly . . . . . . . . . 37 Jeff Gelb introduces a celebration of the life and work of a dedicated comics historian.
From The Tomb Presents: Step Into My Parlor . . . . . . . . . . 49 Peter Normanton on the horror (and other) art of the unique Rudy Palais.
Mr. Monster’s Comic Crypt! The PAM Papers – Part 7 . . . . 55 Michael T. Gilbert presents more of artist Pete Morisi’s letters to Glen Johnson.
John Broome: Anna & The “King” Of Iran . . . . . . . . . . . . . . 61 Part XII of the Golden/Silver Age comics writer’s offbeat 1998 memoir.
re: [correspondence, comments, & corrections] . . . . . . . . . 65 FCA [Fawcett Collectors Of America] #224 . . . . . . . . . . . . . 71 P.C. Hamerlinck’s conversation with Captain Marvel mega-collector Harry Matetsky.
On Our Cover: If you’re ever in a mood to view pictures of great comicbook creators that look even more like them than most of their photographs do, pick up a copy of Drew Friedman’s book Heroes of the Comics (2014), which is composed of portraits that manage to seem both like caricatures and photos at one and the same time. He followed it up with 2016’s More Heroes of the Comics. Amongst the many artists, writers, and editors portrayed in these two volumes is his rendition of founding Timely/ Marvel publisher Martin Goodman. Once we laid eyes on it, it was our first and only choice for the cover art for this Goodman-centered issue of Alter Ego, and we thank Drew for giving us permission to utilize it. [© Drew Friedman.] Above: Goodman’s comics were often reprinted abroad, of course. This (probably Mexican) “revista” titled Aventuras reprinted one of Human Torch creator Carl Burgos’ greatest-ever covers, originally drawn for Young Men #25 (Feb. 1954), the second issue in the mid-decade revival; scan courtesy of Ron Murphy. We’re sorry the bottom-of-page illos of Captain America and the Sub-Mariner are partly trimmed, but we printed every inch we had, honest! [TM & © Marvel Characters, Inc.] Alter Ego TM is published 6 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. Six-issue subscriptions: $67 US, $101 Elsewhere, $27 Digital Only. 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.
In Remembrance of BILL SCHELLY 2
writer/editorial
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his issue’s cover subject is Martin Goodman, and I’m very pleased to be presenting Will Murray’s coverage of the Timely/Marvel publisher, who loomed so large in the history of American comicbooks—even if he himself often told Stan Lee that he was far prouder of his “men’s-adventure” magazines, with their cover blurbs like “Hooker Heaven” and “Soft Flesh for the Nazis’ Fanged Doom,” than he ever was of Fantastic Four or Amazing Spider-Man. Still, this time around, I want to talk about my friend and colleague, Bill Schelly. Bill died of multiple myeloma last September 12th, not all that long after he’d been diagnosed with the disease. He was only 67— which may seem old to someone still covered by his/her parents’ life insurance, but is well below the national mortality average. And, over the past 2½ decades, he had become both the primary historian of the comics fandom movement that began in the early 1960s (of which he’d been a part, a few years later) and the most eminent biographer of major Golden and Silver Age figures of the comicbook world. I’ll let Jeff Gelb, the man who was perhaps Bill’s best friend, briefly relate Bill’s own biography and introduce the first few of an outpouring of tributes to him, beginning on p. 37. Here, I’ll just say a few words about the Bill Schelly I knew, liked, and respected. We first “met,” it should surprise no reader of this magazine to learn, through the U.S. mails, when, in the early 1990s, he sent me one or more of his recent publications. I had been unaware of his earlier Sense of Wonder fanzine, because by the time he launched it I was already ensconced in the world of professional comics and saw relatively few amateur offerings.
One of the items he sent me was his 1992 Ronn Foss Retrospective, which had been a part of the publication Capa-Alpha, the cooperative “comics amateur press alliance.” Mostly, I think, he wanted to see what I thought of that noted fan-artist’s claim that in the mid-1960s he had withdrawn from collaborating with me on an adaptation of Gardner Fox’s paperback novel Warrior of Llarn because he felt I’d be taking too big a slice of any money that came in from (believe it or not) possible foreign reprints. I informed Bill that I had no memory of Ronn ever raising that issue with me; all I recalled was that at some point he’d suddenly abandoned the project, so I’d turned to new correspondent Sam Grainger as his replacement. That settled, Bill and I moved on to other topics over the course of an occasional exchange of letters. A couple of years later, he told me he was writing a history of 1960s comics fandom (he tended to drop the “s” in “comics”) and asked if I’d be willing to share my memories with him, since I’d been very active therein from 1961 through 1965. I responded with an enthusiastic yes, and so began a reasonably voluminous correspondence in which I answered any of his questions that I could. At that time, Ronn, Jerry Bails, Biljo White, Larry Ivie, and so many other prominent fans from those early days were still very much amongst us; and we were all determined, I think, to help Bill’s history be as good as we—and especially he—could make it. Later, I was honored when he invited me to pen the introduction to his book. The Golden Age of Comic Fandom (1995), from his own imprint Hamster Press, did not disappoint. Oh, Bill was soon made aware he’d shortchanged a few offshoots of early fandom, but his book immediately became, and remains, the definitive work on the
COMING IN AUGUST
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KURT SCHAFFENBERGER & ALEX ROSS (There’s More Than One Kind Of Golden Age!)
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• Fabulous Captain Marvel vs. Dr. Sivana cover by SCHAFFENBERGER! • P.C. HAMERLINCK throws twin FCA [Fawcett Collectors of America] spotlights on Golden/ Silver Age artist KURT S. (Captain Marvel, Ibis the Invincible, Marvel Family, Lois Lane) via biographer MARK VOGER & a San Diego Comic-Con panel—and on today’s ALEX ROSS (Marvels, Justice, et al.), showcasing his titanic “Echoes of Shazam!” tapestry depicting the multitude of super-heroes influenced by the original Captain Marvel as he relates the story behind that awesome artwork! • PLUS: BILL SCHELLY Tribute, Part II—MICHAEL T. GILBERT on Superman editor MORT WEISINGER—continuing JOHN BROOME’s memoir—FROM THE TOMB—& MORE!!
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In Remembrance Of Bill Schelly
subject. Except to the extent that Bill’s own later works expanded on and deepened our knowledge of that odd history. One favorable review of GACF—in Gary Groth’s Comics Journal, maybe—mentioned that the next step was for the editor/ publishers of various major early fanzines to put together “Best of” collections from their own mags. Reading that, and knowing that Bill had already set up his own publishing entity, I suggested to Bill that he and I work together on such a collection from Alter Ego, the fanzine I’d helped founder Jerry Bails start in early 1961 and had taken over in ’64. This time it was Bill’s turn to return an enthusiastic affirmative. And in 1997, not long after Bill helped orchestrate the first real Fandom Reunion in conjunction with a comics convention in Chicago, Alter Ego: The Best of the Legendary Comics Fanzine became the next offering from Hamster Press.
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amount of midnight oil. Along the way, Bill realized that, however much he loved being fandom’s historian, it wouldn’t, in and of itself, lead him into the more productive writer’s life he wanted for himself. Thus, since his first book, in 1982, had been a biography of silent-movie comedian Harry Langdon, he began thinking in terms of biographies of comics pros. I believe he said that it was my suggestion that his first subject might be the estimable Otto Binder, a science-fiction and comics writer who’d been both one of the major scribes of Fawcett’s “Captain Marvel” and a sort of informal “patron saint” of my own 1964-65 incarnation of Alter Ego. Bill had never had the privilege, as I had, of meeting Otto, but he was a born (and indefatigable) researcher, and Hamster Press’ 2003 Words of Wonder was all that any admirer of “Eando Binder” could have hoped for. It quickly sold out, and was republished a few years ago.
On his end, Bill went all out for the book. When the great Silver Age DC Bill realized that the editor Julius Schwartz next step was to hook up declined to actually with a somewhat bigger sit down and write an publisher, which could introduction to it, Bill help him reach a larger taped a conversation audience. Fantagraphics’ with him and, with Julie’s Gary Groth (beginning blessing, turned the gist on p. 42) will speak to of it into an introduction his association with Bill, which the irascible “Man which began with the Joe of Two Worlds” was happy Kubert biography Man of to claim as his own. When Rock. Best was published, Julie, And then I made a Bill, and I spent some sterling contribution to hours at a San Diego con Fans Forever Bill’s career—by turning autographing copies; Bill (Left to right:) 1960s comics fans Jerry Bails, Howard Keltner, Roy T., and Bill Schelly the down a request of his. often spoke of that as a night before the Fandom Reunion in Chicago, 1997. Unfortunately, Ye Editor is now the He phoned me to suggest high point of his life. I only one of this foursome still living. Photo by Dann Thomas. that his next biography was pretty juiced that day, be about me. However, too; Julie had been both whatever any prospective publisher might’ve thought of the idea an admired editor and a major reason I entered first the world of of a Roy Thomas biography in the early 21st century, and flattered fandom, then of pro comics. as I was, I immediately threw cold water on the notion, because I Like GAFC, Bill’s and my book eventually sold out its had (have) every intention of writing my own story; and, while Bill 1000-or-so print run and would later have a second edition. And, would otherwise have been far and away my (and my wife Dann’s) in fact, a second volume, collecting still more of the “best” of the first choice to tell that particular tale, I felt that, at that time, I just 1961-78 first run of Alter Ego. couldn’t give him the kind of access and information that he would have needed. Bill continued on his own path, with several more fine fandom-related publications, including eventually Founders So he cast around for a very little bit—and wound up writing of Comic Fandom. And by 1999, when A/E became a quarterly a biography of Harvey Kurtzman, the creator of Mad, and one magazine, I invited Bill to become an every-issue contributor, of the most influential humor-writers/artists/editors of the 20th focusing on comics fandom in the 1960s through the early ’70s. Bill century. Despite the fine books he wrote after it about Little Lulu’s titled his 6-page section the “Comic Fandom Archive,” and I was John Stanley and (the equally uncooperative) James Warren, Bill’s often amazed, over the next two decades, to see how much new Kurtzman book became his magnum opus, as he was well aware. information about that period and its participants that he could Still, I have little doubt that he would have come up with other turn up, rarely really repeating himself. Besides covering those stellar biographies to write, whether about comics-related figures still active in one way or another, he tracked down fans who’d long or perhaps by returning to film, which had been the focus of his been out of touch with anyone that either of us knew… and each first book. article, each interview, added to the mosaic of an era when fandom But it was not to be. and pro comics had many intersections. After all, Marv Wolfman, Len Wein, Rich Buckler, Dan Adkins, and Dave Cockrum were just a few of the many amateurs who, like myself, made the jump from fan to pro—and, in many cases, we owed a lot of our “main chance” to the fanzines over which we had burned a considerable
I was shocked in more ways than one when I was contacted last September by Bill’s good buddy Jeff Gelb to tell me that Bill was in the hospital with cancer and that the prognosis was not good. Somehow, Jeff said, Bill seemed to believe that he had told
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writer/editorial
me about his condition some time before… but I knew that was a false memory, perhaps caused by the illness. There’s no way I could have forgotten his sharing such horrendous news with me.
Fandom Archive” would arrive, had been an e-mail to congratulate him on the second edition of his memoir Sense of Wonder. I hadn’t really known (nor would I have cared) about Bill’s being gay, although I recall my late fan-mentor Jerry Bails once suggesting that possibility to me, though in a totally nonjudgmental way. We both shrugged it off. That was Bill’s business, not ours. But I was proud of him—and I know Jerry would’ve been, too, which would’ve meant even more to Bill—when he “came out” in the pages of that book, writing well and sensitively about that aspect of his life as well as of the rest.
Only a day or two later, while I was still waiting to hear how he was doing in the hospital’s care, Jeff contacted me again to tell me Bill had passed away. It felt like a kick to the gut.
Bill and I had never been super-close friends, I suppose. We didn’t really run into each other that often, although Dann and I were briefly guests in his home Sign On The Dotted Line during one late-1980s trip to Julius Schwartz, Roy, and Bill sign copies of the “Best of Alter Ego” book at the 1998 Seattle. He and I exchanged San Diego Comic-Con. Photo by Jeff Gelb. e-mails every few weeks, and Perhaps I’ll have more we talked on the phone from to say in the next issue of time to time—but mostly just when something important needed A/E, in the second installment of our tribute to him. Meanwhile, the to be discussed, never just to chat. Welcome as our conversations thing that comes most to mind is how proud I am to have been a always were to me, I’ve never really been one for talking much on colleague, a collaborator—and yes, a friend—of Bill Schelly. the phone. Bestest, One of my last communications with Bill, aside from occasionally checking about when the next installment of “Comic
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Marvel’s Founding Father – MARTIN GOODMAN The Rise & Fall & Rise Of A Comicbook Dynasty— As Seen In Part By STAN LEE Article by Will Murray
Martin Goodman
I. Silberkleit & Goodman
M
arvel Comics celebrated its 80th anniversary last year. Most of the attention fell on longtime editor, writer, and (later) publisher Stan Lee, which is only right, given that it was Lee’s editorial vision more than founding publisher Martin Goodman’s business acumen that created the comicbook renaissance known as the Marvel Age of Comics, which reverberates to this day. On the occasion of Marvel’s 70th anniversary in 2009, I was asked to write a history of Marvel for an Omnibus reprinting of the earliest issues of Marvel Mystery Comics, the formative title in the long-running TimelyAtlas-Marvel empire.
(1908-1992) flanked by the cover of the first pulp magazine he ever edited (Western Supernovel, Vol. 1, #1, 1933), with cover painting by Joseph Cragin—and his first published comicbook (Marvel Comics #1, Oct. 1939), with cover by science-fiction artist Frank R. Paul. The headshot above is a detail from the famous August 14, 1942, “Bambi photo” of Timely Comics staffers and Funnies, Inc., personnel. Thanks to Will Murray for the pulp-cover scan, to the Grand Comics Database for the comics scan, and to David Saunders (www.pulpartists. com) for the pulp-artist ID. Incidentally, re the artwork by one “Joseph Cragin,” David S. informs us he has “never found any archival information that any professional artist ever worked under that name, so this painting is either by some artist using an alias or it was created by an absolute amateur.” It seems Goodman began his magazine career with a “Marvel mystery”! [Pulp cover TM & © the respective trademark & copyright holders; comics cover TM & © Marvel Characters, Inc.]
For that project, I interviewed the late Stan Lee about his employer and mentor. While a few of his quotes made it into the essay, a great many more did not. I thought that it was high time for a look at Martin Goodman as seen, at least partly, through the eyes of Stan Lee. But let’s go back to the beginning, before Timely Comics. After working in the circulation department of pulp publisher Hugo Gernsback of Amazing Stories fame, and later in the circulation
department of Eastern Distribution, Moe Goodman––to use his birth name––switched to the editorial desk after both operations collapsed during the Depression. Fledgling publisher Louis Silberkleit, whom Goodman had met at Eastern, launched his first pulp title, Western Supernovels, in 1933. The lead novel was a reprint. Newsstand Publications was the company’s name. As Silberkleit’s employee, Goodman handled both editorial and circulation matters. Why a Western? Goodman once explained, “I had read Westerns since I was a kid. I was an average reader, so we put out a book for the average reader.” This would be his long-term publishing credo.
At that time, magazines and entire chains had gone out of business. This made printers desperate to keep their unionized presses running and eager to extend credit. No doubt Silberkleit made a deal to pay the printing bill with his anticipated profits. Even in the Depression, fiction was expensive to acquire. Goodman devised an inexpensive solution. “I found that the Doubleday Doran syndicate would sell me novels for a hundred dollars apiece. Some of them had been in hard covers, some had been originally written for Collier’s at fancy prices.”
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The Rise & Fall Of A Comicbook Dynasty
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
Morning Joe A young Joe Simon—with dialogue and wings supplied by Jim Amash & Teresa R. Davidson. [© Estate of Joe Simon.]
“Well, Goodman wanted me to make it as hard as possible on Jacquet and his staff,” Simon explained. “He wanted me to send the artwork back for corrections as often as possible. Martin didn’t want to pay Jacquet to do what he could do for a cheaper rate at Timely. Eventually it was more trouble than it was worth for Jacquet and he sold his rights to the characters, and Martin took them over.” Bill Everett confirmed this account: “All that I know is that I had a contract with Funnies, through Lloyd. Eventually, Martin decided to publish on his own. As I understand it, he bought up all the contracts that Funnies had left, including mine.” For Everett, who went into the service early in 1942, it was just as well. “Lloyd and I weren’t getting along too well at that period,” he remembered. “And there was dissension between Lloyd and John Mahon. John left, and Frank Torpey went to work for Martin.”
This was probably Martin Goodman’s first full look at Spider-Man (with or without hyphen) in the Stan Lee-written, Steve Ditkodrawn origin done for Timely’s Amazing Fantasy #15 (Sept. 1962). When the sales figures came in, he decided he hadn’t really hated the character after all! [TM & © Marvel Characters, Inc.]
And there you have it.
No doubt Torpey was the go-between Funnies scripter Mickey Spillane was referring to when he recounted, “We had a guy—I’m trying to think of his name. Anyway, he was a courier between a couple of places at that time. He would come up to me—because I always had stuff I’d hand him—and say, ‘Hey, we need a couple of short stories,’ or ‘We need a six-page story for something, and we need it right away!’…. We’d hand in this thing, and I’d get a check back, but it didn’t go through Funnies. I was working as an independent entrepreneur.” “Trouble was,” said scripter Joe Gill, “Lloyd never had the drive to publish. He was always a second-rater. Lloyd paid lousy. It was better to get direct, but sly, orders from Goodman or Curtis [Novelty] on the side.” As for Lloyd Jacquet, he soldiered on for several years before folding his art studio. But he forever hated Martin Goodman, who he felt raided his shop of its top talent and then severed all relations, leaving him high and dry.
Art by Joe St. Pierre. TM & © Marvel Characters, Inc.
While Joe Simon never figured out how Martin Goodman got hold of his personal telephone number, he suspected that someone at Funnies was selling the talent list information. We can take an educated guess who that was: Frank Torpey, whom Goodman hired as a reward for convincing him to enter the lucrative comics business.
Marvel’s Founding Father—Martin Goodman
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Sidebar 2:
The Mystery Of The Two Angels
O
ne of the deepest mysteries of Marvel Comics #1 is the question of what strip was dropped at the last minute, and why?
No one alive knows. It might have been simply another feature orphaned by the failure of Motion Picture Funnies Weekly, such as Arthur Pinajian’s “Wasp,” which was repurposed for Silver Streak Comics #1. But there are other mysteries. For example, why was Bill Everett’s Sub-Mariner cover rough not approved for finalization as the cover to Marvel Comics #2, as intended? And why was Charles J. Mazoujian’s Angel illustration employed for the cover to the retitled Marvel Mystery Comics #2? Mazoujian didn’t draw “The Angel” inside the mag. Paul Gustavson originated the strip.
Playing For All The Marvels (Above left:) Frank R. Paul’s cover for Goodman’s Marvel Science Stories (Feb. 1939 issue). (Above right:) J.W. Scott’s for the newly retitled Marvel Tales (Dec. 1939), which went on sale around the same time as Marvel Mystery Comics #2. [TM & © Marvel Characters, Inc.]
Misremembering the title of the comic, writer William Woolfolk once recalled: “Martin Goodman published a first issue of The Human Torch that was so badly printed the Frank R. Paul dialog couldn’t be read and the colors (1884-1963). Thanks to were so murky it was hard to tell David Saunders. the hero from a villain.... Goodman was so disgusted he canceled the Human Torch character—until he discovered that the first issue had completely sold out, whereupon The Human Torch went on to become Goodman’s second most popular character, yielding only to Captain America.” That was actually Marvel Comics #1, which was printed in process color––not four-color––by a Newark printer, giving it the broader chromatic range, resulting in a different look from its competitors. During that brief interval of indecision, Goodman killed issue #2, with Everett’s cover still in the conceptual stage. Embarrassed by the poor printing, he may have decided that Marvel Comics was a tainted brand. On the other hand, mere whim might be the reason. The same month Marvel Comics changed title, Goodman’s pulp, Marvel Science Stories, became Marvel Tales. The lead story for its first issue was “The Angel from Hell,” mirroring the Angel cover to MMC #2.
A Waspish Waste
Once preliminary sales figures caused him to reconsider, Goodman must have thought a title change was in order, but continuity must also be maintained. Hence Marvel Mystery Comics. Not until issue #3 was the logo finalized. It was not quite the style of the earliest ads appearing in Goodman’s pulp, but it was close. Marvel Science Stories was the model.
Page 2 of the “Wasp” story that, as Will Murray points out, was reprinted from Funnies, Inc.’s 1939 Motion Picture Funnies Weekly #1 in Comic House’s Silver Streak Comics #1 (Dec. 1939). Could this possibly be the “super-hero” story that was reportedly dropped from Marvel Comics #1 at the last minute? Thanks to Comic Book Plus website, which unfortunately had only black-&-white scans of SSC #1. [TM & © the respective trademark & copyright holders.]
A surviving stat exists of Mazoujian’s cover for #2. The illustration depicts The Angel, seemingly endowed with superpowers, battling faux Nazi bombers attacking a city. It bears no masthead, only a blank space for one. Curious. As if it was not created for a specific title. It may have been a concept drawing, and not necessarily a cover image.
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The Rise & Fall Of A Comicbook Dynasty
Masterpieces would become regular 25¢ bi-monthly series in 1966. Fantasy Masterpieces #1 (2/66) replaced Patsy Walker #124 (12/65), The Ghost Rider #1 (2/67) seems to have taken the place of Patsy and Hedy #110 (also 2/67), while [Not] Brand Echh #1 (8/67), begun as a monthly, took the place of Modeling with Millie #54 (6/67). The Ghost Rider went monthly with #4 (8/67) but ended with #7 (11/67) and was replaced by Captain Savage #1 (1/68).
First Casualty As Mike Tiefenbacher points out, the first cancellation after Goodman signed on the dotted line with Independent News was the Korean War veteran Marines in Battle (with #25, Sept. 1958), with its Carl Burgos cover—which was replaced by the return of the one-time horror comic Journey into Mystery (with #49, Dec. ’58), which had only been missing from the lineup for a little over a year. The cover of the latter was by Joe Maneely. Thanks to the Grand Comics Database. [TM & © Marvel Characters, Inc.]
Amazing Adventures #6 was followed by the more provocative Amazing Adult Fantasy #7 (12/61). The next year, Teen-Age Romance ended with #86 (3/62) and was replaced by The Incredible Hulk #1 (5/62), each published by Zenith. When Amazing Adult Fantasy #14 (7/61) became Amazing Fantasy (9/61), it went bi-monthly, only to be immediately canceled and replaced by the completely new version of Two-Gun Kid #60 (11/61). It was replaced on the monthly schedule when Fantastic Four #6 (9/62) went monthly. Linda Carter, Student Nurse #9 (1/63) made way for The Amazing Spider-Man #1 (3/63). Goodman altered the title again when Life with Millie #20 (12/62) became Modeling with Millie #21 (2/63). The Incredible Hulk ended with #6 (3/63), its place taken by Sgt. Fury #1 (5/63). The Amazing Spider-Man went monthly with #4 (9/63). Gunsmoke Western #77 (7/63) and Love Romances #106 (7/63) ended to make way for The Avengers #1 (9/63) and The X-Men #1 (9/63). In 1964, Kathy ended with #27 (2/64), to be replaced by Daredevil #1 (4/64). The Avengers went monthly with #6 (7/64), Sgt. Fury went monthly with #8 (9/64); and in 1965, X-Men #14 (11/65) and Daredevil #11 (12/65) were the first monthly issues of those magazines. At the very end of 1965’s cover dates, then, the roster of Marvel titles stood at seventeen, ten of which were monthlies: The Amazing Spider-Man, The Avengers, Daredevil, Fantastic Four, Journey into Mystery (soon to be renamed Thor), Strange Tales, Tales of Suspense, Tales to Astonish, The X-Men, Sgt. Fury, Kid Colt Outlaw, Rawhide Kid, Two-Gun Kid, Millie the Model, Modeling with Millie, Patsy and Hedy, and Patsy Walker. The output per month was now thirteen or fourteen issues instead of eight. The deal with Independent News apparently waived the issuance of annuals or 25¢ special issues, which appeared without any subsequent cancellations. Marvel Tales, Marvel Collectors’ Item Classics, and the soon-to-expand Fantasy
After that, beginning with Groovy #1 (3/68), there were no more fatalities required for the birth of new titles, and Marvel began an expansion that continues to this day. My guess is that Independent News knew that there was no point in restricting Marvel anymore, since their partnership would soon be ending anyway, which by this point would entail a huge loss in their profits column. Captain America, Iron Man, The Incredible Hulk, Sub-Mariner, Nick Fury - Agent of S.H.I.E.L.D., Doctor Strange, Captain Marvel, The Spectacular Spider-Man, The Silver Surfer, and The Mighty Marvel Western were all launched in 1968, while only Tales of Suspense, Tales to Astonish, Strange Tales, Kid Colt Outlaw, and Two-Gun Kid were canceled.
That new arrangement lasted through issues dated August and September 1969; thereafter, Marvel was distributed by Curtis Circulation Company, which had been acquired by the same company that had bought out Goodman in 1968: Perfect Film and Chemical (soon to be rechristened Cadence Industries). As part of the same company, all external restrictions on expansion were removed, and Marvel would soon return to their days of pumping out 70-80 titles a month.
Substituting One Kid For Another A perhaps less astute schedule change was the dropping of Amazing Fantasy after issue #15 (Sept. 1962), the introduction of Spider-Man as cover-illustrated by Jack Kirby & Steve Ditko—and its speedy replacement by a revival of Two-Gun Kid with #60 (Nov. ’62), whose Kirby cover was inked by Dick Ayers. Oh, and technically, there was no hyphen in the indicia title of the latter—but it was always part of the logo, so what the hell. Thanks to the GCD. [TM & © Marvel Characters, Inc.]
37
in memoriam
Tributes To BILL SCHELLY
A Very Special Edition Of “Comic Fandom Archive” Assembled & Conducted by Jeff Gelb
A/E
EDITOR’S INTRODUCTION: I am writing these words only because Jeff Gelb has done enough already, assembling and collating the remembrances of our mutual friend and comrade Bill Schelly which follow. Because I have already written about Bill in this issue’s “writer/ editorial,” in a few lines I will turn what I have termed “A Very Special Edition” of Bill’s regular Alter Ego department “Comic Fandom Archive” over to Jeff, who knew Bill far better than I did.
apply himself to creating the best possible contents. It ended with #12 in 1972. After graduating college, he worked up some sample pages for DC’s “New Talent Program.” When he was rejected (by Vince Colletta at a New York comic convention), Bill called it “a turning point” in his life. He largely abandoned comicbooks and began a multi-decade career with the U.S. Small Business Administration. He retired from that job in 2011. On the side, he became interested in writing. His first book was a biography of silent-movie comedian Harry Langdon, which was published by Scarecrow Press in 1982. He rejoined the amateur press alliance Capa-Alpha
But first I need to explain why this series of tributes to Bill do not take up even more space in this issue of A/E. It’s partly, of course, because of the recent downsizing of the magazine from 100 pages (counting covers) to 84. But it’s also because Jeff suggested to me, in a letter around the turn of this year, that perhaps, rather than trying to squeeze all the reminiscences of Bill and his life and work into one issue, it might be better to let it run for two or more issues… rather like regular episodes of “Comic Fandom Archive,” the column that Bill wrote, put together, and edited for most issues of Alter Ego since it began its third volume in 1999. I quickly concurred in that view, partly because it is a way of extending the “Archive”—and thus Bill’s at least spiritual presence in this magazine— for a little while longer… giving us a bit more time to adjust to the sense of loss in our life that I know each tribute-payer (along with many another comics or Alter Ego or simply Bill Schelly fan) is feeling. Jeff begins with a brief biography of Bill, touching briefly on the highlights of his career, and at least some of the highlights of his personal life as well… then speaks of his own memories of our lost friend… and then records the words of some of those closest to Bill….
Bill Schelly—A Brief Bio Bill Schelly was born in 1951 and grew up in Pittsburgh and Lewiston, Idaho, before moving to Seattle in 1974 after college. He got into comics fandom in 1964 when he bought Alter Ego [Vol. 1] #7 and “was blown away.” Bill’s first fanzine was called Super-Heroes Anonymous. Other fanzines followed. In 1967, he created Sense of Wonder, which he called his first attempt to seriously
Bill Schelly & Jeff Gelb palling around in 2002. (Jeff’s the one in the Fantastic Four shirt.) The fanzine art above represents their first collaboration, for the fanzine Bombshell #6 (1966): pencils by Bill, inks by Jeff. As for scripter Rick Jones, do you think he’s—nah, it couldn’t be him. Courtesy of JG. [Page © Rick Jones, Jeff Gelb, & Estate of Bill Schelly.]
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[Conan TM & © Conan Properties International, LLC; Red Sonja TM & © Red Sonja Properties, LLC; other art © Frank Brunner.]
Previously Unpublished Brunner Artwork!
49
PRESENTS
…with the art of Rudy Palais by Peter Normanton A/E EDITOR’S INTRODUCTION: In Alter Ego #163, we began a new, not-quite-every-issue series by Peter Normanton, who, though dwelling in his native Britain, long edited the popular “fanzine” From the Tomb, dealing primarily with American horror comicbooks. Two Best of collections from that magazine have been published by TwoMorrows. Last time, Peter kicked things off with a bat’s-eye view of the early history of horror comics. This time around, he concentrates on a particular artist… and we’re even keeping his English spelling of words; after all, it preceded the American version. As for why there’s no “u” in “Parlor” in the title above—well, you’ll see as we roll along….
A
lmost every pre-Comics Code horror-comic publisher had at least one favoured artist upon whom they could call, each of them with a panache for the terror of those unholy years.
It’s fair to say that EC publisher Bill Gaines had an ample bench; amongst his fiendish cadre he could turn to Graham Ingels, Johnny Craig, and Jack Davis, safe in the assurance they would leave his dedicated readership frothing at the mouth. Elsewhere, Martin Goodman and Stan Lee at Atlas had Joe Maneely, Bill Everett, and Russ Heath plying their trade, while the ever-astute Joseph Meyers at Avon need only put out the word and Alvin Hollingsworth would be poised, brush in hand, to produce page upon page of his unearthly visions. Harvey Comics, occasionally referred to as “the poor man’s EC,” could boast an entire bullpen of artists quite suited to this heinous reign. In the thick of this gathering was the expressive rendering of Rudy Palais, an artist with an affection for the gargoyle-like creatures so often observed in his tales. Rudy, the son of a Vienna art student, was born on the 21st of March, 1912. Many years later, he would be revered as one of the most talented artists to emerge from this dark era of comicbook publishing; but, as we shall see, not every one of his editorial seniors was enamoured of his shameless disregard of convention. Long before he entered the word of four-colour comicbooks, Rudy had gained recognition as both a reliable and innovative commercial artist. Given his source of inspiration, that was hardly surprising, for as a child he had been hooked on the newspaper strips of the day, most notably The Katzenjammer Kids and Mutt and Jeff, before being exposed to the artistry of J.C. Leyendecker in the popular Saturday Evening
Maiden Flights A dynamic “Prop Powers” splash page from Quality’s National Comics #11 (May 1941), is recorded as Rudy Palais’ earliest comicbook art. He continued to experiment with his layouts for the lead story in Great Comics #3 (Jan. 1942), from Great Comics Publishing: “Futuro Kidnaps Hitler and Takes Him to Hades!” [TM & © the respective trademark & copyright holders.]
56
Comic Crypt
The PAM Papers - Part 7
(8/15/70)
Dear Glen-
by Michael T. Gilbert
A romance script came in the mail on the last day of the deadline that I sent for Sal –– so I’m still a Charlton man. –– Sorry ––!
hen we left off last installment, Charlton had cancelled their entire super-hero line, including Pete Morisi’s signature character, Peter Cannon… Thunderbolt! By then, PAM had already quit his strip due to deadline problems. Pete was still working as a New York City police officer full time, and drawing comics on the side.
Had lunch with Dick and saw some stuff DC is turning out –– beautiful. Gray Morrow did a great job in All Star Western Presents OUTLAW. He used Dick, Gil Kane, Williamson, himself (I think), and Phil Seuling, in spot panels. Also DC’s new artist Tony DeZuniga (from the Philippines) is in the same book. Also there’s a Love –– 1970 book DC is putting out with a Gray Morrow story that was done in pencil only –– looks like it’s inked though –– but it’s good.
W
Upon learning that Charlton was struggling, Pete’s friend and former editor, Dick Giordano, invited him to come to DC (where Giordano had recently been hired as an editor). Writing to his fan-friend Glen D. Johnson, Pete considered his options, as he suffered the troubles of an artist working for low-rent publisher Charlton in the 1970s. His editor was Sal Gentile:
That’s about it. I can’t seem to work up any interest in the romance story I’m doing. Kind of hard after doing a ‘Graves’ that I could enjoy playing with. Got to try. Love stories is beautiful, love stories is beautiful, love stories… See Ya, Pete
(2/12/70)
Dear Glen-
Texas Rangers #79 is the ish I’d like you to see. Loco is featured as the front story, and a Kid Montana story (that was changed to suit the Texas Rangers title) is the back-story. I used the same villain in both stories, figuring they’d be printed in different books, and months apart — but Sal goofed. (The villain was taken from photos). See ya, Pete (7/18/70)
Dear Glen-
I finished the mystery story I was doing and mailed it to Sal, who promptly left for a week’s vacation –– without mailing me another script (his secretary says he forgot). I thought about our ‘DC work’ conversation, and almost called Dick, but talked myself out if it again. Maybe… next time (does that sound familiar?). So I’ve got a week off from artwork, and going crazy. By the time you get this I should be back in business. See ya, Pete (7/28/70)
Dear Glen-
I can see now that having my son and brother tag along [at the NY Seuling con] was a mistake. They were interested –– but they’re not comic people like we are. I could have spent hours going through stacks of comics that were being sold, but I breezed through that area in order to keep them entertained. Actually I saw a few books I wanted (early Rip Kirby books, in color in Spanish, badly printed, but Raymond Rip Kirbys just the same) etc. etc., but I wound up getting nothing. Next time I guess. I still haven’t gotten a script from Sal –– and I’m getting a bit annoyed –– I expected a phone call (at least) if there were any delay. If he doesn’t come through in another week –– I’m looking elsewhere, and that’s a promise. See ya, Pete
“Butchered”? PAM felt that the indicia text added to the bottom of the page, which had necessitated chopping off a bit of the art, threw off the page’s balance. Such sloppy work was typical of Charlton. From The Many Ghosts of Doctor Graves #23 (Dec. 1970). [TM & © the respective trademark & copyright holders.]
The PAM Papers – Part 7
57
(9/25/70)
Dear Glen-
Yep, Charlton butchered the ‘Share and Share Alike’ splash page so they could fit their ownership blurb on the bottom. You know it and I know it, but the rest of the field is saying, ‘That’s pretty lousy composition.’ And… they’re right. Charlton, however, keeps butchering along, either in color, printing, or cutting up the art. I hope that ‘Innocent’ story comes out okay, too. I have Green Lantern #80 and Daredevil #70, but I didn’t read them. In any event, I’m against any use of comics for social involvement –– either pro or con, or left or right. Comics, to me, should be pure entertainment –– fun, drama, action, but always entertainment. I know that National is on a social involvement kick, hoping that enough people will relate to their characters and buy their books but in a single phrase –– I’m against it! Back to the social involvement bit –– Dick mentioned that the G.L. [Green Lantern] book wasn’t dead, but that the few remaining issues would push in that direction. All of which, to me, means that DC is getting involved with problems of our time, and they’ll stay involved… if there’s a buck to be made out of all the misery and confusion that exists. If there isn’t a buck to be made, then to hell with the war problem, black problem, student problem, etc. DC is involved alright, in bettering their bank account! That’s one of the reasons why I’ll stay with Charlton. As much as I knock them –– they’re still putting out comics –– real comics. Of course, story and art could be better (a lot better), but well… enough said. End of speech. See ya, Pete
The Hostess With The Mostest (10/18/70)
Dear Glen-
From Ghost Manor #17 (March 1971). PAM based the horror hostess, Winnie, on his wife Louise (“with –– ahem –– a little trimming…”). [TM & © the respective trademark & copyright holders.]
I notice that Charlton hasn’t printed any of my stuff lately, but I’ve given up asking Sal such things. As for mystery or war stories –– I’ve decided to do it Charlton’s way. Whatever they send me, I’ll do. Evidently I can’t talk Sal into a steady thing –– something that will make the reader relate a particular artist to a particular character. I would have liked a Dr. Graves or Mr. Dedd, but as I said –– I’ve given up asking Sal such things. So, as it stands, I’ll draw Graves and Dedd one way, while Ditko and Boyette draw them their way –– doesn’t make much sense. Your letter was full of info because I didn’t know about Dick, so I called him at home and he said that one of his reasons for leaving was the Kinney Executives (who don’t know comics) butting in and telling him what to do. But all in all, he’s happy, getting all the work he wants from DC, and will start penciling soon. See ya, Pete
MTG: Giordano left DC in 1970 to go freelance as an artist. He returned to his old position in 1980, eventually becoming DC’s managing editor for a number of years. (10/31/70)
Dear Glen-
I talked Sal into sending me a Ghost Manor script ‘Don’t Tread On Me,’ and I’m sorry I did it! Lousy plot, lousy script, and it will take a lot of re-writing. Hey, did you see Ghostly Tales #84? Charlton finally gave one of my jobs some decent color and reproduction. See ya, Pete
Dear Glen-
(11/15/70)
Just finished a Winnie the Witch –– should get another script tomorrow.
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COMIC BOOK CREATOR #25
ALTER EGO #166
ALTER EGO #167
COMIC BOOK CREATOR #23
COMIC BOOK CREATOR #24
FAWCETT COLLECTORS OF AMERICA (FCA) Special, with spotlights on KURT SCHAFFENBERGER (Captain Marvel, Ibis the Invincible, Marvel Family, Lois Lane), and ALEX ROSS on his awesome painting of the super-heroes influenced by the original Captain Marvel! Plus MICHAEL T. GILBERT’s “Mr. Monster’s Comic Crypt” on Superman editor MORT WEISINGER, JOHN BROOME, and more! Cover by SCHAFFENBERGER!
Salute to Golden & Silver Age artist SYD SHORES as he’s remembered by daughter NANCY SHORES KARLEBACH, fellow artist ALLEN BELLMAN, DR. MICHAEL J. VASSALLO, and interviewer RICHARD ARNDT. Plus: mid-1940s “Green Turtle” artist/creator CHU HING profiled by ALEX JAY, JOHN BROOME, MICHAEL T. GILBERT and Mr. Monster on MORT WEISINGER Part Two, and more!
WENDY PINI discusses her days as Red Sonja cosplayer, & 40+ years of ELFQUEST! Plus RICHARD PINI on their 48-year marriage and creative partnership! Plus: We have the final installment of our CRAIG YOE interview! GIL KANE’s business partner LARRY KOSTER talks about their adventures together! PABLO MARCOS on his Marvel horror work, HEMBECK, and more! Cover by WENDY PINI.
TIMOTHY TRUMAN discusses his start at the Kubert School, Grimjack with writer JOHN OSTRANDER, and current collaborations with son Benjamin. SCOTT SHAW! talks about early San Diego Comic-Cons and friendship with JACK KIRBY, Captain Carrot, and Flintstones work! Also PATRICK McDONNELL’s favorite MUTTS comic book pastiches, letterer JANICE CHIANG profiled, HEMBECK, and more! TIM TRUMAN cover.
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BACK ISSUE #121
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BARRY WINDSOR-SMITH discusses his new graphic novel MONSTERS, its origin as a 1980s Hulk story, and its evolution into his 300-page magnum opus (includes a gallery of outtakes). Plus part two of our SCOTT SHAW! interview about HannaBarbera licensing material and work with ROY THOMAS on Captain Carrot, KEN MEYER, JR. looks at the great fanzines of 40 years ago, HEMBECK, and more!
CONAN AND THE BARBARIANS! Celebrating the 50th anniversary of ROY THOMAS and BARRY WINDSOR-SMITH’s Conan #1! The Bronze Age Barbarian Boom, Top 50 Marvel Conan stories, Marvel’s Not-Quite Conans (from Kull to Skull), Arak–Son of Thunder, Warlord action figures, GRAY MORROW’s Edge of Chaos, and Conan the Barbarian at Dark Horse Comics. With an unused WINDSOR-SMITH Conan #9 cover.
Celebrates the 40TH ANNIVERSARY of MARV WOLFMAN and GEORGE PÉREZ’s New Teen Titans, featuring a guest editorial by WOLFMAN and a PÉREZ tribute and art gallery! Plus: The New Teen Titans’ 40 GREATEST MOMENTS, the Titans in the media, hero histories of RAVEN, STARFIRE, and the PROTECTOR, and more! With a NEVER-BEFORE-PUBLISHED PÉREZ TITANS COVER from 1981!
SUPERHERO ROMANCE ISSUE! Bruce Wayne and Tony Stark’s many loves, Star Sapphire history, Bronze Age weddings, DeFALCO/ STERN Johnny Storm/Alicia Pro2Pro interview, Elongated Man and Wife, May-December romances, Supergirl’s Secret Marriage, and… Aunt May and Doc Ock?? Featuring MIKE W. BARR, CARY BATES, STEVE ENGLEHART, BOB LAYTON, DENNY O’NEIL, and many more! Cover by DAVE GIBBONS.
HORRIFIC HEROES! With Bronze Age histories of Man-Thing, the Demon, and the Creeper, Atlas/Seaboard’s horrifying heroes, and Ghost Rider (Danny Ketch) rides again! Featuring the work of CHRIS CLAREMONT, GERRY CONWAY, ERNIE COLON, MICHAEL GOLDEN, JACK KIRBY, MIKE PLOOG, JAVIER SALTARES, MARK TEXIERA, and more. Man-Thing cover by RUDY NEBRES.
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KIRBY COLLECTOR #79
OLD GODS & NEW: A FOURTH WORLD COMPANION (TJKC #80)
KIRBY COLLECTOR #78
SILVER ANNIVERSARY ISSUE! How Kirby kickstarted the Silver Age and revamped Golden Age characters for the 1960s, the Silver Surfer’s influence, pivotal decisions (good and bad) Jack made throughout his comics career, Kirby pencil art gallery, MARK EVANIER and our regular columnists, a classic 1950s story, KIRBY/STEVE RUDE cover (and deluxe silver sleeve) and more! (84-page FULL-COLOR magazine) $10.95 (DELUXE EDITION w/ silver sleeve) $12.95 (Digital Edition) $4.99 • Now shipping!
See “THE BIG PICTURE” of how Kirby fits into the grand scheme of things! His creations’ lasting legacy, how his work fights illiteracy, a RARE KIRBY INTERVIEW, inconsistencies in his 1960s MARVEL WORK, editorial changes in his comics, big concepts in OMAC, best DOUBLE-PAGE SPREADS, MARK EVANIER’s 2019 Kirby Tribute Panel, PENCIL ART GALLERY, and a new cover based on OMAC #1! (84-page FULL-COLOR magazine) $10.95 (Digital Edition) $4.99 • Ships Fall 2020
Looks back at JACK KIRBY’s own words, as well as those of assistants MARK EVANIER and STEVE SHERMAN, inker MIKE ROYER, and publisher CARMINE INFANTINO, to show how Kirby’s epic came about, where it was going, and how he would’ve ended it before it was cancelled by DC Comics! (160-page FULL-COLOR TPB) $26.95 (Digital Edition) $14.99 • Ships Jan. 2021 ISBN: 978-1-60549-098-4
HOLLY JOLLY
WORLD OF TWOMORROWS
MARK VOGER’s sleigh ride through the history of Christmas! Explores movies (Miracle on 34th Street, It’s a Wonderful Life), music (White Christmas, Little St. Nick), TV (How the Grinch Stole Christmas, Rudolph the Red-Nosed Reindeer), books (Charles Dickens’ A Christmas Carol), decor (1950s silver aluminum trees), comics (super-heroes meet Santa), and more! Featuring CHARLES M. SCHULZ, ANDY WILLIAMS and others!
Celebrate our 25th anniversary with this retrospective by publisher JOHN MORROW and Comic Book Creator magazine’s JON B. COOKE! Go behind-the-scenes with MICHAEL EURY, ROY THOMAS, GEORGE KHOURY, and a host of other TwoMorrows contributors! Introduction by MARK EVANIER, Foreword by ALEX ROSS, Afterword by PAUL LEVITZ, and a new cover by TOM McWEENEY!
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73
WORLD’S MIGHTIEST COLLECTOR
A Conversation With Pre-eminent Captain Marvel Connoisseur HARRY MATETSKY by P.C. Hamerlinck
A
ccording to mid-1940s Fawcett office memorandums, Captain Marvel Adventures and Whiz Comics had combined monthly sales tallying over 1,600,000 copies… approximately 15,000,000 kids under the age of 16, in more than 7,000 theatres in the US and Canada, had attended screenings of Republic Pictures’ 12-chapter movie serial The Adventures of Captain Marvel… and, by May of 1945, membership in the Captain Marvel Club totaled over 563,000. That’s a lot of dimes! Further testimony of the original Captain Marvel’s past popularity can be found in Abrams Comicart’s 2010 book Shazam! The Golden Age of the World’s Mightiest Mortal by Chip Kidd and Geoff Spear, in collaboration with master super-hero collector and authority Harry Matetsky—whose grand assemblage of Marvel Family memorabilia received a merited spotlight within its pages. Now, in a second softcover edition, you’ll journey into a lost world that most of us never witnessed first-hand… but Harry was there, and this is his story. —PCH. P.C. HAMERLINCK: I’m here with the world’s foremost Fawcett collector, Harry Matetsky. Harry, let’s start with a little background information. HARRY MATETSKY: I was born in New York City, on the Lower East Side of Manhattan, on December 5, 1934. I grew up in a tenement building in a poor neighborhood, but my childhood was essentially happy. Playing punchball and stickball in the street with my friends was a favorite pastime, in addition to flipping gum cards, climbing fire escapes, and swimming in the city pool. My father was a tailor by trade and my mother was a homemaker. I have one sister. PCH: When did you first become aware of Captain Marvel? Were you buying Whiz Comics and Captain Marvel Adventures off newsstands or in candy stores during the ’40s… and were you an early member of the Captain Marvel Club? HM: My adventures into the world of comicbooks began in my neighborhood candy store. At about six years of age I looked up and saw comicbooks hanging
Harry Matetsky as a high school senior (top left), ready to take on the world of publishing—and collecting… and (below) in a recent photo, in later years with the coffee table book Shazam! The Golden Age of the World’s Mightiest Mortal by Chip Kidd and Geoff Spear—published by Abrams Comicarts in 2010, and now available in a softcover edition. The volume made copious use of Harry’s collection of Marvel Family items, and is an absolute must-have for any Fawcett fan and pop culture aficionado. [Shazam hero TM & © DC Comics.]