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(NOW WITH 16 COLOR PAGES!) “AllInterview Issue”! Part 2 of an exclusive STEVE ENGLEHART interview (continued from ALTER EGO #103)! “Pro2Pro” interviews between SIMONSON & LARSEN, MOENCH & WEIN, and comics letterers KLEIN & CHIANG. Plus JOHN OSTRANDER, MICHAEL USLAN, and longtime DC color artist ADRIENNE ROY! Cover by Englehart collaborator MARSHALL ROGERS!

“Gods!” Takes an in-depth look at WALTER SIMONSON’s Thor, the Thunder God in the Bronze Age, “Pro2Pro” interview with TOM DeFALCO and RON FRENZ, Hercules: Prince of Power, Moondragon, Three Ways to End the New Gods Saga, exclusive interview with fantasy writer MICHAEL MOORCOCK, art and commentary by GERRY CONWAY, JACK KIRBY, BOB LAYTON, and more, with a swingin’ Thor cover by SIMONSON!

“Liberated Ladies” eyeing female characters that broke barriers in the Bronze Age: Big Barda, Valkyrie, Ms. Marvel, Phoenix, Savage She-Hulk, and the sword-wielding Starfire. Plus a “Pro2Pro” interview with JILL THOMPSON, GAIL SIMONE, and BARBARA KESEL, art and commentary by JOHN BYRNE, GEORGE PEREZ, JACK KIRBY, MIKE VOSBURG, and more, with a new cover by BRUCE TIMM!

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THE BEST IN COMICS AND LEGO MAGAZINES!

ALTER EGO #105

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See comic art and script BEFORE and AFTER the Comics Code changes, with art by SIMON & KIRBY, DITKO, BUSCEMA, SINNOTT, GOULD, COLE, STERANKO, KRIGSTEIN, O’NEIL, GLANZMAN, ORLANDO, WILLIAMSON, HEATH, and others! Plus: FCA, Mr. Monster’s Comic Crypt, BILL SCHELLY, JIM AMASH interviews Timely/Atlas artist CAL MASSEY, and a new cover by JOSH MEDORS!

DICK GIORDANO through the 1960s—from freelance years and Charlton “Action-Heroes” to his first stint at DC! Art by DITKO, APARO, BOYETTE, MORISI, McLAUGHLIN, GIL KANE, and others, Dick’s final convention panel with STEVE SKEATES and ROY THOMAS, JIM AMASH interviews Charlton artist TONY TALLARICO, FCA with MARC SWAYZE and ROY ALD, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY, GIORDANO cover, and more!

Big BATMAN issue, with an unused Golden Age cover by DICK SPRANG! SHEL DORF interviews SPRANG and JIM MOONEY, with rare and unseen Batman art by BOB KANE, JERRY ROBINSON, WIN MORTIMER, SHELLY MOLDOFF, CHARLES PARIS, and others! Part II of the TONY TALLARICO interview by JIM AMASH! Plus FCA, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY, and more!

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

Interview with inker SCOTT WILLIAMS from his days at Marvel and Image to his work with JIM LEE, and PATRICK OLIFFE demos how he produces Spider-Girl, Mighty Samson, and digital comics. Also, MIKE MANLEY and BRET BLEVINS’ “Comic Art Bootcamp”, a “Rough Critique” of a newcomer’s work by BOB McLEOD, art supply reviews by “Crusty Critic” JAMAR NICHOLAS, and more!

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LEE & KIRBY: THE WONDER YEARS (KIRBY COLLECTOR #58)

Special double-size book examines the first decade of the FANTASTIC FOUR, and the events that put into motion the Marvel Age of Comics! New interviews with STAN LEE, FLO STEINBERG, MARK EVANIER, JOE SINNOTT, and others, with a wealth of historical information and Kirby artwork!

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KIRBY COLLECTOR #59

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“Kirby Vault!” Rarities from the “King” of comics: Personal correspondence, private photos, collages, rare Marvelmania art, bootleg album covers, sketches, transcript of a 1969 VISIT TO THE KIRBY HOME (where Jack answers the questions YOU’D ask in ‘69), MARK EVANIER, pencil art from the FOURTH WORLD, CAPTAIN AMERICA, MACHINE MAN, SILVER SURFER GRAPHIC NOVEL, and more!

LEGO SPACE WAR issue! A STARFIGHTER BUILDING LESSON by Peter Reid, WHY SPACE MARINES ARE SO POPULAR by Mark Stafford, a trip behind the scenes of LEGO’S NEW ALIEN CONQUEST SETS that hit store shelves earlier this year, plus JARED K. BURKS’ column on MINIFIGURE CUSTOMIZATION, building tips, event reports, our step-by-step “YOU CAN BUILD IT” INSTRUCTIONS, and more!

Go to Japan with articles on two JAPANESE LEGO FAN EVENTS, plus take a look at JAPAN’S SACRED LEGO LAND, Nasu Highland Park—the site of the BrickFan events and a pilgrimage site for many Japanese LEGO fans. Also, a feature on JAPAN’S TV CHAMPIONSHIP OF LEGO, a look at the CLICKBRICK LEGO SHOPS in Japan, plus how to get into TECHNIC BUILDING, LEGO EDUCATION, and more!

LEGO EVENTS ISSUE covering our own BRICKMAGIC FESTIVAL, BRICKWORLD, BRICKFAIR, BRICKCON, plus other events outside the US. There’s full event details, plus interviews with the winners of the BRICKMAGIC CHALLENGE competition, complete with instructions to build award winning models. Also JARED K. BURKS’ regular column on minifigure customizing, building tips, and more!

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Vol. 3, No. 49 / June 2005

™

Editor

Roy Thomas

Associate Editors Bill Schelly Jim Amash

Design & Layout

Christopher Day

Consulting Editor John Morrow

Contents

FCA Editor

P.C. Hamerlinck

Comic Crypt Editor Michael T. Gilbert

Editors Emeritus

Jerry Bails (founder) Ronn Foss, Biljo White, Mike Friedrich

Susan Burgos talks to Jim Amash about her father, the creator of The Human Torch.

Diamonds In The Rough(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 A cornucopia of never-seen cover sketches from the Golden Age of Timely/Marvel.

Production Assistant

Eric Nolen-Weathington

Cover Artist & Colorist Mark Sparacio (from a sketch probably by Carl Burgos)

And Special Thanks to: Jack Adams Heidi Amash Ger Apeldoorn Mike W. Barr Michael Baulderstone Bill Black Ray Bottorff, Jr. Susan Burgos Mike Burkey Bob Cherry Robert K.S. Croy, Sr. David Davisson Dwight Decker Michael Feldman Jim Fern Danny Fingeroth Shane Foley Keif Fromm Janet Gilbert Ron Goulart Jennifer Hamerlinck Mark & Stephanie Heike Tony Isabella

Writer/Editorial: Marvel Mystery Tour . . . . . . . . . . . . . . . . . . . . . . . . . 2 “The Privacy Act Of Carl Burgos”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Yvette Kaplan Robin Kirby Paul Kupperberg Thomas G. Lammers Wally Littman Jim Ludwig Harry Mendryk Mark Miller Joe Moore Roger Mortimer Frank Motler Jake Oster Herb Rogoff Alex Saviuk Ernie Schroeder Eric Schumacher Mark Sparacio Carrie Strong Marc Swayze Greg Theakston Dann Thomas Alex Toth Dr. Michael J. Vassallo Hames Ware Robert Wiener

This issue is dedicated to the memory of

Carl Burgos

Torch Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Roy Thomas on Golden Age heroes who kept the home fires burning.

“Pulling A Dragoom” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 A Timely/Marvel “human torch” of 1952, examined by Ger Apeldoorn.

Atlas Shrugged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Thomas G. Lammers takes a look at the 1957 “Atlas Implosion” and its far-reaching effects on comics—with a sidebar by Michael Feldman.

Comic Crypt: Remembering Will . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Michael T. Gilbert on his personal encounters with the late great Will Eisner.

“Fate Did Its Odd Thing” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Alex Toth on his near-brush with Milton Caniff’s Steve Canyon.

The Bill Finger Award . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Special Announcement from Jerry Robinson.

re: [comments, correspondence, and corrections]. . . . . . . . . . . . . . . . . . . 78 Letters we got—and art to go with ’em—from a bunch of top comics pros.

FCA (Fawcett Collectors of America) #107 . . . . . . . . . . . . . . 83 P.C. Hamerlinck presents Marc Swayze, C.C. Beck, and Bill Black. About Our Cover: As you’ll read in expanded form on pp. 21-32, collector Robert Wiener recently sent us copies of nearly two dozen cover, splash, and house ad sketches done circa 194142 for comics starring “The Human Torch” and/or “Sub-Mariner,” almost certainly executed by artists in Lloyd Jacquet’s Funnies, Inc., comics shop. Ye Editor was wild to see one of those sketches used as the basis of an Alter Ego cover. So when veteran comics artist Alex Saviuk put Ye Editor in contact with his colleague Mark Sparacio—and once Roy saw an unpublished super-hero painting or two Mark had done—it was clear that this would be the perfect visual marriage. This particular sketch (see p. 22), in Roy’s opinion, was quite probably drawn by none other than Carl Burgos, creator of the Torch—but even if it wasn’t, it captures the essence of the style in which Burgos drew his blazing android through early 1942, when he went into the armed services. The Golden Age meets the 21st century—and we’re just glad we were here to see it! Bet you are, too! [Art ©2005 Mark Sparacio; Human Torch & Toro TM & ©2005 Marvel Characters, Inc.] Above: This prototypical panel drawn by Carl Burgos is reproduced from photocopies of the original art for The Human Torch #4 (Spring 1941). [©2005 Marvel Characters, Inc.] Alter EgoTM is published monthly 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: $8 ($10 Canada, $11.00 elsewhere). Twelve-issue subscriptions: $60 US, $120 Canada, $132 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. FIRST PRINTING.

Title writer/editorial

Marvel Mystery Tour

When I heard some years later that he had died, that was one more person whom I’d hoped to meet someday that, instead, I had to cross off the list. I felt a genuine sense of regret for a missed chance.

o some of us, Carl Burgos has always been a mystery man. To most of us who came to work for Marvel in the latter 1960s and 1970s, he was only a name, even though the other four creators of Timely’s “Big Three” super-heroes were still around and active: Bill Everett (at least through early 1973), Jack Kirby, and Joe Simon. Later Timely artists who drew The Human Torch, Sub-Mariner, and Captain America—guys like Syd Shores, Mike Sekowsky, and Lee Elias—drew for Marvel during this period, and even Al Avison, Simon & Kirby’s first successor on Captain America, was doing the odd re-creation.

Jim Amash and I were thus ecstatic when we established contact with Burgos’ daughter Susan. As it turned out, in many ways, he was nearly as much a mystery to her as he was to us. But we were glad to learn from her about his life, if not necessarily his work. Luckily, the art and stories can be documented. It’s the life story that was in danger of being totally lost… and Susan became the first person to add appreciably to our knowledge of Carl Burgos the man since Jim Steranko’s seminal interview with him for his History of Comics.

But most of us never met Carl Burgos. We would have, if we’d been looking for work around the fringes of the industry, where he and Myron Fass were making a living packaging low-level horror comics or that odd 1966 Captain Marvel. But alas, Burgos and Marvel Comics had come to a parting of the ways after his lone “Human Torch” story in 1964, and he never again set foot inside any of the offices which publisher Martin Goodman leased, at various times, up and down Madison Avenue (“depending how far his doctor told him he should walk for exercise,” was the going joke). In 1966 Burgos even sued unsuccessfully, trying to regain the copyright on the Torch, his major creation. I’ve often recounted how I did speak with him twice by phone circa 1976-77, to try to convince him to draw the 6-page “Human Torch” chapter in The Invaders Annual #1-and-only. He agreed, but, when it came time for me to send him the actual synopsis, he changed his mind without explanation, although I recall that he was quite pleasant to me personally.

Actually, this issue is in some ways a dual biography—of Carl Burgos, and of the “Human Torch” concept he engendered. We didn’t have room for a real “hero history” of the android fire-breather, but several generous collectors have provided images of comics heroes influenced by the Torch during the 1940s and ’50s, before Stan Lee and Jack Kirby mutated the concept into a new persona in 1961’s Fantastic Four #1. Burgos was quoted by Batton Lash, some issues back, as saying that he wished he’d never created the Torch. Still, we must admit that we’re glad The Human Torch is still around—and that, indeed, eventually both the Burgos and the Lee-Kirby versions were able to live side by side in the Marvel Universe. We wish Carl Burgos were still around to give us his enlarged perspective on it all… and that he were, at long last, getting his economic due. But we can, at least, honor his memory and his body of work… and that’s what we’re doing this issue. Bestest,

COMING IN JULY

50!

Hey, Nifty! ALTER EGO Is Fifty! And, By An Amazing Coincidence—

RASCALLY ROY THOMAS

Art ©20

Celebrates 40 YEARS In The Comic Book Biz— With The Help Of A Few Friends & Familiars!

05 John

From MODELING WITH MILLIE #44 (1965) To STOKER’S DRACULA (2005)—With AVENGERS, X-MEN, CONAN, ALL-STAR SQUADRON, INFINITY INC., Et Al., In Between! • Two (yep, two) full-color covers, featuring art by JOHN BUSCEMA, JACK KIRBY, & ALFREDO ALCALA (Marvel side) & JERRY ORDWAY (DC side)!

lfredo A

irby & A

, Jack K

a Buscem lcala

• ROY THOMAS talks (to JIM AMASH) and writes about working with NEAL ADAMS, ROSS ANDRU, DICK AYERS, SOL BRODSKY, RICH BUCKLER, THE BROTHERS BUSCEMA, ERNIE CHAN, GENE COLAN, ERNIE COLÓN, STEVE DITKO, BILL EVERETT, DICK GIORDANO, STAN GOLDBERG, DON HECK, GIL KANE, JACK KIRBY, MICHAEL LARK, STAN LEE, MIKE MACHLAN, TODD McFARLANE, JERRY ORDWAY, GEORGE PÉREZ, STEVEN PUGH, FRANK ROBBINS, JOHN ROMITA, WERNER ROTH, JULIE SCHWARTZ, THE SEVERIN SIBLINGS, SCOTT SHAW!, BARRY SMITH, HERB TRIMPE, GEORGE TUSKA, MORT WEISINGER—& many others! With tons of RARE, OFT-UNPUBLISHED ART & PHOTOS! • Extra! From the 1999 Comics Buyer’s Guide poll of pros and fans—“The Favorite Comic Book Writers and Editors of the 20th Century”—annotated by PETER SANDERSON!

Inc. rs, Inc.; SPI. R haracte arvel C onja TM & © 005 M S 2 d © e s R e I; ro P e C rh 5 e 0 p 0 2 Su TM & © Conan

• Plus: MICHAEL T. GILBERT on Roy’s correspondence with GARDNER F. FOX— BILL SCHELLY—FCA with MARC SWAYZE, et al.—& MORE!! Edited by ROY THOMAS • 100 PAGES!

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“The Privacy Act Of Carl Burgos” SUSAN BURGOS Talks About Two Marvel Mysteries: The Human Torch—And Her Father

Interview Conducted & Transcribed by Jim Amash

arl Burgos was an enigma. Few 1940s Timely Comics staffers even remembered him, because he worked for the company indirectly through Funnies, Inc., and I’m not certain he ever granted an interview to anyone except Jim Steranko. Most fans know of Burgos either through his creation of the original “Human Torch” or by his later, less impressive work with Myron Fass. He also achieved comics infamy with the unfortunate 1960s version of Captain Marvel. Careerwise, however, there was far more to Carl Burgos than that. He was a prolific staff cover artist for Timely during the 1950s, and briefly managed a final go at the Lee/Kirby version of the Torch in the 1960s. At his best, Burgos was a very effective artist, whose iconic, sometimes controversial “Human Torch” stories stand as a testament to good graphics and entertaining adventures. No one who has ever seen the Torch (in either incarnation) has forgotten him. While there’s much work to be done in regard to a Carl Burgos biography, we are pleased to present an interview with his daughter, Susan Burgos, as a first step in that direction. Thanks, Susan, for peeling back a few layers of the Burgos onion for us—and thanks to Write Now! editor Danny Fingeroth (and, indirectly, animation director Yvette Kaplan) for putting us in touch with Susan. —Jim.

“My Father Was A Very Private Man” JIM AMASH: Where and when was your father born? SUSAN BURGOS: He was born in New York City, April 18, 1916. His given name was Max Finkelstein, but he changed it to Carl Burgos when he was very young. JA: What do you know about his family background? BURGOS: Very little. My father was a very private man and didn’t talk much about himself. It does not surprise me that there is little information about him out there. He did have an older brother, Ruby. I do not remember my

Carl Burgos, circa 1948, in a photo supplied by his daughter Susan—flanked by pages featuring The Human Torch, from the three periods when Burgos drew his adventures. [Counterclockwise from above left:] splashes from Marvel Mystery Comics #20 (June 1941) and Young Men #26 (March 1954)—and panels from Strange Tales #123 (Aug. 1964), his lone effort at drawing the hero as revamped by Stan Lee and Jack Kirby for Fantastic Four, with inking by Dick Ayers. Thanks to Jerry K. Boyd for the 1941 splash. [Art ©2005 Marvel Characters, Inc.] Incidentally, the box on the 1941 splash reads: “WARNING! Marvel Comics’ wellknown characters, THE HUMAN TORCH, SUBMARINER, THE ANGEL, and KA-ZAR, have been registered in the United States Patent Office, and are further protected by United States Copyright with every issue, as are the full contents of the magazine. This is notice that infringers of the characters, in whatever form or manner, will be prosecuted by the publisher to the full extent of the law. –Publisher, Marvel Comics.” In other words, as supplier Jerry K. Boyd quips, “we can assume that messing with Marty Goodman means you will get ‘burned’!” Unhappily, “Torch” creator Carl Burgos eventually felt burned, as well.

Susan Burgos Talks About Two Marvel Mysteries

CARL BURGOS Checklist [NOTE: The following is adapted from information provided by Dr. Jerry G. Bails in his Who’s Who of 20th-Century American Comic Books. Those who want to know when his updated version of the Who’s Who will be available should e-mail him at JerryBails@aol.com; they will be notified when when it is ready. Some data has been provided by Sue Burgos via Jim Amash. Key: (a) = full art; (p) = pencils only; (i) = inks only; (w) = writer; (ed) = editor.] Name: Carl Burgos [birth name = Max Finkelstein] [1916-84] (artist; writer; editor) Education: National Academy of Design

40; The Last Pirate (w/a) 1938-39; Stoney Dawson (w/a) 1939-40 Chesler Publications & related: The Last Pirate (w/a) 1938 Eerie Publications: various titles (ed) 1965-79

Honors: Harvey Award 1996; Jack Kirby Hall of Fame (no date)

Health Publications: Panic (a) 1958

Magazine Illustrations: Marvel Science Fiction (1951); Western Magazine (1956)

Major Magazines: Cracked (a) 1958-59 Marvel/Timely & related: Complete Mystery (a) 1948-49 [tales in #3-4]; covers (a) 1951-54/1956-58; crime (w/a) 1948-51; Giant-Man (w/p) 1964-65; Human Torch (p/some w/some i) 193942/1944/1953-54/1964; horror (w/a) 1954; Official True Crime Cases (a) 1947; Strange Tales (a) 1955-56, 1964; The Thunderer (w/a) 1941; war (w/a) c. 1955

Comics Studio: Chesler Studio (a) 1938; Funnies, Inc. (w/a) 1939-42 Magazine Editing: Harris Publications (various titles) 1970s-84 Books Featuring Reprints: The Golden Age of Marvel, Vol. 1 (1997) & Vol. 2 (1999); The Great Comic Book Heroes, ed. Jules Feiffer, Dial Press (1965); Marvel Masterworks: Golden Age Marvel Comics, Vol. 1 (2004). (All reprint Human Torch stories.) COMIC BOOKS (Mainstream US):

One of Martin Goodman’s last surviving pulps was Western Magazine, a digest-sized title. Carl Burgos drew this illo to accompany a story called “The Saddle Tramp” in Vol. 2, #3 (the June 1956 issue). [©2005 Marvel Characters, Inc.]

Myron Fass/Country-Wide/M.F. Enterprises: Captain Marvel (w/a) 1966-67 (ed 1966); 1966; covers (p) 1966-67; various titles (ed) 1966-69

Archie/MLJ & related: The Adventures of The Fly (layouts) 1959; The Double Life of Private Strong (layouts) 1959

Novelty Comics & related: Man O’ War (a) c. 1941; The White Streak (w/a) 1940-41

Candor Publishing Co.: Zany (a) 1959

Pierce Publishing Co.: Frantic (a) 1959

Centaur & related: Air Sub DX (w/a) 1939-40; Iron Skull (w/a) 1939-

Satire Publications: Loco (a) 1958

Submit Something To Alter Ego! Alter Ego is on the lookout for items that can be utilized in upcoming issues: • Convention Sketches and Program Books • Unpublished Artwork • Original Scripts (the older the better!) • Photos • Unpublished Interviews • Little-seen Fanzine Material We’re also interested in articles, article ideas, or any other suggestions... and we pay off in FREE COPIES of A/E. (If you’re already an A/E subscriber, we’ll extend your subscription.) Contact: Roy Thomas, Editor 32 Bluebird Trail St. Matthews, SC 29135 Fax: (803)826-6501 • E-mail: roydann@ntinet.com

Submission Guidelines Submit artwork in one of these forms (in order of preference): 1) Clear color or black-&-white photocopies. 2) Scanned images—300ppi TIF (preferred) or JPEG (on Zip or floppy disk). 3) Originals (carefully packed and insured). Submit text in one of these forms: 1) E-mail (ASCII text attachments preferred) to: roydann@ntinet.com 2) An ASCII or “plain text” file, supplied on floppy disk. 3) Typed, xeroxed, or laser printed pages.

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Diamonds In The Rough(s)

A Cornucopia Of Never-Seen Cover Sketches From The Golden Age of Timely/Marvel

by Roy Thomas

n Alter Ego #46, in conjunction with my 1969-70 interview with “Sub-Mariner” creator Bill Everett, we printed four unused cover sketches done (’twould seem) by him and perhaps others circa 1941 for Novelty’s Target Comics, at a time when he served as an artist, writer, and art director for Lloyd Jacquet’s early comics shop, Funnies, Inc., which produced comics material for Novelty, Timely, and other comics companies. Those photocopies were generously supplied by longtime comics fan/collector Robert Wiener, vice president of Donald M. Grant Books, who owns the originals. At the same time, Robert also mailed me copies of no less than 23 cover, splash page, and house ad sketches from the same period featuring Sub-Mariner and/or The Human Torch, all doubtless produced by Funnies, Inc., for Timely Comics (now Marvel). Many of the sketches had vintage typewritten notes attached that described the scene, perhaps for the benefit of publisher Martin Goodman and a very young Stan Lee, who’d recently become Timely’s editor upon the departure of Joe Simon and his partner Jack Kirby. In this instance, we knew the precise comic book issues for which some of these sketches were intended, since they illustrated real or symbolic scenes relating to The Human Torch #8 (Summer 1942)— one of the famed TorchNamor crossovers—or to other named-andnumbered comics. HT #8, on sale in spring of ’42, would’ve been prepared no later than the winter of 1941-42— i.e., shortly before or after America’s entry into World War II as a result of the Imperial Japanese miscalculation

which lives in infamy under the name “Pearl Harbor.” The identities of the artists of this material, however, are difficult to pin down, since we know Sub-Mariner creator Bill Everett entered the Army shortly after Dec. 7, 1941… with Torch creator Carl Burgos doing so not long afterward. We can’t be certain if Everett and/or Burgos had a personal hand in any of these drawings (either as artists, or at least as overseers), since neither man’s signature adorns even the 52-page story in Human Torch #8. Perhaps they were both just out the door, and their immediate successors drew the sketches in a similar style. Comics historian (as well as sciencefiction and mystery author) Ron Goulart feels some of the Namor art, at least, may be by Carl Pfeufer, Everett’s first and most important successor drawing “Sub-Mariner”…and that some of the Torch art may have been done by Harry Sahle or another Burgos assistant… but the jury is still out on the matter.

Some of the sketches on the pages that follow were definitely intended as potential layouts for Timely house ads such as this one from circa 1940-41. Ye Editor strongly suspects that, at the very least, Carl Burgos had a hand in the above art. [©2005 Marvel Characters, Inc.]

My own feeling— based largely on gut instinct—is that Burgos did at least some of the Torch work that follows, since the Torch figures closely resemble his 1941 version. (Besides, Burgos was destined to become a virtual “cover editor” at Timely/Atlas during the 1950s, so he clearly had some skill in that area.) I’m a bit less inclined, alas, to find any Everett in the Subby art, which makes me lean toward Pfeufer in that case. Or maybe there’s another artist whom some eagle-eyed reader will champion. Though it seems unlikely that many if any of the

A Cornucopia Of Never-Seen Cover Sketches From The Golden Age Of Timely/Marvel

sketches are by humor cartoonist Vince Fago, Stan Lee’s wartime editorial stand-in maintained in his interview in A/E V3#11 that war-era covermeister Alex Schomburg was always given a sketch to follow, drawn either by Vince himself or by another staffer, rather than doing the cover roughs himself. Be that as it may, these sketches/roughs are rare and important artifacts—the “diamonds” alluded to in the title of this piece—of the early days of the Golden Age of Comics, of Timely/Marvel Comics, and of the seminal shop Funnies, Inc. So I’m delighted, with Robert Wiener’s blessing, to showcase them here, with a few words of added commentary. Let’s get cracking…!

(Above:) This, of course, is the rough on which artist Mark Sparacio based his stunning cover painting for this issue of A/E— though we can’t be sure if the original was intended for a cover or (more likely) a house ad. Was the concept that Adolf Hitler and a German soldier were hawking copies of something called Blitz Comics and that the Torch and Toro busted up their sales pitch? In the absence of written copy, we can’t be sure. During 1940-41 the British used the German word “Blitz” (“Lightning”) to refer to the Luftwaffe’s bomber raids on their cities. That term, in turn, was short for “Blitzkrieg” (“Lightning War”), the Nazis’ name for their combined air-tank-and-infantry attacks of 1939-41 on Poland, Western Europe, and eventually the Soviet Union. Again, if this sketch isn’t by Burgos, it may well have been prepared under his direction before he went into the service. [Human Torch & Toro TM & ©2005 Marvel Characters, Inc.]

Diamonds In The Rough(s)

(Above:) We’ve tried for a year to locate an actual copy of The Human Torch #8 (Fall 1942) so we could show you at least one lousy page showing The Python, the villain of the 52-page crossover (and that doesn’t count a two-page connected text story in the middle)… but nobody ever surfaced who owned one. So we’re running this blotchy print-out of the issue’s splash page from microfiche, just to give you a notion of what the Funnies, Inc., artists had to work with and what the villainous Python looked like in the comic itself. The red on the Torch’s figure caused it to print totally black, but you get the general idea. The fact that the page isn’t signed by either Burgos or Everett may mean they had already departed for the Army by this time. Thanks to Roger Mortimer. [©2005 Marvel Characters, Inc.]

(Above:) Interestingly, this may be a potential sketchy layout for page 1 of the story rather than the cover, if we can believe the typed text (minus the crossed-out words): “Suggested page one HT VS SM – H.T. #8 Summer 1942 issue. SUBTERRANEAN dungeon; Python foreground – Horton chained and badly mangled on wall in background. Torch charging at Sm [sic], who is coming at torch [sic]. Winding staircase, snakes on beams, moldy-looking walls for background—Toro diving from chamber entrance and tossing fireball at Python.” In the published splash, Toro is bound and helpless… while on most of the sketches that follow, he’s attacking The Python while the Torch and Namor seem content to have at each other and let the kid do all the heavy lifting! Dr. Horton was the man who created the android Torch in Marvel Comics #1; he was thought dead at the start of Marvel Mystery Comics #2, but was brought back for this story, with The Python forcing him to turn the Torch into a “fiery monster” working for the Nazis. Interestingly, The Python seems to have made his debut in Sub-Mariner #2 (Fall 1941)—in a story starring The Angel! Catch it in the upcoming Marvel Masterworks volume reprinting Sub-Mariner #1-4! [Human Torch, Toro, Sub-Mariner, & Python TM & ©2005 Marvel Characters, Inc.]

(Left:) Another version of that scene—though whether intended for page one of the issue or as a cover sketch isn’t clear. The typed copy, similar to that previously quoted, should be readable here. [Human Torch, Toro, Sub-Mariner, & Python TM & ©2005 Marvel Characters, Inc.]

A Human Torch “Prototype”—Or A Fast-Fading Echo?

In the above panels, Dr. Orgesky refers to Diamond as a “human torch” (presumably lower case), which suggests that the writer was conscious, at least to some extent, of the similarity between his story and Burgos’ 1939 original. Note, however, that the papers refer to Diamond as a “MURDERING TORCH” and a “HUMAN DYNAMO” and even apparently a “HUMAN WALKING TORCH”—but never quite put the two words together. In fact, now that we think of it—if Diamond got his super-powers from a magnetic pill that absorbed an electrical charge, why did he become a “human torch” rather than a “human dynamo” or a walking hunk of electricity? Probably because Burgos’ original “hot idea” was very much on his mind. So maybe it was Lon Chaney, Jr., who was the real prototype! [©2005 Marvel Characters, Inc.]

comics division, but he did manage its direction quite strongly. Which titles were canceled or begun was his to decide. He was very well aware of the success of his heroes during the ’40s. The super-hero revival of 1953-55 was a direct result of that, and The Human Torch, Captain America, and Sub-Mariner were again at the forefront when superheroes made their comeback in the early ’60s. But in 1952 there was no sign of any super-hero comeback at any company. The story in Suspense #18 was not featured on the cover or advertised in any of the other books. In fact it was buried in a uncharacteristic 52-page issue. Both Suspense and Spellbound had 52-page and/or extra issues out in those months, which can only be attributed to the fact that Goodman was feeling the strength of the competition at that time and wanted to fill the racks with superior product. The push was for the horror comics to succeed, not to create a vibe for a return of super-heroes. And although criminals turned super-hero had been done before, there was nothing in this story that would make Elk Diamond a suitable hero for any kid. So the end verdict has to be that “Escape from Death” is nothing more than an exciting and well-drawn riff on the theme of the flaming man. Roy Thomas mentioned to me that the story itself can be seen as a variation on the old Lon Chaney, Jr., movie Man-Made Monster (1941), about an electrocuted man who survives a bus accident but is struck by lightning, only to end up being a guinea pig for two scientists... one a good man who wants to investigate McCormick’s immunity to electrical currents for the benefit of mankind, and the other who wants to make McCormick the prototype of a super-human army of electrical men that only he is able to control. So maybe it was Lon Chaney, Jr., who was the real prototype!

(Above:) Overhearing Orgesky’s plans, his “human torch/dynamo” destroys the scientist and his henchman. In Marvel Comics #1, of course, Prof. Horton seemed to have been killed in the fire started when his Human Torch refused to remain his creator’s slave and burned his way out of his lab, flying off into the night at story’s end. Horton’s death was remarked on again at the start of Marvel Mystery Comics #2, as can be seen in the recent hardcover Marvel Masterworks: Golden Age Marvel Comics, Vol. 1, which reprints the first four issues of Timely’s very first title. (And here’s hoping that, before Marvel gets too carried away with other projects, it goes to press with a volume reprinting Marvel Mystery #5-8, which are historically even more important than the first four issues of, say, Human Torch or Sub-Mariner.) A final thought: the deus ex machina destruction of Elk Diamond by lightning comes pretty much out of left field. Any chance that the writer of this story had also read Philip Wylie’s super-hero-influencing 1930 novel Gladiator? [©2005 Marvel Characters, Inc.]

Monthly! The Original First-Person History!

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

Atlas Shrugged

A Detailed Look At The 1957 “Atlas Implosion” And Its Effect On Comics by Thomas G. Lammers The Timely/Atlas super-hero revival of 1953-55 occurred during the Atlas period—so what could be more fitting as a title image for this article than to picture the fabled Atlas globe of 1951-57 held aloft Atlas-like by Captain America (from a smallish John Romita panel in Young Men #26, March 1954)? Thanks to A/E’s liltin’ layout man Chris Day for putting these two icons together. [©2005 Marvel Characters, Inc.]

[All art, unless otherwise noted, provided by the author.]

n Alter Ego #29 & #31, Tom Lammers, who in what’s known as “real life” teaches biology (esp. botany) at a college in Wisconsin, took a skeptical look at the so-called “Marvel prototypes” of the late 1950s and early 1960s, which are purported to have been “trial balloons” for the Marvel heroes which sprang up from 1961 on. When he and others on the online Timely-Atlas List began exchanging e-mails about another reported phenomenon—the “Atlas Implosion” (which takes its name retroactively from the late-1970s “DC Implosion,” so called because it followed on the heels of a companyheralded “DC Explosion”)—we invited Tom to outline that epochmarking event for A/E’s readers. —Roy.

Introduction When I was a kid back in the 1960s, I was quite a fan of the Marvel Comics Group; a big chunk of my weekly allowance went towards following the exploits of my favorite comic book heroes. At that time, I had the impression that the company was rather a young concern. After all, the mainstream press1 heralded their super-heroes as the latest fad. Everything about the books seemed to scream “New! New! New!” Furthermore, issue numbers on most titles were quite low; my fifth-grade math skills were more than adequate to figure out that in most cases, only a few years had elapsed since those magical #1s. But some facts didn’t jibe with this impression. Journey into Mystery and Strange Tales had issue numbers well over 100. Stray comments in the letters pages2 alluded to comics Marvel had published years earlier. The debut

stories of the Sub-Mariner (Fantastic Four #4, May 1962), Captain America (Strange Tales #114, Nov. 1963, and Avengers #4, March 1964), and the original Human Torch (Fantastic Four Special #4, Nov. 1966) intimated that this was not the first time these characters had been in comics. The clincher came when Marvel began to reprint material. At first, the stories reprinted were no older than the late 1950s and early 1960s; soon, however, stories from the early 1940s began to appear.3 Clearly, there was much more to Marvel’s corporate history than I had realized!

When I began to collect vintage comic books three decades later, I discovered that the Marvel Comics Group of my misspent youth indeed had a history that could be traced back under various names to the years preceding World War II. I learned that they had published over 5800 issues through the 1950s, not just super-hero and fantasy titles but humor, romance, Westerns, war, horror, crime, and adventure books as well. Before Amazing Spider-Man and The Incredible Hulk, there were Devil-Dog Dugan and “Battleship Burke,” Kent Blake of the Secret Service and Jann of the Jungle, Sherry the Showgirl and Homer the Happy Ghost. I wondered how this diverse array of characters, titles, and genres had been whittled down to the handful of super-hero books I knew from my childhood. What had decimated the ranks so profoundly? What terrible bottleneck had the company passed through? As I got more involved with comics scholarship, I began to hear stories about a phenomenon some collectors referred to as “The Atlas Implosion,” a late-1950s business catastrophe of seemingly Biblical proportions. Dozens of titles had been canceled overnight, and scores of artists thrown out of work. Only after some period of inactivity did the

Fantasy Masterpieces #1 (Feb. 1966) reprinted fantasy/science-fiction features from late ’50s/early-’60s Goodman comics. With #3 (June ’66) the title became a big 25-center, showcasing poorly-restored 1941 Simon & Kirby “Captain America” tales behind a new Kirby-penciled cover—and by #7 (Feb. ’67) FM had added Golden Age “Human Torch” and “Sub-Mariner” reprints, with a new Gil Kane cover. Clearly, young Tom Lammers realized, Marvel Comics’ history went back a wee bit further than he had imagined! [©2005 Marvel Characters, Inc.]

The 1957 “Atlas Implosion” And Its Effect On Comics

“Before Amazing Spider-Man and The Incredible Hulk, there were Devil-Dog Dugan and ‘Battleship Burke,’ Kent Blake of the Secret Service and Jann of the Jungle, Sherry the Showgirl and Homer the Happy Ghost.” And if that ain’t a cue for a Marvel-and-Atlas montage, we don’t know what is! Above, Spidey and Ol’ Greenskin eye a sextet of pre1961 Timely/Marvel goodies: a Jim McLaughlin splash from Devil-Dog Dugan #1 (July 1956)—a Joe Maneely “Battleship Burke” splash from Navy Action #1 (Aug. ’55)—the covers of Kent Blake of the Secret Service #2 (July ’51—artist unknown) and Jann of the Jungle #13 (Sept. ’56—art by Maneely)—and Dan DeCarlo’s covers for Sherry the Showgirl #1 (July ’56) and Homer the Happy Ghost #2 (May ’55). Thanks to Dr. Michael J. Vassallo for the splashes, and to Mike Burkey for the Spidey/Hulk illo by John Romita, which was printed in full back in A/E V3#9. [©2005 Marvel Characters, Inc.]

Martin Goodman in 1941, holding a color proof of the cover of Captain America Comics #11 (Feb. 1942). This photo originally appeared in Les Daniels’ first-rate 1991 history Marvel: Five Fabulous Decades of the World’s Greatest Comics. [©2005 the respective copyright holders.]

Atlas Shrugged unknown to most comics readers.

company regroup and resume publication on a far more modest scale. Clearly it was this event that had transformed an allencompassing comics empire into the seeming upstart of my youth.

On a few occasions in the 1940s, we see half-hearted attempts at establishing a unified identity for the comics produced by this plethora of corporate entities.11 Although fans often refer to Goodman’s 1940s output as “Timely Comics,” that imprint only appeared on the covers of certain titles and issues with July to September 1942 cover dates. An “Atlas” emblem was used on a few books with late 1943 and early 1944 cover dates. Some books dated Dec. 1946 to May 1947 were identified as “A Marvel Magazine” via a cover logo that looked like a turneddown corner. Books dated Feb. 1949 to June 1950 rather consistently bore a “Marvel Comic” red circle logo, although starting in December 1949 this was replaced on the romance titles with a heart-shaped logo that read, “A Lovers Magazine.” Other than these brief periods, Goodman’s 1940s comics were not marked with any sort of corporate imprint.10

Details regarding this critical episode in Marvel’s history were frustratingly scarce. Standard comic book histories4 briefly mentioned the Atlas Implosion from a business perspective; artist biographies5 spoke of the personal toll. However, I could find virtually nothing about effects on the books themselves. For the titles that survived, it was all but impossible to learn how long publication had been suspended; I had no idea which issue was the last before the Implosion or the first after, nor the length of the hiatus separating them. Similarly, it was said that when publication resumed, editor Stan Lee relied for some time on a huge backlog of material created by the numerous cancellations. But how long did this inventory last? When were new stories finally commissioned? I soon realized that the only way I could answer these questions was to obtain the books and discover the answers for myself. It took nearly eight years, but I am finally able to answer my many questions. In this article, I would like to share with you what I have learned from the books themselves about this fascinating period in the evolution of the Marvel Comics Group.

Throughout the 1940s, Goodman depended on an independent firm, Kable News Co., to get his products from the The copy at the bottom of this house ad from Astonishing #19 printing plant to wholesalers, and from (Nov. 1952) bolsters Tom’s thesis that the name “Atlas” was there to retailers and the reading public. meant to identify Goodman’s comics company, not just the This relationship was denoted by the distributor. [©2005 Marvel Characters, Inc.] presence of Kable News’ “K” logo on the cover, along with the North American map that symbolized the Independent Distributors group to which Kable belonged.10

Taking Care Of Business

Martin Goodman became a publisher of cheap popular periodicals (so-called pulp magazines) circa 1932-33.6 A few years later, he released his first comic book: the legendary Marvel Comics #1 (Oct. 1939), filled with material produced by the Funnies, Inc., studio, including Bill Everett’s “Sub-Mariner” and Carl Burgos’ “Human Torch.” Sales were sufficient that Goodman expanded his comics line and soon hired his own staff of writers and artists. Both the number of titles and the number of issues increased steadily through the 1940s. After a brief retrenchment in 19507, the line continued to expand.

The Atlas Age Of Comics In the early 1950s, Goodman decided to maximize profits by cutting out this middleman and establishing his own distributor.9 Atlas News Co., Inc., a wholly-owned subsidiary, was paid a fee to distribute the products of Chipiden, Manvis, and the rest. Because Goodman owned them all, he was essentially taking money out of one pocket and putting it in the other.

Goodman has been aptly described as a “binge-and-purge” publisher.8 His primary business strategy was to determine what sorts of books were selling well (either for himself or for competitors) and then to flood the market with books like it. This trend-chasing strategy meant that if Love Romances did well, it would soon be joined on the newsstand by Love Adventures, Love Classics, Love Dramas, Love Secrets, Love Tales, and Lovers. If competitor DC Comics had A Date with Judy, Goodman had A Date with Millie and A Date with Patsy. His empire was “built on selling paper, not innovation.”9

An Atlas globe logo was added to the covers of all Goodman’s comics beginning with the Nov. 1951 issues. Many comics scholars maintain that this was the imprint of the new distribution firm, not another attempt at a unified corporate identity. However, the logos of Kable News remained on the covers through the Aug. 1952 issues.10 This 10month overlap of the Atlas and Kable symbols supports the view that “Atlas” was intended as a product imprint, not a distributor’s mark. And it definitely was used to encourage brand loyalty and to promote sales. Interior pages frequently carried on their bottom margin the exhortation: “For the best in [name of genre] tales, look for the Atlas seal on the cover!”

Today, “Marvel Comics” is a brand name nearly as widely recognized as Coca-Cola or Chevrolet. However, for many years, Goodman did not seem overly concerned with establishing a distinctive product identity for his comic book line.10 He set up over 50 different corporate entities (e.g., Canam Publishing Sales Corp.; Chipiden Publishing Corp., Lion Books, Inc.; Male Publishing Corp.; Manvis Publications, Inc.; Vista Publications, Inc.) to serve as publisher-of-record for his comics. All of these were wholly owned by Goodman and appear to have been subsidiaries of his main corporation, Magazine Management Co., a name

In 1956, Goodman decided to give up on self-distribution and once again entrust his product to an outside distributor. American News Co. (ANC)12 had been the nation’s largest distributor of periodicals for over four decades. Major magazines such as Time, Look, Life, Fortune, Newsweek, The New Yorker, Glamour, Vogue, Sports Illustrated, and Popular Mechanics were placed on America’s newsstands by ANC. The company was financially quite sound, reporting a net income for 1956 of nearly $2.4 million on net sales of $172 million; this was an increase of 40% over the previous year’s profits.

“We Didn’t Know... It Was The Golden Age!”

I could write. And that benefit was truly appreciated once I was in uniform and permanently assigned. Conditions were ideal for penning Captain Marvel stories in an old notebook, passing it on to some speed-typing pals, thence to the gang at Fawcett... who “knew I could write.” Now is an opportunity to apologize to my reader for a mistake I made some issues back in recounting that period. In quoting a remark as

having been made by my friend Wendell Crowley “of the staff,” I was wrong. It was later that Wendell left the Jack Binder shop to join the editorial staff of the comics department of Fawcett Publications... and become one of the most memorable figures of the Golden Age. [Marc’s memories of the Golden Age continue next issue.]

COMICS’ GOLDEN AGE LIVES AGAIN!

COMMANDO YANK BLACK TERROR AVENGER PHANTOM LADY CAT-MAN DAREDEVIL CRIMEBUSTER CAPTAIN FLASH MR. SCARLET SPY SMASHER SKYMAN STUNTMAN THE OWL BULLETMAN FIGHTING YANK PYROMAN GREEN LAMA THE EAGLE IBIS The Original GHOST RIDER 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.

Man of Mystery

BILL BLACK’s AC Comics by P.C. Hamerlinck [Special Thanks to Robert K.S. Croy, Sr.]

A Fan In Florida

uper-heroes and cowboys influenced a boy who would one day own his own comic book company.

Bill Black was first exposed to comics as its Golden Age dissipated directly following World War II. Black witnessed firsthand many of his favorite super-heroes fall and vanish into thin air. Still, the youngster with a strong passion for comics kept a steady vigil near the newsstands, armed with dimes and ready to grab any heroes still left standing. His family moved to Florida in 1951. During the 1950s, he had his definite favorites: Simon and Kirby’s Fighting American, Bullseye, and Stuntman. By sixth grade, Black was already creating and drawing his own comics. Another top pop-culture love of Black’s was films. He took an immediate liking to the Saturday afternoon matinee B-western movies, and was particularly awestruck with the Durango Kid films starring Charles Starrett. The combination of Durango’s heroics and all-black outfit filled a void

Marvels All! (Above:) Bill Black talks with a bearded C.C. Beck about his gun collection at an OrlandoCon in the early 1980s. (Below:) The Marvel Family—penciled by Don Newton, and inked by Bill Black. [Art ©2005 Bill Black & Estate of Don Newton; characters TM & ©2005 DC Comics.]

for Black during a time when many of his favorite comic book costumed characters continued to shrink in numbers. (Black soon discovered to his delight Magazine Enterprises’ Durango Kid comic book and was lassoed into the thriving cowboy comics genre of the period.) As early as 1959 Black started to produce his own regular 8mm and super-8 horror films. He even made it as a finalist in a contest sponsored by Famous Monsters of Filmland magazine. Eventually Black became more serious with his movie projects and began filming in 16mm, making roughly twenty movies. (He continues film work today, with plans to put more time and energy into the field.) Black entered Florida State University in 1963, majoring in Advertising Design while he fine-tuned his art skills. He produced his first professional work with underground comix publisher Bill Killeen on The Charlatan, a humor magazine based in Tallahassee, Florida. After graduating from FSU in 1966, Black was drafted into the Army and assigned to teach photography and painting at Fort Stewart in Georgia. While in the service he married his college sweetheart, Rebekah, who soon understood her husband’s fascination with comics after she read his entire box of early Fantastic Four issues. During this time Black discovered comics fandom by stumbling upon an issue of G.B. Love’s comic fanzine, The Rocket’s BlastComicollector. Through the RB-CC’s large number of advertisers, Black began buying Golden Age comics from dealers and fans and developed friendships with others in fandom. Black would soon become one of comic fandom’s major figures.

Paragon And Prodom In early 1969 Black began to create small press publications under the banner of Paragon Publications. The previous year he had

Alter Ego #49