Alter Ego #82 by TwoMorrows Publishing

Roy Thomas’ Hero-Happy Comics Fanzine

ALL THE WAY WITH

MLJ

6.95

In the USA

No. 82 December 2008

82658 27763

PLUS:

Get PEP And ZIP Into Your TOP-NOTCH Life— And You’ll Hit The BLUE-RIBBON JACKPOT! Featuring IRV NOVICK * JACK COLE * BOB FUJITANI * PAUL REINMAN HARRY SHORTEN * CHARLES BIRO * IRWIN HASEN * MORT MESKIN * GIL KANE HARRY LUCEY * JACK BINDER * BOB MONTANA * JOE EDWARDS & MORE!

Vol. 3, No. 82 / Dec. 2008 Editor Roy Thomas

Associate Editors Bill Schelly Jim Amash

Design & Layout Christopher Day

Consulting Editor John Morrow

FCA Editor P.C. Hamerlinck

Comic Crypt Editor Michael T. Gilbert

Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich

Circulation Director Bob Brodsky, Cookiesoup Productions

Cover Artist Bob McLeod

Cover Colorist Tom Ziuko

With Special Thanks to: Heidi Amash Jean Bails Bonnie Biro Frank Brunner Buzz Joe Carroll Mike Catron Bob Cherry John Coates Teresa R. Davidson Betty Dobson Michael Dunne Eda Lisa Edwards Don Ensign Shane Foley Ron Frantz Bob Fujitani Janet Gilbert Penny Gold Victor Gorelick Ron Goulart George Hagenauer Jennifer Hamerlinck Daniel Herman Arvell Jones

Jay Kinney Mark Lewis Ed Love Mike Machlan Glenn MacKay Peter Meskin Matt Moring Brian K. Morris Michelle Nolan Denise Ortell Ken Quattro Ethan Roberts David Siegel Marc Svensson Marc Swayze Dan Tandarich Dann Thomas Mike Tiefenbacher Gregg Whitmore Dylan Williams Ron Wilson

Contents Writer/Editorial: We’ve Got The MLJ Blues . . . . . . . . . . . . . . . 2 All The Way With MLJ!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Ron Goulart relates the saga of the super-heroes who paved the way for Archie Andrews. Bonus! A photo-spread on the early-1940s MLJ offices, courtesy of Mike Catron.

The MLJ Comics Super-Hero Index (1939-1948) . . . . . . . . 23 A Skeleton Key to the Golden Age of Pre-Archie, introduced by Michelle Nolan.

“The Shield Was The First Patriotic Hero”. . . . . . . . . . . . . . . 59 In comics, anyway. John Coates’ 1990s interview with Golden Age MLJ artist Irv Novick.

“Working At MLJ Was A Good Experience!” . . . . . . . . . . . . . 63 Part One of an interview with the late “Archie” artist Joe Edwards, conducted by Jim Amash.

Comic Crypt: That’s Just Sick! . . . . . . . . . . . . . . . . . . . . . . . . 77 Michael T. Gilbert on some of the weirdest art and text that’s ever been sneaked into comics.

FCA [Fawcett Collectors Of America] #141 . . . . . . . . . . . . . 83 P.C. Hamerlinck presents Ron Frantz on Jerry DeFuccio… & Marc Swayze on “this action business.” On Our Cover: Not so very long ago, collector Michael Dunne commissioned pro comics artist Bob McLeod—who also edits our TwoMorrows sister mag Rough Stuff—to draw this exciting panorama of some of MLJ’s greatest Golden Age super-heroes… and both guys were kind enough to let us use it as our cover on this issue. Actually, Bob had drawn one more hero than we had room for—as you’ll notice when you glom the whole illo in black-&-white on p. 23. [Characters TM & ©2008 Archie Comic Publications, Inc.] Above: Scattered throughout this issue you’ll find a few modern-day drawings of MLJ stalwarts done as commissions—all created, as it turns out, for that selfsame Michael Dunne! Let’s start out with the above pencil sketch of Mr. Justice by Arvell Jones, artist in the 1970s and ’80s of such comics as The Return of the New Gods, All-Star Squadron, et al. A great, moody way to start the issue! [Mr. Justice TM & ©2008 Archie Comic Publications, Inc.] Alter EgoTM is published 8 times a year by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: roydann@ntinet.com. Send subscription funds to TwoMorrows, NOT to the editorial offices. Single issues: $9 US ($11.00 Canada, $16 elsewhere). Twelve-issue subscriptions: $78 US, $132 Canada, $180 elsewhere. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in Canada. ISSN: 1932-6890 FIRST PRINTING.

writer/editorial

We’ve Got The MLJ Blues

ational/DC… Timely/Marvel… Fawcett… Quality.

With this issue, we hope to begin rectifying the lack of MLJ coverage— and we’ve done so with a bang. In fact, the combination of major pieces by Mike Nolan and Ron Goulart, added to partial-interviews with the allimportant Irv Novick and humor artist Joe Edwards, have unavoidably crowded almost everything else out of this edition. We apologize to Bill Schelly and Bob Rozakis for our being forced to postpone their latest efforts till #83—and to everyone for having to forego a letters section yet again—but, thankfully, our next issue is only 30 short days away.

Over its past 81 issues since 1999, Alter Ego has hopefully given these “big four” of Golden Age super-hero comics publishers something resembling their due, while also touching on that period’s costumed characters produced by Better/Pines/Nedor/Standard, by Hillman, and even by countries such as Canada, France, and Mexico. One major player in the first half of the 1940s has been notably slighted, however:

So, without further delay, let’s get started with our overview of MLJ. We’ve got a lot of ground to cover….

MLJ. This occurred, for the most part, because by mid-decade or so that company had changed its emphasis, indeed even its name, to that by which it is known today: Archie Comic Publications, Inc. By 1946 only the barest handful of MLJ super-heroes could still be found between fourcolor covers, with even The Shield fading away by the turn of ’48. Our benign neglect was compounded by the fact that so few of the artists, writers, or other creative personnel from the early MLJ were still around to be interviewed about those days… although Bob (“Fuje”) Fujitani, who drew numerous stories of “The Hangman,” one of its foremost heroes, spoke his mind to Jim Amash in A/E #23 and is still hale and hearty and even producing the occasional masterful piece of artwork.

Bestest,

P.S.: We do, however, want to correct two mistakes that made it into our previous issue, rather than wait for a relevant letters section months from now: Frank Brunner’s Man-Thing cover for #81 was colored by Tom Smith, not Tom Ziuko… and the tribute to artist Larry Woromay was written not by a “Mike Howell” but by Mike Howlett. Our apologies for the errors.

COMING IN JANUARY

SWORD-&-SORCERY IN THE COMICS—PART 2 A Closer Look At The Early Days— And Conan The Barbarian! • Fabulous barbarian cover by ARTHUR SUYDAM! • STAN LEE & JOE MANEELY’s Black Knight (in fact, a whole Legion of Black Knights), annotated by Tom Lammers—SAM GLANZMAN’s Charlton Hercules and WALLY WOOD’s Marvel s&s tales, by Richard J. Arndt—ROY THOMAS interviewed about Conan, Kull, Red Sonja, et al.—plus more, if we can squeeze it in! • Rare, often unseen sword-&-sorcery art by JOHN BUSCEMA, LOU CAMERON, BOB FUJITANI, GIL KANE, RAFAEL KAYANAN, TODD McFARLANE, NESTOR REDONDO, ERNIE SCHROEDER, BARRY WINDSOR-SMITH, & many others! • “Archie” artist JOE EDWARDS, part II—interview by JIM AMASH! • BOB ROZAKIS on the secret All-American life of the JSA—BILL SCHELLY (at last!) with those 1965 con photos—MICHAEL T. GILBERT on the dumbest things in comics he can shoehorn into 6 pages—FCA with MARC SWAYZE & JERRY DEFUCCIO, Part II—& MORE!! Edited by ROY THOMAS ] [Art ©2008 Arthur Suydam.

SUBSCRIBE NOW! Twelve Issues in the US: $78 Standard, $108 First Class (Canada: $132, Elsewhere: $180 Surface, $216 Airmail). NOTE: IF YOU PREFER A SIX-ISSUE SUB, JUST CUT THE PRICE IN HALF!

TwoMorrows. Celebrating The Art & History Of Comics TwoMorrows • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 • E-mail: twomorrow@aol.com • www.twomorrows.com

All The Way With MLJ! The Saga Of The Super-Heroes Who Paved The Way For Archie by Ron Goulart NOTE: This material was originally printed, in slightly different form, in the magazine Comics Collector, in the issues for Summer and Winter 1984. Thanks to Brian K. Morris for a retyping assist.

“Give Me An ‘M,’ Give Me An…”

arlier this year [1984], the Archie Comics folks again resurrected some of their old-time super-heroes and costumed crime fighters. By way of their Red Circle line of comic books, you can once again follow the adventures of Steel Sterling, The Shield, The Black Hood, Mr. Justice, and several other heroic chaps who first set up shop forty and more years ago. I got a kick out of seeing some of my boyhood idols cavorting again and I wish Red Circle well. [A/E EDITOR’S NOTE: Since these pieces were written, of course, DC Comics licensed those heroes in the early 1990s for its brief-lived Impact line, and another DC revival is currently planned.] The only trouble is, for someone like me who grew up following these fellows in their original Golden Age incarnations, these latter-day Mighty Crusaders are too slick and sensible. I miss those old illogical, sometimes outright wacky heroes of my youth. I miss, too, the second-banana good guys—such as Mr. Satan, Ty-Gor, The Firefly, Captain Valor, etc.—who probably won’t even get revived this time around. And I miss the eclectic look of the magazines of that long ago and more innocent age. Let me, in the following pages, show you what I mean.

When these particular heroes first came forth, Archie hadn’t even been born and the publishers called themselves MLJ Magazines, Inc. Less formal than MGM, the company took its title from the firstname initials of its proprietors. They were Morris Coyne, Louis Silberkleit, and John Goldwater, and they entered the fast-growing funny-book field late in 1939. The artwork and scripts for the earliest issues of the new titles were provided by the sweatshop run by Harry “A” Chesler. While some gifted people worked for the enterprising Chesler, it doesn’t look as though he sent in his first team to produce material for Morris, Louis, and John.

MLJ, MLJ—How Many Comics Did You Sell Today? The three founders of MLJ, in a photo taken circa 1943—plus Bob Montana’s cover for Archie Comics #1 (Winter 1942), easily MLJ’s most important publication ever. For the company’s first comic ever, Blue Ribbon #1, see p. 23. (Left to right in the photo:) co-publishers Morris Coyne, Louis Silverkleit, and John Goldwater. The oil painting in the background is the work of Milt Luros. Photo courtesy of Archie Comics and editor Victor Gorelick; with thanks to Jim Amash & Teresa R. Davidson; Vic is editor of the Archie line. Thanks to Mike Tiefenbacher for the cover scan. [©2008 Archie Comic Publications, Inc.]

The Story Of The Super-Heroes Who Paved The Way For Archie

Blue Ribbon Comics The MLJ line got off to a rather shaky start with the launching of Blue Ribbon Comics. The first issue had a November cover date, and its star was not a super-hero but a dog. “Rang-A-Tang,” billed as “The Wonder Dog,” was right there on the cover acting courageous, and his six-page adventure started off the issue. Rin Tin Tin, who’d made his movie debut way back in the silent days of 1916, was undoubtedly the inspiration for this less-than-scintillating feature. Most of the other strips, such as “Dan Hastings,” “Buck Stacey,” and “Burk of the Briney,” weren’t much snappier. Science-fiction hero Hastings wasn’t even brand new, having already done his stuff in Star Comics for another company as early as two years before. About the only bright spot in the issue was “Crime on the Run,” a lively Gang Busters sort of feature turned out by a young fellow named Jack Cole, later famed for creating Plastic Man. Although he favored bigfoot gag cartooning, Cole was already developing an effective adventure style. He also, unlike most of the Chesler colleagues with whom he shared the magazine, understood that comic books were different from newspaper strips and pulp magazines. Cole’s page layouts and his staging of scenes take advantage of the format. Blue Ribbon’s first super-hero arrived in the second issue. He wore a green costume, green cowl with wings over the ears, and a scarlet cape. His name was “Bob Phantom.” That doesn’t seem to be too striking a

name for a chap who fancies himself “the Scourge of the Underworld.” A crime-buster with a first name is just too folksy to be formidable. You probably wouldn’t be frightened by Bill Batman or Fred Superman, either. Actually, Bob seems to have come by his name because the Chesler shop had it left over from an earlier character. Another Bob Phantom, a mustached magician in this case, had appeared way back in the first issue of the aforementioned Star Comics (Feb. 1937), then vanished. This new Bob P., drawn by Irving Novick, stuck around for two issues and then defected to Top-Notch Comics. Charles Biro, like Cole an artist/writer who’d leave his mark on comics (he later created Crimebuster and Airboy, and drew the original Daredevil, as well editing and often writing and drawing for the ultrapopular Crime Does Not Pay), also showed up in that second issue. His “Scoop Cody,” dealing with an ace reporter, expired after two go-rounds, but “Corporal Collins,” about a “two-fisted American in the French infantry,” fared somewhat better. In fact, for a short time the redheaded Jimmy Cagney-type soldier was the star of the faltering magazine. The third issue was much the same as the two preceding it. But the fourth, which didn’t hit the stands until five long months later (coverdated June 1940), was a great leap forward. Coming to their senses just in time, MLJ had dumped Chesler and hired some of his better people away from him. “Thrill to these smashing new features,” proclaimed ads in the other MLJ titles. There were three more by now: Top-Notch, Pep, and Zip. Gone were Scoop Cody, Buck Stacey, Dan Hastings, and their ilk, replaced by Hercules, The Fox, The Green Falcon, Ty-Gor, and Doc Strong. Showcased on the cover of issue #4 was the feisty Corporal Collins, blazing away with a machine-gun pistol in one hand and tossing a grenade with the other. In the midst of all this excitement, you could almost overlook the fact that Blue Ribbon still didn’t have a first-rate super-hero on the staff. The closest thing was Hercules, written by Joe Blair and drawn by Elmer Wexler. For this one, Blair went all the way back to Greek mythology. “Hercules, strongest man in all history, earned a place on Mt. Olympus by wiping out the evils of ancient Greece. Now Zeus has ordered him back to Earth to rid the modern world of wars, gangsters and racketeers!!” The gimmick here, somewhat highbrow for a lowly comic book, was that Herc would tackle modern equivalents of the original 12 Labors of Hercules. Unfortunately, he only got as far as the fifth before he was dropped from the line-up. “The Fox” was a costumed crime fighter, but he didn’t have a super power to his name. In everyday life, he was Paul Patton, “former allaround athlete at Penn State,” who was now working as a newspaper photographer. Written by the ubiquitous Blair, the strip was initially drawn by Irwin Hasen. Younger readers, who are familiar only with Hasen’s newspaper strip Dondi, may find it hard to believe he once turned out effective comic-book adventure stuff. He did, though, and The Fox benefited from his loose, quirky style. Like Cole, Hasen thought in terms of the comic book page, and his layouts explored possibilities overlooked by some of his stodgier contemporaries. His only problem was with The Fox’s jet-black costume. It took Hasen a couple of issues to realize a hero’s costume is a fantasy thing that doesn’t have wrinkles or baggy knees. Despite his name, “The Green Falcon” was not a super guy but a green-clad knight who hung out in the days of Richard the Lion-Hearted and behaved in the Robin Hood manner.

Tie A Big Blue Ribbon Round The Old Oak Tree Jack Cole’s “Crime on the Run” in Blue Ribbon Comics #1 gave readers an early look at the work of the artist/writer who would soon create one of the greatest super-heroes ever—Plastic Man. Thanks to Mike Tiefenbacher. [©2008 Archie Comic Publications, Inc.]

“Doc Strong” was a science-fiction feature, and Doc himself was a famous scientist who went around stripped to the waist and wearing the trousers from one of his old business suits. It was set one hundred years in the future when “more than half the world has been wiped out, and cities lie in crumbling ruins and then a new menace arises, a vast barbaric

All The Way With MLJ!

legend has it his spirit arose from his body and strangled the men who murdered him.” Cooper’s notions of what life in 18th century England was like are quite interesting. and he draws the prince and his murderers wearing armor and chain mail. At any rate, the historic castle where the deed was done is, in 1941, “torn down and carted away, stone by stone… loaded aboard a ship and sent on its journey to America.” We can assume Blair got his inspiration for this part of the plot from the movie The Ghost Goes West. En route to America, Haven’t I Met Your Brother, The? the castle-laden ship is torpedoed by a Nazi “Bob Phantom” splash panel from Blue Ribbon Comics #2 (Dec. 1939). The unsigned artist was a guy sub, and this somehow liberates the spirit of named Irv Novick. The comics world would soon hear more from him! Thanks to Mike Tiefenbacher. Prince James. “Free! I’m free!” he exclaims as [©2008 the respective copyright holders.] his soul soars upward from the sinking horde from some forgotten corner of Asia descends on a trembling wreckage, decked out in cape and tights. world.” Like The Spectre, Mr. Justice has pupil-less Little-Orphan-Annie eyes The comic books of the Golden Age provided work for unemployed when he’s in his evil-combating mode. Off-duty, he assumes “the form of artists from other areas, including newspaper strips. “Ty-Gor,” about an a mortal man” and goes around as a handsome blond fellow in a business orphaned lad raised by tigers in the Malay jungles, was drawn by one suit. such. George Storm had done a successful strip, Bobby Thatcher, until During his relatively brief career, Mr. Justice, sometimes referred to as 1937 and then retired to try his hand at being a gentleman farmer in the Royal Wraith, combated such villains as Rialb (“Blair” spelled Oklahoma. By 1939, he was ready to get back into cartooning. and he backwards), a mystic who summoned up “demoniacal monsters” to do his returned to New York. We’ll have more to say about him when we get to bidding; Zarro the Zombie Master, a green-skinned voodoo man; a crazed his better-known MLJ creation, “The Hangman.” doctor who brought executed criminals back to life; a green fellow named Finally, in issue #9 (Feb. 1941), Blue Ribbon Comics signed on Ribo who possessed “the most hideous organ of sight ever seen on somebody who could pass as a super-hero. His only flaw was that, like Earth—the evil eye!!” The Spectre over at DC, he was dead. “Mr. Justice,” created by the busy Joe Some of Mr. Justice’s antagonists were so awesome that the Royal Blair and artist Sam Cooper, was actually the spirit of Prince James, heir Wraith couldn’t quell them in a single episode and had to battle them over to the throne of England and murdered “exactly 200 years ago … but the several issues. One such was called The Dictator. He’s quite obviously

Two Strong Men And A Bushy-Tailed Canine Blue Ribbon #4 (June 1940, after a five-month hiatus for the comic) saw the debuts of “Hercules” (art by Elmer Wexler), “The Fox” (by scripter Joe Blair & artist Irwin Hasen), and “Doc Strong” (drawn by Sam Cooper). See the “Hercules” splash on p. 30. The late Elmer Wexler was interviewed in Alter Ego #36; our interview with Hasen from A/E V3#1 is still on view in the trade paperback The Collected Alter Ego, Vol. 1; see TwoMorrows ad bloc that begins on p. 92. Thanks to Mike Tiefenbacher. [©2008 Archie Comic Publications, Inc.]

The most trusted name in comic collectibles auctions in the world! The #1 Auction Service dedicated exclusively to Comics, Original Art, Posters and more! Call us now to participate either buying, selling or for an insurance or estate appraisal!

Let us help you realize the highest prices possible for all your prized possessions!

Office: (201) 652-1305 Fax: (501) 325-6504

The only member of the American Appraisers Association in comic art, comic books and animation art

e-mail: art@allstarauctions.net • www.allstarauctions.net

The MLJ Comics Super-Hero Index (1939-1948) A Skeleton Key To The Golden Age Of What Became Archie Comic Publications, Inc. by Mike Nolan

A Hero Sandwich Nary a super-hero in sight! Above are Norman Danberg’s cover for Blue Ribbon Comics #1 (Nov. 1939), the first comic book ever published by MLJ—and Al Fagaly’s cover for the firm’s last Golden Age issue which contained a super-hero story: the then-quarterly Pep Comics #65 (Jan. 1948). Of course, by that time, MLJ had been rechristened Archie Comics after its major moneymaker, and its last super-hero standing, The Shield, hadn’t appeared on a cover since Pep #50, more than three years earlier. Thanks to Mike Tiefenbacher for the Blue Ribbon scan. [©2008 Archie Comic Publications, Inc.] In between those two covers, however, the company had definitely provided the makings of a very ample hero sandwich, as per veteran pro artist Bob McLeod’s commission drawing of an even dozen super-doers, done for collector Michael Dunne and generously shared with us by both gents. (Left to right, back row:) The Firefly, The Web, The Fox, The Hangman, Steel Sterling, Captain Flag. (L. to r., front row:) The Comet, Inferno, The Shield, Dusty the Boy Detective, Black Hood, Mr. Justice. Alas, The Firefly had to be left off on Alter Ego’s own color-splashed cover, so the remaining figures could be a bit bigger. [Characters TM & ©2008 Archie Comic Publications, Inc.]

The Golden Age Of What Became Archie Comic Publications, Inc.

A/E

EDITOR’S NOTE: Back in issue #57, we were proud to reprint Mike Nolan’s Timely Comic Index, which had been published in 1969 as a compendium of certain key information about the Timely/Atlas/Marvel super-heroes from 1939 through 1957. This presentation not only gave us a chance to share a mass of informative and potentially entertaining data (including the names, lengths, and comic book sources of the stories), but to feature a myriad of old and even new artwork along with it. The piece was so well received that we asked permission to reprint an only-slightly-edited version of the same author’s similar treatment of the costumed stalwarts of MLJ, the company which evolved, over the period of a few years’ time, into the Archie Comic Publications, Inc., that we know today. As explained below, no attempt was made in the Index to account for writers, artists, editors, and other creative personnel… although, this time around, we’ve preceded this Index with text by Ron Goulart which provides a bit of supplementary history and context, and we feel the two pieces complement each other admirably. In addition, of course, the captions accompanying the artwork hereafter, prepared by Ye Editor often from information (as well as with art) supplied by our evergenerous benefactors, will feature additional tidbits of knowledge.

a 14,000-mile odyssey around the United States and Canada in my beloved 1964 Chevy. As I recall, I acquired the final smidgeons of data on that trip. I’ll never forget its highlights: serving as Phil and Carole Seuling’s assistant on the 1969 New York Comic Convention—the first really large convention with a plethora of big names—and camping out along the Indian River in Florida to see the first manned takeoff for the moon at Cape Kennedy. Collectors today might ask why I chose a relatively minor company like MLJ along with a major firm like Timely, instead of another big company like Quality or Fawcett. The answer is simple: I thought collectors would appreciate the connection with the then-recent 1960s revivals of MLJ heroes by the Archie Comic Publications folks, even though those characters had been discontinued by 1969. In addition, MLJ produced only 220 comics with super-heroes between 1939 and 1948, and so many people had liked my Nedor Index that I wanted to produce two more indexes as soon as possible. The late Rick Durell, who built the finest Golden Age collection I have ever seen, had a wonderful MLJ selection as well as his near-complete Timely and DC runs, so he gave me a huge kick-start. Phil Seuling also provided great help from those magic boxes in the workroom at his apartment adjacent to Coney Island in Brooklyn. I remember being

But now, we’ll let Michelle Nolan tell the story in her own inimitable way:

MLJ Redux (And Re-Redux)

by Michelle Nolan (2008)

hen I published The MLJ Comic Index nearly four decades ago, I never could have imagined that people would seriously ask me four decades later about this piece of archaic comic book memorabilia. The MLJ Index is now older than the original Golden Age comic books it covered were when it first appeared!

Considering that Rascally Roy Thomas printed in Alter Ego #57 (March 2006) a far superior version of my original Timely Comic Index, I wasn’t shocked when he called me a couple of years later to inquire about the rights to my MLJ Index. But of course I replied: reprint to your heart’s content. Considering that I had no illustrations in the original Index other than Rudi Franke’s cover, not to mention that I typed it on my parents’ 1950s Royal portable typewriter, what you now hold in your hands in far, far superior to the primitive product I produced when I was 21 years old. I am proud, however, that I was the first collector to print issue-by-issue indexes of 1940s comic books, which made historical artifacts out of the Timely and MLJ Indexes (1969) and my Nedor Index (1968). They are still historic, if only because they seem incredibly old today. The indexes, which originally sold for 75¢ or $1, paid for a lot of meals when I was hitting the road as a young journalist in search of adventure as well as old books, comics, and pulps in all 48 contiguous states. I finished gathering information on the MLJ and Timely books at the end of the summer in 1969, after spending eight weeks on

Cover Story With our re-presentation of the Timely Comic Index back in A/E #57, we ran this same fine caricature of indexer Michelle Nolan, rendered by the late great Golden Age artist Creig Flessel. This time, though, she’s holding 1960s fan-artist Rudy Franke’s striking cover for the original 1969 edition of MLJ Comic Index, which depicts The Web, Hangman, and The Shield. It was the only artwork in the publication. The Flessel drawing long headed Michelle’s column on vintage comics in the magazine Comic Book Marketplace. [Heroes TM & ©2008 Archie Comic Publications, Inc.; caricature © the respective copyright holders]

The MLJ Comics Super-Hero Index (1939-1948)

enchanted by the previously unseen heroics of The Shield, Steel Sterling, The Black Hood, Captain Flag, and all the rest. MLJ comics must not have sold very well, because I can’t ever remember seeing a single one when I was first digging out old comics in second-hand book stores from age 8 in 1956 to age 17 in 1965. I found quite a few 1940s comics, especially those from DC, Dell, and Fiction House, but I spotted nary a single MLJ. Of course, since the vast majority of MLJ’s issues were produced during or before World War II, most of them must have been dispatched to paper drives. By the same token, early issues of Archie Comics have always been much tougher to find, too, than contemporary comics from DC and others. So, when I received my first exposure to MLJ in the mid-1960s, those seemingly ancient characters seemed exotic indeed. In 1959, when the Archie group produced two issues of The Double Life of Private Strong, I had no idea that there had been, as the company was to put it so many years later, an “Original Shield.” Nor did the Archie folks provide any hint that Lancelot Strong (a.k.a. The Shield) was something of a knockoff, in contrast to the informative way DC Comics taught those of us who bought Showcase #4 in 1956 that there had been an earlier Flash. I loved that short-lived Private Strong series, although even at age 11 I thought The Double Life of Private Strong was just an awful title for a comic book. That’s why, as a budding comic book historian, I was so captivated by Fly-Man #31 (May 1965), the issue that resumed that series after a hiatus of eight months. The Archie company came late to the revival party, and brought with it a high-camp approach compared to those of DC and Timely, but it was still fun, especially at only 12¢ per copy. Without those 1965-67 Archie revival issues, I probably never would have done an MLJ Index. I suppose there is some collector out there with a complete set of all 220 MLJs, but I have no idea who it is. Even in the pre-Overstreet Price Guide days of 1969, I could not imagine anyone collecting all of them when I wrote my “Poor Man’s Guide to Collecting Expensive MLJs” at the end of the Index. Now, of course, I can only sigh when I look at sentences like: “Even this [collecting a representative sampling of 20 to 25 of the best MLJs) is likely to cost a couple hundred dollars in this day of high prices for old comics books, but it will be worth it.” I’ve also been charmed by Roy’s story of being heartbroken when his 10-year-old self opened the mail in 1951, only to find that his subscription to All-Star Comics had been replaced by one for its new replacement, AllStar Western. I had a similar epiphany, albeit as a young adult, when I learned The Shield and his partner Dusty had been discontinued in Pep Comics when I first discovered Pep #66 (March 1948). Pep Comics #66, ironically the issue on the stands the day I was born, did not have a “Shield and Dusty” story, but the issue did contain a message from The Shield on the inside front cover. It was headlined “Farewell!!!” (with three exclamation points), explaining how “a very

Monthly! The Original First-Person History!

heavy schedule by the FBI” would prevent further appearances by the costumed pair. Archie continued the message with news about how the Shield G-Man Club would become the new Archie Club. I have never seen any other publisher make such an announcement, passing the baton from one iconic character to another. DC, for example, let the Justice Society depart with All-Star #57 without so much as a hint to the little Rascally One or any other reader. That announcement in Pep #66 told me where to end my Index, since I already knew The Shield and Dusty were the last of the company’s superheroes. So, in the space of four years, I had gone from never having seen an MLJ hero to having seen all of them in every issue in which they had ever appeared. That might be why The MLJ Index is particularly nostalgic for me, symbolizing as it does the growth of a young comics historian. Pep Comics #66 also vividly shows the transition from Golden Age to beyond. Whereas #65 had contained only one story about Archie Andrews, #66 also had stories devoted to Betty and Veronica and Jughead. For those who missed my new introduction to The Timely Index in A/E #57 (still available from TwoMorrows), I should explain why I included no art credits—not to mention no art!—in The MLJ Index. There were two good reasons: (1) I didn’t know nearly enough to list the art; and (2) I didn’t care. I just wanted to know what characters were in the comic books and to pass that information along for the first time. To include art, as well, would have cost me way more than I could have afforded to print the Index—and would have delayed production indefinitely. Rascally Roy, however, has more than made up for my admittedly short-sighted approach. By the way, in recent years a few people have duplicated my Indexes and sold them on eBay. I am even told that some of these scoundrels continue to try to sell them as originals. Beware! I have never authorized such duplication and I consider it a copyright infringement. I hope none of you Alter Ego readers have been victimized by this scam. So what more can I say than “Thanks, Roy!!!” with three more exclamation points. (If it was good enough for The Shield, it’s still good enough for me.) I hope all of you enjoy having this ancient piece of comic book fandom history available again.

Introduction and Acknowledgements (1969) This is the fourth in a series of comic book indexes which, I hope, are proving of value to comics fandom. I believe they will be useful reference tools and collector guides, and so far the reaction from the nation’s fans has been favorable. But, as in my other index projects, no one person alone could ever compile such a work. I’ve been very fortunate to have the help of many top collectors and dealers in my research, and I’m afraid I’ll never be able to give them as much as they have given me, both in information and personal hospitality when I came knocking. While space does not permit listing everyone who has helped in my projects, I would like to pass along special thanks to the following: Rudy Franke, Raymond Miller, Phil Seuling, Rick Durell, Len Brown & Collector’s Books, Bill Thailing, John Barrett, Howard Keltner, Richard Burgess, Gene Krey, Dick Hoffman, M. C. Goodwin, Burt Blum & Cherokee Books, and Steve Edrington & Bond St. Books. My apologies to anyone overlooked—and thanks to all others who helped.

Write to: Robin Snyder, 3745 Canterbury Lane #81, Bellingham, WA 98225-1186

Since this index was compiled with the help of so many, not to mention typed by me (terrific risk there), any corrections and/or additions are welcome. An errata will be published later, if necessary, and letters of comment are also welcome. I want to make future indexes as good as possible at a reasonable cost.

COMICS’ GOLDEN AGE LIVES AGAIN! SPY SMASHER BLACK TERROR • AVENGER PHANTOM LADY • CAT-MAN DAREDEVIL • CRIMEBUSTER CAPTAIN FLASH MR. SCARLET • MINUTE MAN SKYMAN • STUNTMAN THE OWL • BULLETMAN COMMANDO YANK PYROMAN • GREEN LAMA THE EAGLE • IBIS

The above is just a partial list of characters that have appeared in AC Comics’ reprint titles such as MEN OF MYSTERY, GOLDEN AGE GREATS, and AMERICA’S GREATEST COMICS. Virtually all issues published to date are available at $6.95 each. To find over 100 quality Golden Age reprints, go to the AC Comics website at <accomics.com>. AC COMICS Box 521216 Longwood FL 32752 Please add $1.50 postage & handling per order.

$200,000 PAID FOR ORIGINAL COMIC ART! COLLECTOR PAYING TOP DOLLAR FOR “ANY AND ALL” ORIGINAL COMIC BOOK AND COMIC STRIP ARTWORK FROM THE 1930S TO PRESENT! COVERS, PINUPS, PAGES, IT DOESN’T MATTER! 1 PAGE OR ENTIRE COLLECTIONS SOUGHT! CALL OR EMAIL ME ANYTIME!

330-296-2415 mikeburkey@aol.com OR SEND YOUR LIST TO:

MIKE BURKEY

P.O. BOX 455 • RAVENNA, OH 44266 CASH IS WAITING, SO HURRY!!!!!

“The Shield Was The First Patriotic Hero” A 1990s Interview With The Late Great IRV NOVICK Conducted by John Coates

A/E

EDITOR’S NOTE: In our next-issue ad in A/E #81, we announced that this interview was “previously unpublished.” Due to our error, not that of John Coates, this was an incorrect statement; in truth, it originally saw print in Comic Book Marketplace #77 (April 2000). However, it’s a good one—and we’ve long wanted to do our part in giving Golden/Silver/Bronze Age artist Irv Novick just a tiny part of his due. Thus, because this issue was already so chock-full, we have utilized here (in edited form) the portions of that piece that deal with Novick’s work for MLJ. Those who want to read the entire interview, also covering his longer career at DC Comics, are encouraged to seek out a copy of CBM #77. —Roy.

“[MLJ] Was Paying More Money Than Chesler Was” JC: How did you become interested in comic books? NOVICK: Well, I graduated from the [National Academy of Design] in 1938 and had seen an ad in the New York Times newspaper for artists to draw comic books. Being that the industry was still in its infancy, I had never heard of a comic book, never seen one, didn’t know what it was other than it meant work. I showed them my showcard art and they hired me right away. This was with Harry Chesler’s outfit. At first, I worked in his shop but eventually moved to working freelance from my home. Working in the office was pleasant, but I preferred working at my own pace, on my own time. I’ve always been a night person. I like to work at night when everyone else has gone to bed. I never went to bed before two o’clock. JC: How long did you work for Harry Chesler? NOVICK: A few years, I believe. At the time, MLJ was buying most of the work being produced from Chesler’s studio. MLJ was a publishing house founded by Morris Coyne, Louis Silberkleit, and John Goldwater. Anyway, after a while, Louis came to me and asked if I could work directly for them. They wanted me to work on a character called The Shield. They were paying more money than Chesler, so I did. I think this was around 1940.

Irv Novick Had Pep!

JC: Let’s talk about The Shield. You said MLJ wanted you to work on the character. Did they have a ready-made character when you arrived?

Irv Novick (on left in photo) at a 1999 comics convention, with fellow artists George Gladir and Dan DeCarlo (the latter on right)—and Novick’s splash page for Pep Comics #1 (Jan. 1940), probably the first page he drew of the first patriotically garbed super-hero. Photo courtesy of David Siegel; thanks to Marc Svensson for the art scan. [Page ©2008 Archie Comic Publications, Inc.]

NOVICK: Well, they had an idea for a hero that was based on the patriot theme. From their initial idea, I designed the costume and created his character of being a G-man. Once I had defined and created the character, Harry Shorten was brought in to write and edit the stories. I believe The

“The Shield Was The First Patriotic Hero”

NOVICK: Yes, I threw them out: Steel Sterling, Zip Comics, Pep Comics, all of that stuff. JC: Ouch! That hurts! [laughs] NOVICK: You’re telling me? [laughs] I didn’t know what the things were worth; they were just in the way. Who knew? I was just thinking of the house I was building. It took five years between 1955 and 1960. I always

enjoyed doing carpentry, plumbing, electrical wiring, and all kinds of construction work. I was fortunate to have these as hobbies, considering I was building my house! My favorite hobby now is walking. I’m a pretty fast walker, and that keeps me thinking young. Doesn’t keep me young, though! Our thanks to Brian K. Morris for a retyping assist.

IRV NOVICK Checklist [The following Checklist is primarily adapted from information that appears in the online Who’s Who of American Comic Books (1928-1999), established by Jerry G. Bails. See the notice below to learn how to access this invaluable website. Names of features which appeared both in magazines with that title and in other magazines, as well, are generally not italicized below. Reprints are only occasionally listed. Key: (a) = full art; (w) = writer; (p) = pencils only; (i) = inks only; (S) = Sunday newspaper comic strips; (d) = daily newspaper comic strips.] Name: Irving H. Novick (1916-2004) – artist, writer Education: National Academy of Design Member: National Cartoonists Society Print Media (Non-Comics): artist in advertising & design – Johnstone and Cushing, and Al Stenzel Studios 1951-65; magazines 1958-60s; Amazing Stories 1958; Boys’ Life 1960s; writer – US Army training manuals; Boys’ Life 1955-68; science-fiction magazines late 1950s-60s; Amazing Stories; Astounding Commercial Art & Design: International Correspondence Schools 1961-62 Comic Strip Syndication: Cynthia (d)(S)(w)(a) 1946-52 for McClure Syndicate; Vengador Escarlato (Scarlet Avenger) (a) 1946-50 Comics in Other Media: “The Bible,” “Heroes of the Faith,” “Lives of

The WHO’S WHO of American Comic Books (1928-1999) FREE – online searchable database – FREE www.bailsprojects.com No password required

Created by Jerry G. Bails

A quarter of a million records, covering the careers of people who have contributed to original comic books in the US.

Great Men,” “Our Heritage,” “The Sioux,” & cartoon features (a) in Boys’ Life 1960s Promotional Comics: G.I. Joe Club with Andy and George (a) 1960s for G.I. Joe action dolls Comics Studio/Shop: Chesler Studio (a) 1939 COMIC BOOK CREDITS (Mainstream US Publishers): Archie Comic Publications, Inc./MLJ: Avenger (a) c. 1941; Betty and Veronica (w)(a) c. 1947; Black Hood (p) 1943-46; Black Jack (a) 1941-42; Bob Phantom (a) 1940; Boy Buddies (a) 1940s; Captain Commando (a) c. 1941; Fran Frazer (a) c. 1941; Hangman (a) c. 1941; Inferno (a) c. 1941; Kalthar (a) c. 1941; Penny Parker (a) 1941; Scarlet Avenger (a) 1940; Shanghai Sheridan (a) c. 1941; The Shield (p) 1943-46; The Shield (a) 1940-42; The Shield (in Pep) (a) 1943; Steel Sterling (a) 1941-43; The Web (a) c. 1941; The Wizard (a) c. 1941 Better/Standard/Nedor/Pines: Today’s Romance (p) 1952 DC Comics: 80-Page Giant Magazine (i) 1965; All-American Men of War (p)(i) 1952-66; Atom (p) 1982; Batman and Robin (p) 1976-77; Batman (p) 1966-83, 1989; Batman (a) in Batman #204 1968; Batman and Teen Titans (p) 1969; Batman and Wildcat (p) 1970; Captain Hunter (a) 1966; Captain Storm (a) 1965; covers (p)(some i) 1952-79; Elongated Man (a) 1967; Fighting Devil Dog (a) 1965-66; Flash (Golden Age version) (p) 1990; Flash (p) 1970-79; Flash and Kid Flash (p) 1978; G.I. Combat (a) 1957-62, 1965-67; G.I. Joe (a) 1965-65; Girls’ Love Stories (p) 1954; Girls’ Romances (a) 1958; Green Arrow (p) 1983; Green Lantern Corps (p) 1982; Gunner and Sarge (a) 1962; Haunted Tank (p)(some i) 1961-68; Haunted Tank and Johnny Cloud (a) 1966; Hunter’s Hellcats (a) & illustration (i) 1975; Johnny Cloud (a) 1960-67; The Joker (p) 1976-76; Lt. Johnny Cloud (a) 1960-66; Lois Lane (p) 1968-70; Mr. and Mrs. Superman (p) 1981-82; Our Army at War (p)(i) 1952-59, 1961-65; Our Fighting Forces (p)(i) 1954-58; 1960-66; public service page (a) 1957; Robin (p) 1970-73, 1976-77, 1981; Robin Hood (p)(some i) 1956-57; Sargon the Sorcerer (a) 1942; Sea Devils (a) 1963-64; Secret Origin: Rocket Red (p) 1988-89; Secret Origin: Teen Titans (p) 1982; Sgt. Rock (p)(i) 1959, 1961; Silent Knight (a) 1955-59, 1974; Star Spangled War Stories (p)(i) 1953-58, 1961-64; Strange Sports Stories (p) 1973-74; Superman (p) 1982, 1984-85; Superman and Aquaman (p) 1982; Superman and Batman & The Outsiders (p) 1985; Superman and Batman (p) 1982; Superman and Blackhawk (p) 1984

“Working At MLJ Was A Good Experiencee!” JOE EDWARDS On MLJ’s Super-Heroes —And Archie Andrews Interview Conducted by Jim Amash

Transcribed by Brian K. Morris

“The Lower East Side, Where The Immigrants Were” JIM AMASH: The hardest question will be, when and where were you born? JOE EDWARDS: I was there! December 6th, 1921, in New York. That’s a long time ago. JA: You’re older than the Empire State Building. EDWARDS: Well, I’m shorter. I lived on the Lower East Side, where the immigrants were, and there was a candy store across the street. I used to glance at the Sunday comics that came in—Alex Raymond’s Flash Gordon and all the top strips like Popeye. I was fascinated by the color and the stories and art. When I was about eight or nine, the owner of the candy store said that if I would collate the Sunday papers for him, I would make two or three cents a Sunday, which was very good money because Mother’s Day was coming up and I didn’t have any money, this being the

oe Edwards (1921-2007) was a good comic book cartoonist who brought joy to millions of readers for the better part of six decades At the time of his passing, he was the last link to Archie Comics’ pre-Archie days, and of the little-known Demby Shop which preceded that. Joe worked with artist Bob Montana on the plotting of the very first “Archie” story, and though he did all kinds of features for the company [see Checklist at end of interview— next issue], it is his creation of “Li’l Jinx” that most of us know best. My interviewing Joe between bouts of illness was hard on him, but he wanted to tell his story. His memory for details was not always accurate, and I have endeavored to correct as much as I could while staying true to Joe’s point of view. His description of the creation of the Archie characters is at variance with other sources, and I’ll leave that for others to sort out. To me, Joe was a hard-working, humble man who was proud of his achievements. He was a good friend and devoted family man, and is missed by all who knew him. And, since “Li’l Jinx” is reprinted every month in various Archie digests, Joe ended up with the last laugh—only it’s a last laugh that all of us can enjoy. Oh, and many thanks to Stan Goldberg for first putting me in touch with Joe! —Jim.

A Double Dose Of Morning Joe (Above left:) A photo of which cartoonist Joe Edwards wrote: “This was me working on a strip, Pinky, that has been swallowed up in the India ink of time. I was going to the Tex Hastings [a Walt Disney director] Animation School in Manhattan at the time. We didn’t realize it was the beginning of the comic book industry. I was working for Famous Funnies and other start-up companies in this golden era.” Courtesy of Eda Lisa Edwards. (Above right:) A sketch by Joe of himself with Archie Andrews and his own creation Li’l Jinx, sent to Jim Amash in May 2005. Thanks to Jim. [Archie & Li’l Jinx TM & ©2008 Archie Publications, Inc.; self-caricature ©2008 Estate of Joe Edwards.]

FCA (Fawcett Collectors Of America)

Beck’s passing remark was fondly recalled years and years later when The Incredible Hulk TV movies were made. Scenes showing the Hulk as he went into action appeared on the screen … in slow motion. Just as though, thought I, the Hulk might have had some of Beck’s “concrete in his boots”! I may have been bringing to the Captain Marvel feature something that had not been there before … a boyhood interest in a sports activity that had been very popular in its day … the prizefight. Recalling an interval of amateur experiences in the fight game, and scads of material read of it, I made up my mind that as I drew the hero, when he took a swing at an impolite foe, he would go about it as though he knew exactly what pugilistic blow he was delivering, and how to deliver it. It was necessary to consider the comic book action in … “Captain Marvel terms.” You wanted your character to maintain his respectable status in the pre-purchase scramble for topmost attention at the marketplace. Yet … there was the particular reservation about his performance that needed to be acknowledged … and pictured! It was that cool, calm manner of his … almost as though he might be expressing sympathy for the victim. When Captain Marvel busted a bad guy in the jaw, he did it with full knowledge that behind the blow was enough unused power to dislodge that part of the poor fellow’s face and land it somewhere in the Orient. In boxing circles it was referred to as “pulling the punch” … meaning, not hitting as hard as you could. So there it was … a drawing board quandary of ’41 … a dynamic super-hero with all the mystic powers … bound to an obligation to outdo all others at the newsstand pre-purchase show … yet do it with an obvious air of … of … reticence. Difficult? Impossible? No. And no. It was fun! Marc Swayze will return next issue with more reminiscences of the Golden Age of Comics.

“You Wouldn’t Like Me When I’m Angry!” Swayze thought the TV’s Hulk had some “concrete in his boots,” as well … although after Dr. Banner’s clothes-ripping transformation into the green guy, he’d always hop into action barefooted. Lou Ferrigno, star of the 197882 CBS-TV series The Incredible Hulk. [The Incredible Hulk TM & ©2008 Marvel Characters, Inc.]

Advertise With Us! ALTER EGO! • BACK ISSUE! • DRAW! ROUGH STUFF! • WRITE NOW! COVERS: 8.375" Wide x 10.875" Tall (plus 1/8" bleed all around) FULL-PAGE: 7.5" Wide x 10" Tall HALF-PAGE: 7.5" Wide x 4.875" Tall QUARTER-PAGE: 3.75" Wide x 4.875"

These rates are for ads supplied on-disk (PDF, JPEG, TIF, EPS, or Quark Xpress files acceptable). No agency discounts apply. Display ads are not available for the Jack Kirby Collector.

Ad Rates: Back cover COLOR: $800 ($700 for two or more) Inside cover B&W: $400 ($350 for two or more) Full-page B&W interior: $300 ($250 for two or more) Half-page B&W interior: $175 ($150 for two or more) Quarter-page B&W interior: $100 ($87.50 for two or more)

Bulk Ad Rates! Run the same size ad for 26 insertions and these discounts apply: Back cover COLOR: $10,000 ($385 per ad) Inside cover B&W: $6000 ($231 per ad) Full-page B&W interior: $4000 ($154 per ad) Half-page B&W interior: $2000 ($77 per ad) Quarter-page B&W interior: $1000 ($39 per ad)

“Pulling the Punch” Captain Marvel, with his properly delivered uppercut, lightly taps the chin of his advesary … an illustration of the cool, calm manner with which he went about his feats. Swayze art from “Captain Marvel Gets the Heir!” in Captain Marvel Adventures #40 (Oct. 1944). [©2008 DC Comics.]

We accept check, money order, and all major credit cards; include card number and expiration date.

Send ad copy and payment (US funds) to: TwoMorrows Publishing 10407 Bedfordtown Dr. • Raleigh, NC 27614 919-449-0344 • fax 919-449-0327 • E-mail: twomorrow@aol.com

The De Fuccio Papers —Part 1

JERRY DE FUCCIO May Have Known “More About Comic Books Than Any Man Alive” by Ron Frantz Edited by P.C. Hamerlinck [EDITOR’S INTRODUCTION: In Jules Feiffer’s landmark 1965 book The Great Comic Book Heroes, Jerry De Fuccio’s name led the list in the author’s acknowledgements. Mad editor William Gaines had originally gone to editor E.L. Doctorow to pitch the idea for the book, and advised him that Jerry De Fuccio (Mad assistant editor since 1956) should write it because “he knows more about comic books than any man alive.” Doctorow agreed to do the book, but instead chose Feiffer as its author because he had the bigger name. De Fuccio assisted Feiffer along the way, with the understanding that he would write the follow-up book—which, alas, was destined never to happen. Thus, over the years, Jerry’s vast comic book knowledge remained stored up in his head, with nuggets of information occasionally veering their way into various comic-related projects, publications … and correspondences with people such as myself and Ron Frantz. While my gab-fest with Jerry the final six years of his life centralized upon our love of artist C.C. Eye Candy Beck’s work, Frantz’s letters In this 1980 specialty piece for the 10th edition of Bob Overstreet’s Comic Book Price Guide, artist C.C. Beck depicts a young exchanged with him, as revealed Jerry De Fuccio absorbed in what became his favorite lifelong activity. [Shazam characters TM & ©2008 DC Comics.] in this three-part article, packed more drama, and encompassed a the late 1980s, the news of his untimely demise hit me very hard. Feeling wide variety of comic book lore and facts—from a man who, even as a the urge to trod down memory lane, I spent a quiet evening reading boy, always knew which artist worked on which comic book. —P.C. through a large file containing the bulk of our correspondence. Finding Hamerlinck.] myself overcome with mixed emotions, his letters rekindled memories both sweet and sour. However, somewhere in the process it occurred to me that some of Jerry’s letters contained information, not readily s time marches forward in carefully measured footsteps, some available, that might be historically significant. For this reason, it seemed events stand out in our respective memories. The reasons are appropriate that I should document portions of these letters for the essentially personal. As for myself: August 11, 2001, is the day benefit of those who might find them of interest. that marked the passing of Jerry De Fuccio. No doubt many of you will remember Jerry as a former associate editor of Mad magazine. In later Unlike many people who engage in lengthy correspondence, I seldom years he became a well-known comic book historian and a frequent bothered to keep copies of my own letters. For some inexplicable reason it contributor to Cartoonist PROfiles. It might be said that what Jerry didn’t did not seem important at the time. So, much of what you are about to know about comics or cartooning was probably not worth knowing. read is essentially a one-sided version of my correspondence with Jerry. For the sake of clarity, I have taken the liberty to disclose general inforSince I had worked extensively with Jerry on my ACE Comics line in mation as it relates to the letters, along with some personal commentary.