re: [correspondence, comments, & corrections

Roy here, eschewing third person for the length of this letters section, as per usual. (Interesting that I still think of it as a “letters section,” when in truth at least 90% of the comments that come in re a given issue arrive via e-mail. Anyway, beneath Shane

Foley’s fine retro-vintage image of a very young Alter Ego (from our

Heroic Publishing comics of the same name—TM & © Roy & Dann

Thomas; costume designed by Ron Harris), let’s get to comments on A/E #157, whose FCA spotlight focused on Golden Age (and often Fawcett) writer William Woolfolk but also drew considerable attention for its Star

Wars comics 40-year reunion panel, “Comic Crypt’s” continued coverage of artist/writer Pete Morisi, and a brief history of Zorro. We’ll start with frequent A/E letter-hack (with no disrespect intended) Jeff Taylor:

Hi Roy—

The interviews and panel coverage in Alter Ego #158 were great (especially the Star Wars one), and as an old Zorro fan from way back, I enjoyed the article on the dashing, dark-clad hero.

No mention, though, of The Three Swords of Zorro, an obscure 1963

European flick starring Guy Stockwell (Dean’s brother), which I managed to catch on the late, late show way back in the day when they still had late, late shows.

But the thing that caught my eye the most amongst the

William Woolfolk stuff (other than learning there were actually two

“Winston Lyon” Batman novels) was his short-lived super-hero The

Mad Hatter. I don’t know why, but I’ve always thought this obscure wisecracking Batman clone was really cool. I just seem to like his larger-than-life, devil-may-care attitude, I guess.

Still, there is something that has always bothered me about his eye-catching purple and white costume.

No, it isn’t the fuzzy white cape that reminds me of one of those really soft bath towels.

Nor is it the baggy belt-less trunks that resemble nothing so much as those adult pull-up diapers….

No, the thing that bothers me about The Mad Hatter is the simple fact that he doesn’t wear a gosh-darn hat.

And the sad thing about that (other than the fact that I’m obsessing on it) is that he would look so debonair in a top hat (purple, to match his costume, of course). I mean, I can just see him taking it off and bowing with a flourish. Not only that, but it could be a tricked-out magician’s hat, too, full of gadgets and gimmicks like the Caped Crusader’s famed utility belt. He could even flatten it and throw it like a Frisbee to knock out fleeing crooka, à la the Batarang. Sigh… Jeff Taylor

And here I thought you were going to complain because he didn’t act “mad” enough, Jeff. Yeah, as a kid reading those two issues when they were fresh and new, I couldn’t figure out why the hero took that name—but I liked the stories and visuals just the same.

I try hard, each and every issue, to find a reason—if only because of space limitations—not to print some or all of the e-mail that longtime fan Bernie Bubnis sends about nearly every edition. However, it’s difficult—because, in addition to his letters being generally clever and often insightful, he almost always comes up with at the very least a tidbit of information that I think should be passed on to A/Eficionados. Case in point: Hi Roy,

This issue was a perfect blend of all the things that make A/E so unique. Fair coverage of a writer’s career seen through the eyes of a relative. Always entertaining, and the graphic sidebars were well-executed. A little more history from P.C. and due homage paid to Mr. Woolfolk. The first of two panels in the issue was just what the doctor ordered. Those Golden Age guys

Mad As A Hatter? This action sequence from Mad Hatter #2 (Oct.-Nov. 1946) shows the fur-caped (but hatless and undeniably sane) hero battling a murderous criminal who’s had his brain transplanted into the body of a gorilla, then disguised himself as a human just to confuse folks. Script by editor/publisher Bill Woolfolk; art by John Giunta. Thanks to Comic Book Plus. [TM & © the respective trademark & copyright holders.]

were having fun up there, and it showed on every page. Panels can ramble sometimes, but are always interesting reading. The Al Capp tangent at this one was fun for me….

The Star Wars comics panel is great fun to read, but for a completely different reason. From the first photo with Howard [Chaykin] sans any Star Wars shirt, hat, tie, belt buckle, or (I have to believe) underwear, we just knew how he felt about the Star Wars comics. BLAST, BANG, BOOM, we were off to the races. You couldn’t write this stuff. It just has to happen! That is why more panel coverage in A/E is on my wish list.

Mr. Monster and Bill Schelly… I expect them to be readable and interesting. Anything less will not be acceptable. As soon as either of these guys decides not to be interesting, I will be the first to let you know. I can’t wait for one of them to trip up. I will pounce on them like a 1000-pound rock. …Crap, looks like I’ve got a long wait.

By the way, that 2002 Golden Age panel referred to a strip joint on 52nd Street in NYC. I know there was one at 7th and 48th called the Metropole Café. My gangster father would meet his pals there and he would bring me along with him. I think he felt it made him look more human. It did not, but I developed an early attachment to jazz and semi-dressed women. And I never wear Star Wars clothing. Not sure the two things are connected, but it’s possible. Bernie Bubnis

I remember going briefly into the Metropole once or twice during my early days in Manhattan, Bernie—but I don’t recall seeing you or your “gangster father” there. Probably just as well.

Next up is reader Joe Frank: Dear Roy,

To my surprise, I was really taken with aspects of the Star Wars panel. By way of understatement, I’m not a big fan of the franchise. I liked the first two films, and then my interest plummeted. But I was one of those who read your three issues prior to the movie and, consequently, was motivated to see it before it became a phenomenon, with lines around the theatre.

In the discussion, there was the guilty-conscience sentiment that if there hadn’t been the preview panel for Star Wars [at the San Diego Comic-Con] in 1976, that sort of media presence wouldn’t have become a convention staple. I disagree. Because someone previews a film, that’s no guarantee that anyone will be hooked and attend. Also, if fans weren’t interested, there would be no massive attendance in the halls.

In my view, fans willingly sold out comics interest and appreciation to go with a more high-profile hero worship. To be accepted, seen as cool and in on the latest high-profile Hollywood project, fans ever-so-willingly lessened their attention on the comics personnel and, stars in their eyes, welcomed big-name studios, producers, and stars to blank-check adoration. Their choice.

But it is a shame in one way: people, like me, who had enjoyed listening to panel discussions on and by comics pros are so crowded out that it becomes too much hassle for the payoff. I see that you and Denny O’Neil will be here in Phoenix in a couple weeks. But, claustrophobic as I am, I’m not going to maneuver through a sea of bodies, wend my way through, and hope for a seat. Called it a day in 2009 when, at CC:I [con], I was more focused on finding an exit than back issues or engaging in discussions.

I thought your remembrance section, with thoughts on Russ Heath, Marie Severin, and Gary Friedrich was touching, as was your editorial. How sad to think of most of the ’60s Bullpen in the past tense. It’s a reminder to appreciate people while they’re here.

Enjoyed your Zorro coverage, even though, in one blurb, you got your Guys confused. As in the article, the Zorro pictured was Guy Williams, not Guy Madison. Joe Frank

Yeah, that was my [Roy’s] error, Joe—and sad to say, no one else seems to have noticed until you cracked open a copy. Guy Madison, of course, played Wild Bill Hickock on radio and TV.

If you’re feeling nostalgic about the 1960s Marvel Bullpen (as I am, these days, after the recent passing of the folks you mention, plus Stan Lee and Steve Ditko), you won’t want to miss A/E #169, which will be almost totally devoted to my fellow Bullpenner (and good friend since high school) Gary Friedrich.

And don’t worry about the Star Wars panelists’ proffered guilt about helping to establish the big-forthcoming-movie as a way-too-major focus of many so-called “comics conventions.” We were only half serious, being fully aware that, if it hadn’t been Chaykin, Charlie Lippincott, and me in ’76, it would almost certainly have been someone else a year or two later who started pushing forthcoming films at San Diego or some other con. It was, apparently, time.

David Burd sent the following missive to “Comic Crypt” editor Michael T. Gilbert, and we’ve included both e-mail and e-response below:

Dear Michael T.:

Thanks for the wonderful job you did with your series of articles about Pete Morisi. I have just read part 4. I have to admit, I was never a fan of PAM’s artwork, but I do enjoy the insight into his thoughts and his life as a working comics artist.

There’s one thing that bugs me, though. As I look at the “Arizona Kid” splash on page 58 and the “Two-Gun Lil” on the facing page, both are fully rendered and very competent work. But Pete’s later art for Charlton has a peculiar quality about it. I realize Charlton paid very low page rates and artists would cut corners any way they could to save time. This isn’t just about a rush job, though.

Pete Morisi’s art looks like it has been traced.

I remember that certain “look” of art that has been traced. I saw it in school, when kids would trace pictures from comic books. The same look is found on early fanzines that were printed on mimeograph or spirit duplicators. (Such as your example of The Comic Reader #40.) You can always tell that the drawing has been traced onto the master with a ballpoint pen, rather than drawn in panel and then inked with a dip pen and/or brush. It’s almost as if PAM had a stencil, or some kind of drawing guide.

The Zorro And The Pity Or did we use that everpunishing pun already? Anyway, this cover for the English Zorro #52 (May 1952) from L. Miller & Son— drawn by Andre Oulie— shows how chronologically flexible a “Fox” can be! Sorry, not sure who sent us this scan, let alone who drew it. [TM & © Zorro Productions, Inc.]

Pete’s artwork is to George Tuska’s what Leroy lettering is to Artie Simek (or Abe Kanegson!). It comes down to a “dead line” as opposed to the thick-and-thins you get from a crow quill pen or a nice brush.

I wonder if you have any information about this. Did Pete ink his pencils with a Flair pen to save time? Or use a single-width Rapidograph pen, perhaps?

I’d love to see one of Pete’s drawings inked with a lively line by a really great inker. Maybe you would like to take a crack at it. David Burd

Michael T. Gilbert, co-proprietor of “Mr. Monster’s Comic Crypt!,” replies:

“Having read Pete’s letters, it becomes clear that he was consciously copying photos… a pretty common thing among cartoonists trying to meet deadlines. We should have more of Pete’s thoughts on that in our PAM cover story next issue [#159]. I think I mentioned in one of my articles that Pete used the same reference photos for two different characters in two different stories. And, if memory serves, Pete was miffed when Charlton printed both

Tough Is As Tough Does! This page from Peter Cannon… Thunderbolt #1 (Jan. 1966) demonstrates writer/ illustrator Pete Morisi’s conscious artistic borrowing from his fellow artist George Tuska. Five’ll get you ten that that tough-guy at top right plugged either a cop or a stoolie in Charlie Biro’s Crime Does Not Pay a decade or so earlier! But George never seemed to mind—hey, he’d already got paid for doing it! Thanks to Doug Martin. [Peter Cannon TM & © the Pete Morisi Estate.] stories in the same Western comic! D’oh!

“Pete began tracing more and more in his later years, though he was always conflicted about whether it was the right approach. It may have been a time-saving thing on his part, but I also think there was a ‘lack of confidence’ element as well. PAM was always second-guessing himself, and (like his friend Al Williamson) grew far too reliant on photo reference as the years went on. I prefer his earlier, more organic work (even when he was swiping Kirby and others).

“I don’t really know what materials he used, but probably not Flair or Rapidograph. I myself draw with a brush and fine-line Fountain Pentel magic marker, so the resulting art doesn’t have to be cold or stiff.

“But I’ll have to take your comments into consideration whenever I look at PAM’s work from now on!”

Roy here again: Pete Morisi never felt he had to apologize for deciding consciously, at a crucial point in his career, to begin imitating the art style of popular Crime Does Not Pay artist George Tuska—mainly because an editor suggested he do so. In fact, as has been noted, he even asked George if it was okay with him, and George seems to have raised no real objection. Most likely, George couldn’t figure out quite how to reply! However, Morisi created his own stories and compositions, even with utilizing Tuska figures.

Now, a Star Wars comicbook query from Doug Abramson: Hi Roy,

I have a question about the Star Wars interview. On page 85, did you mean to print Jabba the Hut’s appearance from issue #1 to illustrate things from the screenplay that wound up in the comic but not the movie? Because I’m almost positive that the confrontation between Luke and Owen is in the movie with almost verbatim dialogue.

P.S.: I am rather fond of Jaxxon. Doug Abramson

Funny you should say that, Doug… so am I. And so, I was glad to learn at that TerrifiCon, is Howard Chaykin—not to mention a few other people. Sadly, George Lucas is/was not one of them… but what does he know?

I believe someone besides yourself (though I managed to misplace his e-mail) also wrote that one of the two Star Wars #1 pages I listed as not being in the movie actually did make the final cut—so I’ll assume it was the one on p. 85, which was p. 23 of the comic. See the art spot on the next page for what I now believe are other comics-included scenes that were, if ever filmed, left on the cutting-room floor.

Audrey Parente & Rich Harvey’s “Zorro” history attracted its share of attention, too, as per comments above and Dan Hagen’s below. Dear Roy,

Alter Ego #158 was stuffed with goodies, particularly (for me) the Jim Warren, Pete Morisi, and Zorro pieces.

I always appreciated Morisi’s Thunderbolt (like your own Iron Fist) as one of the characters who were the “brain-grandchildren” of Bill Everett and his highly original “Amazing-Man.” Both were worthy successors.

I ran across a funny anecdote about Zorro, whose influence on super-hero comics can hardly be overstated. Mary Pickford recommended the first “Zorro” story to her husband, Douglas Fairbanks, and thereby changed the course of American popular culture. She even named her terrier “Zorro,” and that dog also left his mark on the world. When Zorro ran across wet cement at their home, she started to scold him but stopped, seized by an idea.

Putting Out The Light On Darklighter Besides the events covered on p. 7 of Marvel’s Star Wars #1 (July 1977), which was reproduced on p. 95 of A/E #157, there were a number of other panels in the issue that depicted sequences either never filmed or else cut out of the final movie. Seen here are the final three panels from Star Wars #1, p. 2, and all of p. 14, a scene featuring Luke Skywalker and Biggs Darklighter that was intended to be echoed before and during the climactic battle against the Deathstar. Without the earlier scene, Biggs’ death carried little impact in the film. Thanks to Philip, a.k.a. “Bluelark,” for pointing out these particulars. As Mike Nielson added online: “Anything in [issue] #1 featuring Biggs probably isn’t in the movie.” Images from MinuteMen-DarthScanner website. Script by Roy Thomas; art by Howard Chaykin. [TM & © Lucasfilm/Disney.]

Realizing those footprints would be there forever, she called Sid Grauman and proposed that she and Douglas leave their prints at his Chinese Theatre in Hollywood, and thus began a tradition. Dan Hagen

Lessee, Dan… “Mary Pickford”… “Mary Pickford.” Seems like I’ve heard that name before. Did she ever do anything else noteworthy besides promote Zorro, come up with the handprints-in-cement idea, and marry swashbuckling screen actor Douglas Fairbanks?

On an even lighter note, this from Pierre Comtois:

Roy,

Alter Ego #158 was another interesting issue chock-filled with diverse content, but what I really wanted to bring up was an element that is rarely if ever mentioned by the mag’s correspondents, namely your punning titles to the captions accompanying many of the illos you use. I’m constantly amazed that you can continue to think up different jokey headings or puns to head up those captions. What got me to finally tip my hat to you on this mostly thankless effort on your part was the one you wrote for the caption on page 28 this issue. Now, usually these little witticisms I find merely entertaining. Now and then they bring a smile to my face. But not very often (if ever, so far as I can recollect) do they make me laugh aloud. But doggone it, you finally did it with this one: “A reptile dysfunction!,” used to describe Action Comics #576 with its weird-looking dinosaur. I can see how such a sense of humor could carry you through all those Not Brand Echh stories you used to write. Keep it up! (No pun intended.) Pierre Comtois

A few years back, Pierre, I began adding headings to A/E’s captions to attract a bit more attention to them. Some I made puns, while others are either some other kind of allegedly humorous comment or even a dead-serious reference. Perhaps thinking them up takes more time than it’s worth, because, as you say, they’re rarely noticed, or at least rarely commented on… nor should they be, necessarily. Still, once I started doing it (probably under the influence of Forry Ackerman’s work in Famous Monsters of Filmland magazine), I couldn’t quit. My two personal faves are the one you mention (which I don’t recall seeing anywhere else, though of course many of my puns hardly claim to be original) and, as it happens, a blurb on the cover of issue #28, which featured an interview with Golden Age artist Lee Ames. The cover blurb read: “LEE AMES To Please.” Interviewer Jim Amash called me up to mentioned he’d laughed at that one—which made my day.

One more correction, briefly noted: Geoff Willmetts, editor of the website SFCrowsnest.info, informs us that “the first unidentified cover of Northwest Smith from Ace Books [on p. 93] was done by Jim Burns.” Thanks, Geoff!

Got other kudos or cumquats? Send them to:

Roy Thomas e-mail: roydann@ntinet.com 32 Bluebird Trail

St. Matthews, SC 29135

Meanwhile, hope you’re a member of the e-mail discussion group Alter-Ego-Fans on the Yahoo Groups. Subscribers can exchange views, learn about future issues of A/E—and occasionally be bombarded by requests from Ye Editor for help finding rare (or even not-so-rare) items for inclusion in this magazine. Just visit http:/groups.yahoo.com/group/ alter-ego-fans. Moderator Chet Cox advises us that Yahoo Groups has deleted its “Add Member” tool, so if it won’t let you in, please contact him at mormonyoyoman@gmail.com and he’ll usher you right in.

And, over on Facebook, my friend and manager John Cimino runs what he’s christened The Roy Thomas Appreciation Boards, which discuss anything and everything dealing with Ye Ed, including this mag, upcoming con appearances, comics and super-hero movies, etc. The site is fully interactive— whatever that’s supposed to mean!

Edited by ROY THOMAS

The first and greatest “hero-zine”—ALL-NEW, focusing on GOLDEN AND SILVER AGE comics and creators with ARTICLES, INTERVIEWS, UNSEEN ART, P.C. DIGITAL EDITIONS AVAILABLE

Hamerlinck’s FCA [Fawcett Collectors of ALTER EGO #155

America], MICHAEL T. GILBERT in Mr. Golden Age artist/writer/editor NORMAN

Monster’s Comic Crypt, BILL SCHELLY’S Comic Fandom Archive, and more! MAURER remembered by his wife JOAN, recalling BIRO’s Crime Does Not Pay, Boy Comics, Daredevil, St. John’s 3-D & THREE EISNER AWARD Winner STOOGES comics with KUBERT, his THREE STOOGES movies (MOE was his father-inBest Comics-Related Periodical law!), and work for Marvel, DC, and others! Plus LARRY IVIE’s 1959 plans for a JUSTICE Go to www.twomorrows.com for an ULTIMATE SOCIETY revival, JOHN BROOME, FCA, MR. MONSTER, BILL SCHELLY and more!

BUNDLE, with all the issues at HALF-PRICE! (100-page FULL-COLOR magazine) $9.95 (Digital Edition) $5.99

ALTER EGO #156 All Time Classic Con continued from #148! Panels on Golden Age (CUIDERA, HASEN,

SCHWARTZ [LEW & ALVIN], BOLTINOFF,

LAMPERT, GILL, FLESSEL) & Silver Age Marvel, DC, & Gold Key (SEVERIN,

SINNOTT, AYERS, DRAKE, ANDERSON, FRADON, SIMONSON, GREEN, BOLLE,

THOMAS), plus JOHN BROOME, FCA, MR. MONSTER, & BILL SCHELLY! Unused RON WILSON/CHRIS IVY cover! (100-page FULL-COLOR magazine) $9.95 (Digital Edition) $5.99

ALTER EGO #157 Interview with JOYE MURCHISON, assistant to Wonder Woman co-creator DR. WILLIAM MARSTON, and WW’s female scriptwriter from 1945-1948! Rare art by H.G. PETER, 1960s DC love comics writer BARBARA FRIEDLANDER, art & anecdotes by ROMITA, COLAN, JAY SCOTT

PIKE, INFANTINO, WEISINGER, JULIUS

SCHWARTZ, and others! Extra: FCA, JOHN BROOME, MR. MONSTER, & more! (100-page FULL-COLOR magazine) $9.95 (Digital Edition) $5.99

ALTER EGO #158 FCA SPECIAL! Golden Age writer WILLIAM WOOLFOLK interview, and his scripting records! Art by BECK, SCHAFFENBERGER,

BORING, BOB KANE, CRANDALL, KRIGSTEIN, ANDRU, JACK COLE, FINE, PETER, HEATH, PLASTINO, MOLDOFF,

GRANDENETTI, and more! Plus JOHN BROOME, MR. MONSTER, BILL SCHELLY, and the 2017 STAR WARS PANEL with CHAYKIN, LIPPINCOTT, and THOMAS! (100-page FULL-COLOR magazine) $9.95 (Digital Edition) $5.99

ALTER EGO #159 Peter Cannon–Thunderbolt writer/artist PETE MORISI talks about the creative process! Plus, read his correspondence with comics greats JACK KIRBY, JOE

SIMON, AL WILLIAMSON, CHARLES BIRO, JOE GILL, GEORGE TUSKA, ROCKY MASTROSERIO, PAT MASULLI, SAL

GENTILE, DICK GIORDANO, and others! Also: JOHN BROOME’s bio, FCA, MR. MONSTER, and BILL SCHELLY! (100-page FULL-COLOR magazine) $9.95 (Digital Edition) $5.99

ALTER EGO #160 REMEMBERING STEVE DITKO! Sturdy Steve at Marvel, DC, Warren, Charlton, and elsewhere! A rare late-1960s Ditko interview by RICHARD HOWELL— biographical notes by NICK CAPUTO— tributes by MICHAEL T. GILBERT, PAUL

LEVITZ, BERNIE BUBNIS, BARRY PEARL,

ROY THOMAS, et al. Plus FCA, JOHN BROOME, BILL SCHELLY, and more! Spider-Man cover by DITKO! (100-page magazine) SOLD OUT! (Digital Edition) $5.99

ALTER EGO #161 Full-issue STAN LEE TRIBUTE! ROY THOMAS writes on his more than 50-year relationship with Stan—and shares 21stcentury e-mails from Stan (with his permission, of course)! Art by KIRBY, DITKO, MANEELY, EVERETT, SEVERIN, ROMITA, plus tributes from pros and fans alike, and special sections on Stan by MICHAEL T. GILBERT, BILL SCHELLY, and even the FCA! Vintage cover by KIRBY and COLLETTA! (100-page magazine) SOLD OUT! (Digital Edition) $5.99

ALTER EGO #162 WILL MURRAY presents an amazing array of possible prototypes of Batman (by artist FRANK FOSTER—in 1932!)—Wonder Woman (by Star-Spangled Kid artist HAL SHERMAN)—Tarantula (by Air Wave artist LEE HARRIS), and others! Plus a rare Hal Sherman interview—MICHAEL T. GILBERT with more on artist PETE MORISI—FCA— BILL SCHELLY—JOHN BROOME—and more! Cover homage by SHANE FOLEY! (84-page FULL-COLOR magazine) $9.95 (Digital Edition) $4.99

ALTER EGO #163 The early days of DAVE COCKRUM— Legion of Super-Heroes artist and co-developer of the revived mid-1970s X-Men—as revealed in art-filled letters to PAUL ALLEN and rare, previously unseen illustrations provided by wife PATY COCKRUM (including 1960s-70s drawings of Edgar Rice Burroughs heroes)! Plus FCA—MICHAEL T. GILBERT on PETE MORISI—JOHN BROOME—BILL SCHELLY, and more! (84-page FULL-COLOR magazine) $9.95 (Digital Edition) $4.99

ALTER EGO #164 Spotlight on MIKE FRIEDRICH, DC/Marvel writer who jumpstarted the independent comics movement with Star*Reach! Art by

NEAL ADAMS, GIL KANE, DICK DILLIN, IRV NOVICK, JOHN BUSCEMA, JIM STARLIN, HOWARD CHAYKIN, FRANK

BRUNNER, et al.! Plus: MARK CARLSONGHOST on Rural Home Comics, FCA, and Mr. Monster’s Comic Crypt! Justice League of America cover by NEAL ADAMS! (84-page FULL-COLOR magazine) $9.95 (Digital Edition) $4.99

ALTER EGO #165 WILL MURRAY showcases original Marvel publisher (from 1939-1971) MARTIN GOODMAN, with artifacts by LEE, KIRBY,

DITKO, ROMITA, MANEELY, BUSCEMA, EVERETT, BURGOS, GUSTAVSON, SCHOMBURG, COLAN, ADAMS,

STERANKO, and many others! Plus FCA, Mr. Monster’s Comic Crypt with more on PETE MORISI, JOHN BROOME, and a cover by

DREW FRIEDMAN!

(84-page FULL-COLOR magazine) $9.95 (Digital Edition) $4.99

ALTER EGO #166

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! (84-page FULL-COLOR magazine) $9.95 (Digital Edition) $4.99

TwoMorrows.

The Future of Comics History.

TwoMorrows Publishing 10407 Bedfordtown Drive Raleigh, NC 27614 USA 919-449-0344 E-mail:

store@twomorrows.com

Order at

twomorrows.com