Back Issue #28

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Iron Man TM & © Marvel Characters, Inc. The Flash TM & © DC Comics. All rights reserved.

“ H E R O E S B E H AV AVI N G B A D LY ” I S S U E !

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Volume 1, Number 28 June 2008

The Retro Comics Experience!

Celebrating the Best Comics of the '70s, '80s, and Today!

EDITOR Michael Eury PUBLISHER John Morrow

BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

DESIGNER Rich J. Fowlks

FLASHBACK: The Thing vs. the Hulk: Why Can’t They Get Along? . . . . . . . . . . . . . . . . .3 Is the Marvel Universe big enough for these battling behemoths?

INTERVIEW: Ron Wilson: Solid As a Rock! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 The beloved Bronze Age penciler talks Marvel-Two-in-One and the Thing

COVER ARTIST Darwyn Cooke

INTERVIEW: Herb Trimpe: The Incredible Herb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 A chat with the all-time favorite Silver and Bronze Age Incredible Hulk artist

CIRCULATION DIRECTOR Bob Brodsky, Cookiesoup Periodical Distribution, LLC PROOFREADERS John Morrow and Eric Nolen-Weathington SPECIAL THANKS Arthur Adams Roger Ash Michael Aushenker Mike W. Barr Cary Bates Al Bigley Michael Browning John Byrne KC Carlson Gene Colan Ernie Colón J. M DeMatteis Terry Dodson Daren Domina Michael Finn Bill Flanagan Shane Foley Will Gabri-el Dick Giordano Grand Comic-Book Database Steven Grant Justin Gray Paul Green Glenn Greenberg Bob Greenberger Heritage Comics Auctions Carmine Infantino Klaus Janson Jeff Jaworski Phil Jimenez Dan Johnson Joe Jusko Jim Kingman Bob Larkin

Bob Layton Larry Lieber David Lloyd Michael Lovitz David Mandel Kelvin Mao Yoram Matzkin Laura McCullough Elizabeth Merifield David Michelinie Mike Mikulovsky Ian Millsted Doug Moench Stephen Moore Jimmy Palmiotti Steven Regina Bob Rozakis Peter Sanderson Alex Segura Ari Shapiro Jim Shooter Walter Simonson Dez Skinn Ted Skinner Shannon Slayton Anthony Snyder Andrew Stitt Bill Thomson Herb Trimpe Gerry Turnbull Jim Warden Ron Wilson Marv Wolfman Amy Wolfram The Yancy Street Gang

FLASHBACK: Black and White—But Green All Over: The Hulk! Magazine . . . . . . . . . . . .20 Walt Simonson, Doug Moench, Jim Shooter, and others on the Hulk’s magazine rampage GREATEST STORIES NEVER TOLD—IN THE USA: The UK Hulk Comic . . . . . . . . . . . . . . . .29 The Green Goliath and friends in comic adventures rarely seen by Yanks Hulk, run! Then smash! An incredible sketch by Jim Starlin, courtesy of Anthony Snyder. © 2008 Marvel Characters, Inc.

COVER DESIGNER Michael Kronenberg

INTERVIEW: David Lloyd on Night Raven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 The popular artist recalls the UK Hulk’s breakout character FLASHBACK: The Rise and Demise of Kid Miracleman . . . . . . . . . . . . . . . . . . . . . . . . . . .36 A ground- (and bone-) breaking 1980s classic revisited FLASHBACK: The Trials, Tribulations, and Triumphs of Mark Shaw, Manhunter . . . . . . .44 This Kirby creation changed his threads and his stripes BONUS PINUP: The BACK ISSUE Era’s Other Manhunter . . . . . . . . . . . . . . . . . . . . . . . . . .47 A never-before-published Batman/Manhunter pinup by Walter Simonson OFF MY CHEST: He is Iron Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 A look back at Tony Stark’s struggle with alcoholism, with a Bob Layton pinup INTERVIEW: John Byrne: Crossing the Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 The superstar writer/artist discusses the moral codes of his Marvel and DC heroes FLASHBACK: The Many Lives of Terra, the Titans’ Greatest Betrayer . . . . . . . . . . . . . . .57 “The Judas Contract” and beyond, with Wolfman, Jimenez, Palmiotti, and more FLASHBACK: Dead Man Running: The Trial of the Flash . . . . . . . . . . . . . . . . . . . . . . . . . .63 Cary Bates, Carmine Infantino, and other creators on Barry Allen’s final days GREATEST STORIES NEVER TOLD: The Secret History of All-American Comics, Inc. . . . .73 Beginning Book Two (continued from Alter Ego) of Bob Rozakis’ fantasy comics history BONUS PINUP: The Thing vs. the Hulk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 Arthur Adams’ recreation of the famous Marvel Feature #11 cover BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Reader feedback on “Spies and Tough Guys” issue #26 BACK ISSUE™ is published bimonthly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@msn.com. Six-issue subscriptions: $40 Standard US, $54 First Class US, $66 Canada, $90 Surface International, $108 Airmail International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office.

Cover art by Darwyn Cooke. Iron Man TM & © Marvel Characters, Inc. The Flash TM & © DC Comics.

All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2008 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in Canada. FIRST PRINTING. H e r o e s

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One of the hallmarks of ’70s and ’80s comics—the BACK ISSUE era—was the maturation of subject matter. Writers and artists took chances with the superhero model, toppling reader expectations by making the mighty succumb to human failings—or, as it became fashionable to say after Watchmen premiered in 1986, “deconstructing” superheroes.

Stan Lee started the trend in the early 1960s by writing “heroes with problems” in the burgeoning Marvel Universe. During the BI era, those problems became much more severe than worrying about Aunt May’s latest heart palpitation—we witnessed heroes who fell off the wagon and from grace, became intoxicated with power, conspired against their teammates, and sometimes executed their foes. These “Heroes Behaving Badly” raised the bar for graphic storytelling (while perhaps lowering it for morality), providing some of the most riveting comics of the day. Our interviewed writers and artists in this issue offer captivating insights into why these champions crashed, burned, clobbered, and killed, and why we still love them despite their un-herolike behavior.

Two of this issue’s spotlighted “Heroes Behaving Badly”—the Thing and the Hulk—are depicted in “One Minute Later!” commissioned illustrations, two from Ron Wilson and one from Herb Trimpe.

One Minute Later! (OML) is the theme of art collector Michael Finn’s collection of commissions by contemporary and classic comics artists portraying what might happen sixty seconds after scenes from famous (mostly) Marvel covers. You saw another OML in last issue’s Alan Weiss Art Gallery, for which we owe Mr. Finn a belated thank-you. Do yourself a favor and visit Michael’s OML gallery at

STEVE GERBER 1947-2008

Michael Eury

www.comicartfans.com/GalleryRoom.asp?Order=Date&Page=1&GSub =26452. You’ll see an awesome array of artists, and the OMLs in color, too!

Back in the ’90s, the power ring-plundering Green Lantern (Hal Jordan) joined the ranks of “Heroes Behaving Badly.” While GL’s misadventures aren’t included in this issue, he’s the subject of a special “BACK ISSUE Live” event to take place on Friday, June 20, 2008 at HeroesCon in Charlotte, North Carolina! Ye editor will host a live “Pro2Pro” interview titled “Drawing Green Lantern: Then and Now,” featuring artists Alex Saviuk, Joe Staton, and Ethan Van Sciver. Join the fun and one amazing guest list at HeroesCon 2008, June 20–22, at the Charlotte Convention Center in uptown Charlotte, NC. For more info, visit www.heroesonline.com/heroescon.html. For those of you unable to attend what is the friendliest and most fun comics con in the US of A, you’ll be able to read a transcription of this GL “Pro2Pro” in January 2009’s BACK ISSUE #32.

I’d hate for our rowdy and rebellious “Heroes Behaving Badly” articles to eclipse a special serialized feature beginning in this issue: Bob Rozakis’ fantasy history of All-American Comics, Inc. Long story short: Back in the Golden Age, DC Comics and All-American Comics were sister companies until DC absorbed AA— but in Bob’s parallel universe, the reverse holds true, with the Golden Age Flash and Green Lantern supplanting Superman and Batman as comics’ “Big Two.” Book One, covering the Golden and Silver Ages of this alternate reality, began its serialized run in our sister pub Alter Ego #76, while Book Two, commencing with the Bronze Age, starts here and now.

DAVE STEVENS 1955-2008

© Marvel.

© Dave Stevens estate.

We are saddened by the passings of these two talented creators and extend our condolences to their family, friends, and fans. BACK ISSUE will offer tributes to both in upcoming issues.

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IF I CAN’T REASON WITH YA, I’M GONNA HAFTA WALLOP YA! IN OTHER WORDS, IT’S CLOBBERIN’ TIME!

HULK DOES NOT LIKE THIS “CLOBBERIN’ TIME,” THING! HULK THINKS IT IS DUMB! HULK THINKS THING IS DUMB, TOO!

Break It Up, Ya Big Lugs!

John Romita, Sr.’s original cover art to Marvel Feature #11 (Sept. 1973), from the Yoram Matzkin collection. Thing’s and Hulk’s dialogue, in the balloons, comes from that landmark “team-up.” © 2008 Marvel Characters, Inc.

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“Who’s stronger? Thing or Hulk?”

Back in ’76, when we comics-collectin’ Canarsie kids would sit on a Brooklyn stoop and sift through our big scores from the Nosher’s magazine racks, this age-old question was our perennial hot-button debate … and I knew the answer!

I mean, come on, it’s a no-brainer! Doesn’t take a Bruce Banner to figure out that the angrier the Hulk got, the stronger. Hulk was so cool, he even had his own primetime series every Friday night on CBS. (Sorry, Thing … love, 40 … match point … advantage: Hulk!)

But in the Marvel Universe of the 1970s, such conflicts weren’t so clear-cut. Witness Fantastic Four #166–167 (Jan.–Feb. 1976). Sometimes, the erstwhile Banner— that gamma-saturated, obdurate ox—kicked the tar out of Benjamin J. Grimm. Yet, inevitably, they’d team up against the common enemy, depriving us of a true showdown to the finish.

A decade earlier, during comics’ Silver Age, Fantastic Four originated the Big Green/Big Orange mash-up. Marvel’s founding fathers, Stan Lee and Jack Kirby, launched this guest-star gimmick as early as 1964, when Hulk surfaced in FF #25–26. Lee/Kirby missed the Bronze Age by a whisker with their Dec. 1969 sequel story in The Incredible Hulk. Gift-wrapped in a Kirby-lossal cover, #122 delivered on its promise of a ledge-crumbling, building-battering battle royal.

Not one to let a good idea collect dust, Lee returned to the “Battle of the Behemoths!” in 1971, this time with artists John Buscema and Joe Sinnott, for some Central Park combat. Fantastic Four #112 opens with Hulk and Thing walloping each other with a tree. As a throng builds, Thing attempts to stop Hulk by uprooting and lobbing a statue of “General Forbush,” which Hulk reduces to dust. Turns out that when Reed Richards called on Banner for his scientific assistance, the shock of seeing Thing again reignited the embers of Banner’s irradiated rage. The Four enter the fray and, many destroyed trees later, Hulk and Thing take their fracas to the streets. This comic ends with a victory in Hulk’s corner via a green-fisted TKO that renders Thing unconscious and reduces Hulk back to Banner. (Hulk: 1, Thing: 0) A de facto Marvel Two-in-One Annual, Marvel Feature #11 (Sept. 1973) (“Cry, Monster!”) sported a bonecrushing unsigned cover (Gil Kane?). [Editor’s note: Nope. It’s Jazzy John Romita, Sr.!] Len Wein wrote it, a young Jim Starlin drew it, and Sinnott embellished it.

This issue was so hot, it was quickly reprinted in 1975’s Marvel Treasury #5 (themed “The Hulk on the Rampage”).

Basically Trading Places Marvel Comics-style, space alien Kurrgo makes a gentlemen’s agreement with the B e h a v i n g

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Master of Planet X over … well, to simplify, that age-old question. Kurrgo picks Thing, while his leader chooses Hulk. Both short-fused brutes, plucked and planted in the middle of the desert by the aliens, are given an ultimatum: Grimm must engage in this cosmic boxing match with Hulk, or else a planet-razing Ultrex Bomb will destroy Earth. Priceless pearl of wisdom from Mr. Purple Pants: “Huh? You beat up Hulk for Hulk’s own good? Hulk may be slow! It may be hard for Hulk to think, but not even Hulk believes that!” Evidently, Starlin enjoyed this storyline enough to revisit the Hulk Smash!/Thing Clobber! premise two more times a decade later—in a story he wrote/drew for Marvel Fanfare #21 (1985) (“The Clash, Part 2,” inked by Al Milgrom, which featured Dr. Strange); and as a writer in Marvel Graphic Novel #29 (1987) (“The Big Change,” with Bernie Wrightson art).

Touted on the cover as “The Wildest Thing vs. Hulk Battle Of All!,” Giant-Size Super-Stars #1 (May 1974) has the distinction of being the title that became Giant-Size Fantastic Four. Speaking of “titles,” this cover is a knock-out—literally—depicting Thing, on his way to winning the ultimate heavyweight title, getting the upper hand on the Hulk inside a boxing ring, as Johnny Storm and the Inhumans’ Medusa cheer from the

The Big Change Sans lettering, a beautifully rendered page from the Starlin/ Wrightson Marvel Graphic Novel #29.

Courtesy of Heritage Comics Auctions (www.ha.com). © 2008 Marvel Characters, Inc.

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sidelines. Super-Stars features dynamic writer Gerry Conway, who devised a wacky plot in which, during a visit to the Baxter Building, Banner uses one of Reed’s devices to try and cure both himself and Thing.

Unfortunately, instead of remedying the pair, a mindswap occurs between Thing and Hulk instead. A Sinnott-glazed Rich Buckler, in his most Kirby-esque style, has a blast flattening Manhattan with his pencils as the towering titans take their uncivil war all the way to Madison Square Garden for the match of the century. Cripes! As if this ain’t enough, an Amazonian hottie named Thundra takes a shine to lovable Benjy (or is he the Hulk? This match is too confusing to scorecard!).

Back to 1976. Part one of Fantastic Four #166–167, comically titled “If It’s Tuesday, This Must Be the Hulk!,” features 17 pages of mayhem underneath a sock ’em-rock ’em

Buckler/Dan Adkins cover collaboration. In this tale crafted by writer Roy Thomas, young George Pérez (as green as Hulk himself) gets his pencil on in #166 with finishes by Vince Colletta. The issue opens with some commercial airline shtick prescient of 2007’s Fantastic Four: Rise of the Silver Surfer flick. The Four head to Nebraska, where the US military have located Hulk and where Reed intends to cure him at an army facility. Speaking of the man-monster, Hulk descends onto the plane’s wing and threatens to take down the 747, which rouses the FF into full-on superhero mode. They save the plane.

With the aid of US Army Col. Sellers, they take off in a military helicopter. When Hulk ambushes the chopper, the Four fight back (although Thing, empathetic to the Hulk’s monstrous plight, does so reluctantly). After Thing knocks Hulk out cold (Thing: 1; Hulk: 1), Reed reaches to congratulate his ol’ pal … but Thing ain’t havin’ it: “Just getcher hand off’a me an’ shuddup. Okay?”

At the military base, Richards attempts to rid Banner of his Hulkness forever with his psi-amplifier. But Ben smashes Reed’s gizmo in a pique of rage over his condescending treatment toward Hulk. Radiation changes Banner back into the Hulk, and the three

Rematch!

Detail from the cover to FF #112 (July 1971).

Art by John Buscema and Frank Giacoia. © 2008 Marvel Characters, Inc.

Fantastics urge Ben to help restrain him. Thing responds, “You and the rest’a humanity’s had us at each other’s throats … when we should’a been fightin’ on the same side … right, Hulk?” Hulk concurs. In a dramatic cliffhanger, Ben announces that, from now on, it will be the Thing and the Hulk (as Run-DMC and the Beastie Boys used to say back on their ’87 tour, “together forever”).

The farce and the fury continues in #167, graced with an unsigned doozy of a cover by Kirby/Sinnott that features Thing and Hulk fighting … the remaining FF! “Titans Two!” continues the Thomas/Pérez saga (this time inked by Sinnott). Hotheaded Ben, rocked by staggering headaches and dizzy spells, feels exploited by “human types,” so he bonds with his behemoth brother and, with Hulk by his side, Thing inexplicably turns against his Fantastic teammates. Reed, Sue, and Johnny think Ben has gone stark mad. Thing shouts back that they can call themselves the “Fantastic Three” as he and Hulk escape via hovercraft.

As they fly off together, Thing and Hulk have their first argument over St. Louis when Hulk urges Ben to land the hovercraft atop the Gateway Arch.

Reed realizes that Ben has been adversely affected by exposure to the gamma radiation that Hulk emits.

Upon finding Thing and Hulk in downtown St. Louis, the remaining FF get sucked into another altercation with Ben, but the proceedings detour into a Hulk/ Thing rumble atop the Arch. The “Fantastic Three” watch the rampage slackjawed, knowing “the awful, unspeakable truth: against the Hulk … the Thing cannot win!” Hulk flees after Thing turns back into the human form Ben Grimm. (Hulk: 2, Thing: 1) Hands down the funniest and corniest Hulk vs.

Thing mano-a-mano was the Tinseltown throwdown that is Marvel Two-in-One #46 (Dec. 1978). You can bet your Aunt Petunia that my nine-year-old self passed out upon spying this baby’s now-classic Keith Pollard cover (Thing and Hulk rolling in fisticuffs, like a wrecking ball through a movie set amuck with panicked crew) on the spinner rack. More likely, I was bowled over by the bombastic cover blurb: “Ben Grimm Meets Marvel’s TV Sensation! Battle in Burbank!” No mas, Mr. Nosher Guy. Here’s my 35 cents!

Our story starts with Thing chillaxin’, watching TV. When CBS’ The Incredible Hulk airs, Ben is so irked that Hulk has landed his own TV series that he destroys his brand-new color set. After the commotion attracts the other FF, Mr. Fantastic suggests that Ben contact the producers and pitch his own program. Ben soon hops a flight to Los Angeles…

So where is the real Hulk in all of this? He’s in post-transformation mode, running around rural Smallvale, Nevada, as Banner, semi-naked in tattered purple slacks. Banner spots the Hulk TV show through the window of Kooperipple appliance store. Outraged that his life has been turned into a “soap opera,” he morphs into Hulk, and we learn that the Jade Giant is not only green-skinned, but thin-skinned (“Who is making fun of the Hulk this way?”). The Hulk smashes the appliance store window display before making one of his patented superleaps to Miracle Studios in Hollywood.

At Miracle, the Thing meets with TV producer Joe Jusko (inside joke referencing the revered comic-book cover artist?), a cigar-chomping, gold necklace-dangling caricature in 1978 disco duds and groovy Lennon specs. As actress Karen Page, offered a cool million to co-star on the Hulk show, waltzes in to sign her contracts, Hulk disrupts a M*A*S*H episode shoot, causing Alan Alda to yelp incredulously, “He’s for real!”

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Soon, three disgruntled fired employees from the Hulk TV series, disguised as phone repairmen, kidnap Page in an attempt to extort a few hundred grand from the studio. Hulk smashes into Jusko’s office and erroneously accuses Thing of “…making the Hulk look dumb!” Flying fists ensue, as Hulk and Thing tangle across the studio lot, in the process demolishing a Wild West façade, a Roman soundstage, etc. In the process, they shut down more movie sets than the WGA strike.

Post–ruckus, the tacky producer, who tells Hulk that “you’ll be bigger than Cheryl Tiegs!,” also promises Thing the perfect TV vehicle. Cut to the Four back in the Baxter Building, some time later. In the humiliating closing panels, Grimm, surrounded by his fellow FF, receives a package from the studio with the script to the

Jawbreaker Marvel’s bad boys are at it again in this sketch from Simon Bisley, courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

sitcom Jusko wants to feature him in. It’s called Thing in the Family, and in the accompanying storyboard, Ben wears parted long hair and mustache, à lá Rob Reiner’s Michael Stivic, while Archie Bunker barks at him, “Shuddup, ya orange meathead!” Thing concludes that Hollywood is not for him. (Hulk: 3, Thing: 1) Arguably the most memorable of all Two-in-One tales, #46 not only gives us a thoroughly satisfying Hulk/Thing melee—courtesy of writer/artist Alan Kupperberg, with Chic Stone on inks—but features the sheer novelty of setting the whole magilla in Hollywood. Looking back now, it’s amusing that all the TV shows depicted in this ish showed fidelity to the network carrying the Bill Bixby/Lou Ferrigno Hulk series. Bonus cameos: Daredevil paramour Page, US postman Willie Lumpkin, and Howard the Duck Look-Alike Contest winner Uncle Waddles.

Of course, MTIO #46 proves that, even if we young Marvelites wanted Hulk to kick rocky orange butt, deep down we knew who won the war of words. Benjy had that noggin full of New York wit, whereas the monosyllabic Hulk couldn’t pass an S.A.T. test with those primordial grunts of his. Sorry, Hulkie, when it comes to the gift of gab … “It’s Clobberin’ Time!”

(Hulk: 3, Thing: 2) We take Hulk for granted, but, unlike Thing, he’s not a superhero. He’s an Atomic Age Frankenstein’s monster who should be filed under “Weird Heroes,” somewhere between Ghost Rider and Werewolf by Night.

Ultimately, there’s a visceral kick in seeing the big, green gorilla in the purple pants kick the rocks out of the big orangutan in the blue undies (or vice versa, depending your bias).

Keep in mind that this was before the commercialization of professional wrestling or the advent of the PS2. Yes, for kids of a certain generation, those Hulk vs.

Thing slugfests were our WWE, our Mortal Kombat, our Tekken. Cracking open MTIO #46 was like getting ringside tickets to the world heavyweight championship (and, if I’m not mistaken, Hulk/Thing enjoyed more rematches in the ’70s than Ali/Frazier). Ostensibly, those bouts not only delighted us kids, but the inner children running around Marvel’s Bullpen, who enjoyed (and continue to enjoy) pitting both characters in epic battle. (Hulk: 3. Thing … oh, nertz, I’ve lost count!)

Sure beats MTIO #88, which, by the ’80s, saw Thing pairing up with Hulk’s fairer cousin. Then again, for poor, bruised ’n’ battered Ben Grimm, a scantily clad She-Hulk is, at the very least, easier on his ever-lovin’ blue eyes! Yowza!

MICHAEL AUSHENKER is a Los Angeles-based writer and cartoonist.

His comic books include the El Gato, Crime Mangler series, Cartoon Flophouse, and Those Unstoppable Rogues. Visit cartoonflophouse.com.

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© 2008 Marvel Characters, Inc.

Doing His Steranko Thing Ron Wilson’s reimagining of Jim Steranko’s cover art to The Incredible Hulk King-Size Special #1 (1968, seen above), with bashful Benjy Grimm handling the heavy lifting for the Green Goliath.

Art courtesy of Jeff Jaworski. © 2008 Marvel Characters, Inc.

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Marvel Two-in-One is a book etched in Bronze.

From January 1974 through June 1983, Marvel Two-in-One (MTIO), with its breezy mix of action-comedy, became the series with that quintessential House of Ideas house look. It was comics’ comfort food. If there’s one series that screams “’70s Marvel,” this is it…

MTIO’s M.O. was simple: team up the most popular member of the Fantastic Four—Ben “It’s Clobberin’ Time!” Grimm, a.k.a. the Thing— with another superhero from the Marvel Universe. It was fun to see the self-deprecating, wise-cracking, orange-rock creature paired every month with the likes of Spider-Man, Captain America, Sub-Mariner … and more random duets with the Golem, Deathlok the Demolisher, Moondragon, and Jocasta. Sheer novelty. Who could forget the issue in which the Thing battles the Hulk, destroying a Hollywood backlot in the process (#46, Dec. 1978: “Battle in Burbank”)? Or the storyline guest-starring the original, bald-cap Spider-Woman in which Alicia Masters turned into a spider-creature while on vacation with Ben in London (#30–32, Aug.–Oct. 1977)? If these stories don’t ring a bell, you’re either too young or you were too preoccupied with the “Distinguished Competition,” because we’re talkin’ classic Marvel here!

Ron Wilson famously drew more issues of MTIO (and that includes the last two of seven Annuals published in 1976–1982) than any other artist.

His “Two-in-One: A Thing Odyssey” was a wildly successful ride that began with MTIO #12 (Nov. 1975; “The Stalker in the Sands,” not to be confused with MTIO #2, Mar. 1974, “The Stalker From the Stars”), co-starring the Invincible Iron Man. Thanks to Wilson’s bold, no-nonsense, bread-and-butter storytelling, many of us enjoy some fond memories. I’m thinking of the two-parter that kicks off with the Thing defended in court by Matt Murdock (#37, Mar. 1978) and climaxes with his team-up with Daredevil (#38, Apr. 1978); the pathos ’n’ bathos-laden #80 (Oct. 1981), showcasing a self-pitying Grimm as the Ghost Rider goes on a tear through midtown Manhattan; and #82 (Dec. 1981), guest-starring the superhero formerly known as Black Goliath, which promised the Thing turning “uglier!” on its cover. Only in MTIO could you find Benjamin J. Grimm joined up with the Sandman (#86; Apr. 1982) one month and Machine Man (#93; Nov. 1982) in another. The rocky, contemporary Thing even fought the original, mushy Thing when the campy series hit issue five-0 (Apr. 1979).

On October 7, 2007, BACK ISSUE talked Two-in-One with Wilson.

Here’s what the perennial fan favorite had to say about conjuring up the rock-solid drawings for Marvel’s ever-lovin’, blue-eyed Thing.

– Michael Aushenker MICHAEL AUSHENKER: Set the stage for us: What were your circumstances when you joined Marvel and began on MTIO? RON WILSON: I was born and raised in Brooklyn, New York.

I grew up in the Canarsie Projects. After the High School of Art and Design, I got hired by [Marvel art director] John Romita [Sr.] when I was in my first year in college.

But [before that,] the first professional I took my samples to was Dick Giordano. He was at DC. Dick said, “Keep trying,” so he encouraged me. But Marvel was in my heart…

I went into Marvel and met with [artist] Frank Giacoia.

At the time I had a problem drawing women. The jaws were too boxy. Frank showed them to Stan Lee. I never saw Stan…!

Frank looked at my work and said to me, “You’re about six months off.” That was like telling me that I had a job— that gave me the enthusiasm and focus.

Six months later exactly, I sent samples in. I waited two weeks, still no response. College let out for the summer.

I phoned John Romita. He said, “Hey, kid! I liked the drawings.

Take That, Blondie!

Ron revisits his Sinnott-inked, Marvel-Two-in-One-like cover to Fantastic Four #165 (Dec. 1975, seen in the inset) in this “One Minute Later” continuation, inked by Chris Ivy, shown here in its line art and color forms. Courtesy of Michael Finn. © 2008 Marvel Characters, Inc.

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You have tight pencils, they leave nothing to the imagination.

Why don’t you come up and we’ll talk?”

AUSHENKER: That was in 1973, and you were 19. And you began your professional career illustrating eight-page horror stories written

by Marv Wolfman, Don McGregor, etc..

WILSON: [During my first year at Marvel,] I moved to New York City.

I was living with one of my partners, who was a radio DJ. I was the artist helping him bring his comics to light. My friend worked at WWIN-AM Soul Radio. I stayed with him and his wife. They had a loft right near the World Trade Center. My family moved to Philly and I got a place in Coney Island.

AUSHENKER: Shortly before MTIO was handed to you, you worked on Luke Cage, Power Man. WILSON: Billy Graham was working on Power Man at the time.

He always wanted to be an actor and I think he was doing some shows on Broadway … I believe he [left comics to pursue] acting.

I was just hanging around the Marvel office doing freelance work.

I did a bunch of covers and John [Romita] would sketch them in and he’d work out the sketches and I would draw the covers from the sketches and John would make corrections. When he was too busy, Marie Severin helped. She was like a teacher, very patient. Herb Trimpe was there, too. I was very green. They had to train me.

Ed Hannigan and myself, we created the first freelancer room.

John Verpoorten, he was this big, huge imposing guy who always had a cigar. We would be working on something and we’d ask him when’s it due. He’d say, “It was due yesterday.” [laughs]

Beginnings: cover pencils for Supernatural Thrillers #4 (June 1973, Marvel Comics) and cover and short story pencils for Chamber of Chills #7 (Nov. 1973, Marvel)

Milestones: Power Man / Marvel Two-in-One / The Thing Super-Boxers graphic novel / Masters of the Universe / Wolfpack

Works in Progress: “Tony Isabella and I have some things cooking.” / commissioned illustrations

Ron Wilson

Honoring the King This Wilson wraparound cover-art commission (from the collection of Michael Finn) is a recreation of the Thing/Liberty Legion brouhaha cover from Marvel Two-in One #20 (Oct. 1976); the original, inked by Frank Giacoia, is seen in the inset.

Photo courtesy of Jeff Jaworski.

© 2008 Marvel Characters, Inc.

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Marvel Threein-One Daredevil was also a part of this Thing/ Vision team-up in Marvel Two-in-One #39 (May 1978).

Original cover art penciled by Ron Wilson and inked

by Pablo Marcos.

Courtesy of art collector and dealer Will Gabri-el (will-gabri-el @comcast.net). © 2008 Marvel Characters, Inc.

Ed and I would prepare books. Sometimes overnight. We would dine on rotisserie chicken and Hannigan’s Beer, and that would be our diet.

Rich Buckler joined us later. He was the man. We worked in the same freelancers’ room. Even though you had the artists who made the impact later, like John Byrne and Frank Miller, Rich, I call him the original.

He had all the gold.

John Buscema passed through there … [and] Gil Kane, very lean and tall, his characters looked like him. Gil Kane was famous for his upshot. Whenever you wanted an upshot, you copied Gil Kane.

I did a little production [work] at Marvel. That’s where I met Tony Isabella [Wilson’s writer on Power Man].

Very likable guy, very young. Marvel Two-in-One definitely came after that.

AUSHENKER: You penciled more issues of MTIO than any other artist. How did you slide into this position?

WILSON: I guess you had to earn the position, and if you were comfortable with the character, they’d hand you another script. Sometimes you could be running late on a deadline, and other artists would do inventory books. I think in the beginning [on MTIO] it was Jim Starlin, Gil Kane, Joe Sinnott. It was a wonderful team. So I tried to keep the fun going when the baton was passed to me.

We were constantly looking at John Buscema’s work, and Jack Kirby’s. You haven’t seen anything until you’ve seen some tight Jack Kirby pages. Those guys could naturally draw. So you’re hoping that some of that magic that Buscema and Kirby had would rub off on you.

Some have said that my Thing had a lot of power. All that power was from me trying to mimic Jack Kirby. [laughs] AUSHENKER: The Thing was so iconic, so associated with Kirby. How did you put your personal stamp on the character?

© 2008 Marvel Characters, Inc.

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WILSON: Two cooks don’t cook alike, even with the same recipe. I was trying to do Jack Kirby and it came out looking like Ron Wilson. Jack Kirby was right: [He once told me] “you’re going to do it your way.

You can’t be a carbon copy of anything.”

AUSHENKER: There wasn’t a lot of job security back then when you were on Two-in-One, was there?

Work came issue to issue. An artist could be taken off of a series without notice.

WILSON: A lot of people thought the comic-book industry was going to fold. Sales would pick up and drop and pick up. You were the last to find out that you were off the book. And when you were off a book, they would find you another book. If you were working, you were happy to be working.

AUSHENKER: In Two-in-One, was there a guest hero that you wanted to draw but never got to?

WILSON: If I have to think about it, then I think there were none. [laughs] You may have wanted to be on a different book, like Fantastic Four or Thor. Everybody wanted to do the Fantastic Four. That was the star book—you were really eating caviar and steak.

AUSHENKER: You got to draw your favorite superhero— Iron Man—in your debut issue of MTIO, issue #12.

WILSON: My favorite comic [as a youth] was Iron Man, drawn by Gene Colan. When he fought Titanium Man … man! It was great to have him in there. That sequence with Iron Man in the tunnel—I tried to do that again for an eBay commission. I had a hard time trying to recreate what I had captured. I was really in the zone then.

[Another great series was] Nick Fury, Agent of S.H.I.E.L.D. Jim Steranko had a cult following that he had amassed. Very edgy the techniques that he used. Just very interesting. His panel design was just perfect. Like looking at a mini-movie.

That Hulk cover where he was holding up his name [Incredible Hulk King-Size Special #1, 1968], that was the greatest cover that I ever saw.

AUSHENKER: Ron, you may not have gotten to draw Fantastic Four or Iron Man, but if you didn’t go to those books, with MTIO, the entire Marvel Universe came to you!

WILSON: It was a dream come true to do the Thing, one of the Fantastic Four, in Marvel Two-in-One. You always had team-ups and characters … the Scarecrow … the Fantastic Four appeared one time. It was a great vehicle, as far as the crossover goes.

AUSHENKER: Were there any guest characters that you loved to draw and any that you dreaded doing?

WILSON: Some were harder to do. Spider-Man, you had to get all of those webs together.

Hulk was the easiest to do. Thor and Iron Man were my favorites.

AUSHENKER: What was your favorite of your Marvel Two-in-One covers?

WILSON: That would be issue #13 (“I Created Braggadoom! The Mountain That Walked Like a Man!”), with Power Man. AUSHENKER: What about your favorite MTIO interior work?

WILSON: Issue #16 with Ka-Zar (“Into the Savage Land!”). I also enjoyed doing #22 with Thor (“Touch Not the Hand of Seth!”).

AUSHENKER: You seem to have loved the early issues the most.

WILSON: What was going on at the time had a lot to do with it.

You’re growing as an artist, you’re hanging out with the crew, you’re going out to dinner, you’re collaborating on scripts. They called me “Power Man” because I always handled the big, powerful characters like the Thing and Hulk. Jim Shooter, Ralph Macchio, and I used to box, hang out, and watch boxing matches at Ralph Macchio’s house.

Actually, those are things that I miss the most. It was a great time.

AUSHENKER: If Marvel Two-in-One started up again today and you were brought back aboard to draw it, which character would be your first choice to pair up with the Thing?

WILSON: The Thing and the Hulk. Always the Hulk, hands down.

AUSHENKER: Your most frequent Two-in-One inkers were Pablo Marcos and Chic Stone. Who was your favorite inker, or your favorite inkers?

WILSON: Joe Sinnott and Tom Palmer [the latter never embellished Wilson’s pencils]. When you got Joe Sinnott, you automatically looked like the Fantastic Four style. If you couldn’t get those guys, you had to get people who were very

fast, like Pablo Marcos and Chic Stone. You had your favorites but you had your journeymen. Pablo, I would see come to the office.

Pablo was very fast. I would run into Pablo very often.

AUSHENKER: Vince Colletta gets a bad rap, but did you enjoy his work on your pencils?

WILSON: There was an issue that Vince inked [of Thor] with Thor vs.

Hercules that someone showed me and it blew me away. If Thor was a god, the look of the work was godly. On my work, some stuff I liked and some I didn’t. You had to really know Vince … Vince would tell me a lot of stories about his life. Vince was a very likable guy.

He passed away too early.

But with inkers, it’s chemistry. Some embellishers could really pull you together and make you look like a new car.

AUSHENKER: Let’s talk about some MTIO writers … John Byrne?

WILSON: Byrne, I loved. I hired him to write Super Boxers, my graphic novel. Nothing but compliments and accolades for Byrne. Byrne had vision, and he also is a workaholic. He was definitely a machine.

AUSHENKER: Bill Mantlo?

WILSON: Very fast writer. He was also a machine. Very young and very specific in what he wanted. If you deviated, he would try to bring you back on track.

AUSHENKER: Len Wein and Marv Wolfman?

WILSON: The thing that amazed me was that Len Wein and Marv Wolfman would team up to write the script. One guy would plot it out, the other would write it. Looking back, it was a heck of a team.

AUSHENKER: Who was your favorite writer, in collaborative terms?

WILSON: Tom DeFalco.

AUSHENKER: The Thing was a somewhat humorous character.

What was your approach to milking the gags?

WILSON: Any humor that was put into the Thing, the writers put that in.

I think there was a bar scene with the Sandman in one issue. They were responsible because I didn’t write back then. They injected that into plot.

Two-in-One was an action book—I tried to be a very clear storyteller.

That was one of the key things that Jim Shooter was preaching: Storytelling and clarity was definitely preached in Marvel’s bible.

AUSHENKER: Didn’t drawing all those little rocks on the Thing ever drive you crazy?

WILSON: The rocks drove me crazy. I walked into the office one day and I said, “I’m tired of drawing all these rocks.”

AUSHENKER: You drew some of the earliest Spider-Woman appearances in the character’s history … stories following her debut and preceding her own title.

WILSON: Marvel Two-in-One was the stepping stone to a spin-off to get her own book. And I was happy to be a part of that. You walk in and they throw the stuff at you and you draw it. It was just kind of neat that MTIO was a stepping stone to [several] characters getting their own books.

AUSHENKER: The early ’70s seems to be a major turning point in comic-book history when Marvel, more than any other company, took the initiative to create ethnic characters.

There was a MTIO two-parter in which Ben hooks up with Black Panther and Brother Voodoo. Did you enjoy this creative renaissance?

Wilson in Baltimore From the September 2007 Baltimore Comic-Con, a Thing pencil sketch by Ron Wilson, and (above) a photo of the artist holding the same illustration. Courtesy of Roger Ash. © 2008 Marvel Characters, Inc.

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WILSON: Most definitely. Any time you had ethnic characters, I loved it. I never created any. If you got to draw them, it was very exciting. Basically, it was good to have them, but [ultimately] they were just another superhero.

AUSHENKER: The Thing teamed up with Ben Grimm in the last issue of MTIO (#100, June 1983). You worked with Byrne, setting up the Thing spin-off solo series.

Did “Thing fatigue” set in by the time you began work on yet another Thing series?

WILSON: John Byrne came in. He wanted to write The Thing but he didn’t want to draw it. He re-energized me. John brought a new vision for the book. A new approach, a new energy.

AUSHENKER: Why was MTIO—a long-running, successful title—canceled, and then immediately rebooted as The Thing, with Thing #1 (July 1983)?

WILSON: A lot of decisions were made in the office of [then-editor-in-chief] Jim Shooter. I think it started up on the heels of John Byrne.

The New Rocky Rollickin’ Ron’s recreation of his hero-packed cover to Marvel Twoin-One Annual #7, submitted by this commission’s owner, Shannon Slayton. © 2008 Marvel Characters, Inc.

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AUSHENKER: When you kicked off The Thing, which ran for 33 issues (1983–1986), did you have a different approach to tackling this series than on MTIO? WILSON: Byrne’s impact was so ingrained. It was like Larry Bird coming to the NBA. If Larry Bird comes to the NBA, you’re going to play better. John Byrne to me was Larry Bird in the NBA. And I don’ t mean in terms of race—but in terms of impact. Byrne was very hot, he was very in. So you’re trying to take it all in. Draw bigger, draw faster.

AUSHENKER: How did you feel when your run on those books ended? Was it tough to let go of the Thing after so many years?

WILSON: All good things must come to an end.

You’re just attached to work, not the characters. As long as I was working, I was happy. I didn’t have time to weep. I moved on. When you’re young, a lot of things happen to you. You took it with a grain of salt and moved forward.

All the issues were fun. At one point, I went to He-Man [in Masters of the Universe (1986–1988)].

I was very flexible. Before I got to He-Man, Tom DeFalco and Ralph Macchio—we had a meeting with Mattel on the West Coast.

They told me, “Pack your bags, you’re going out west [to draw He-Man].” [laughs] AUSHENKER: Can you see your evolution as an artist across Two-in-One? WILSON: You always feel you’re getting better with time and age. And you look back and say, “If I was the artist I am now back then, I would’ve done it differently.”

But you needed to go through that to get to where you’re at today. There aren’t any short cuts.

AUSHENKER: MTIO ran for nine years.

What was the key to its longevity?

WILSON: It was a hot title back then and, in the simplest terms I could put it, it was two-in-one. You had the Thing and you had a guest star. Everybody’s in love with the rocks and the Thing. I don’t know what the phenomenon is or was, but the Thing was a lovable brute you liked to hug, and you hoped he protected you on the streets.

I would never say it was successful because of me. It was the artists, the writers, the editors, the readers, the input.

AUSHENKER: When you go to conventions and draw commissions, is MTIO still the book that fans associate with you the most?

WILSON: They all want the Thing. “Do the Thing, do the Thing!” But it’s nice.

People come up to me all the time and say, “Hey, you made my childhood!”

AUSHENKER: As you look back on MTIO, are you satisfied with what you achieved creatively?

WILSON: Yes. Satisfied to the extent that you’re learning, you’re picking up things.

Definitely satisfied with the opportunity, rubbing elbows with the different pros, the journey. I wouldn’t change it. It was definitely a heck of a ride. I was loving every minute of it. If you’re doing what you love, you’ve never worked a day in your life.

AUSHENKER: So, I gotta ask: after all these years, have you come to enjoy drawing all those little darn rocks?

WILSON: Yes. Because they pay my bills. [laughs]

by

Mike Mikulovsky

© 2008 Marvel Characters, Inc.

Hulk Smash … Logo!

Herb Trimpe imagines the classic Steranko cover to Captain America #110 “One Minute Later” in this absolutely incredible commission. From the collection of Michael Finn. © 2008 Marvel Characters, Inc.

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[Editor’s note: Although Herb Trimpe has drawn the majority of Marvel’s characters (and then some), in the minds of many fans he’s known (and loved) for only one: the Hulk. And it’s easy to see why: His unbeatable run as the penciler of The Incredible Hulk consisted of almost every issue of the title from 1968 through 1975, and included the first appearances of several Marvel mainstays including Doc Samson and Wolverine.

Trimpe’s Hulk was brutal but sympathetic, frightening but strangely likable—the perfect “hero behaving badly.” BACK ISSUE is honored to have Herb talk “Hulk” with us in this exclusive interview.]

MIKE MIKULOVSKY: I loved your Subby vs. the Hulk issue, Incredible Hulk #118 (Aug. 1969)—one of my favorites, and one of the first comics I ever bought.

HERB TRIMPE: Yeah, #118 was a fun issue. One of those when I was groping around for a style. I think Joe Maneely influenced the inking—maybe John Severin, also.

MIKULOVSKY: The Hulk fought a lot of Marvel heroes, and one of your most famous issues was Wolverine’s first major appearance in the Hulk vs. Wolverine issue, Hulk #181 (Nov. 1974). I always wondered why Marvel never had you do Hulk vs. Thor or Hulk vs. Hercules— or, spinning off the Wolverine story, Hulk vs. the New X-Men or Hulk vs. Colossus stories.

TRIMPE: Why certain team-ups never occurred is beyond me. Generally, it all had to do with who was thought to be the most interesting, or the best combinations that would sell books. Remember, X-Men was a second-rate title in the beginning.

MIKULOVSKY: The character of Wendigo got his start in a Hulk issue you drew, #162 (Apr. 1973).

Beach Blanket Banner Sub-Mariner gets the upper hand on Ol’ Jadejaws—briefly—in this striking undersea battle page by Herb Trimpe from Incredible Hulk #118 (Aug. 1969). From a European reprint submitted by our pal Al Bigley. © 2008 Marvel Characters, Inc.

Captains America, Marvel, and Action You Know …

But Captain Tootsie??

Tootsie Roll TM & © Tootsie Roll Industries.

Editor’s note: Roy Thomas, who created super-Shrink Dr. Leonard Samson for Herb Trimpe to draw in The Incredible Hulk #141 (July 1971), tells BACK ISSUE that Captain Tootsie “was definitely the basic inspiration for Doc Samson visually, with a little Captain Marvel thrown in … but after all, C. C. Beck designed both heroes.”

Captain Tootsie was the heroic star of one-page Golden Age comics ads that sold Tootsie Roll candies. For those of you hungry for BI’s upcoming look at the Hostess superhero ads of the 1970s and 1980s, here’s a taste of what saw print before Superman and Spider-Man ever unwrapped a Twinkie…

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TRIMPE: Wendigo was created on the spot for the issue with just about no influence as far as how he was supposed to look. Len Wein had some history about supposed sightings [of Wendigos in the real world], but that was about it.

MIKULOVSKY: Were there any plans to have an Abomination/Wendigo team-up? I thought that would’ve made a great issue of Marvel Two-in-One … with the Hulk and Thing fighting those two.

TRIMPE: As far as I know, there were never plans for an Abomination/Wendigo team-up. I was happy about that, because the Abomination was tough to draw, very detailed, and Wendigo, at least as I had presented the character in The Hulk, was dumb. He needed a lot of work to become a first-class character.

MIKULOVSKY: How did the Doc Samson character come about? Was his creation influenced by the Golden Age Captain Marvel? After all, Doc Samson wears that “Shazam”-like red shirt with the yellow lightning bolt emblem.

TRIMPE: Roy Thomas created the Doc Samson character and it was based upon, or possibly suggested by, a character in Tootsie Roll candy ads that appeared in magazines. That would be Captain Tootsie. I don’t believe the old Captain Marvel had anything to do with it.

I always felt there was a little of Roy in that character, also, but you’d have to check with him to be sure.

[Editor’s note: We did. See sidebar.]

MIKULOVSKY: Were the blood stripes on Doc Samson’s costume/wrestling pants borrowed from the US Marines blood stripes on their dress blue uniforms?

TRIMPE: “The bloodstripes”? That’s one I never heard before.

MIKULOVSKY: Marvel missed the boat by not doing a What If? issue titled, “What If Doc Samson Defeated the Hulk?”

TRIMPE: Doc defeating the Hulk? Fahgedaboudit!

MIKULOVSKY: One of my favorite Hulk supporting characters you drew was the hobo Crackajack Jackson, from Incredible Hulk #182 (Dec. 1974). I thought he could’ve traveled around with the Hulk, like Rick Jones did earlier, but he died in his first appearance. That was disappointing.

TRIMPE: Crackajack was another “throwaway” character among the many that appeared in the pages of Marvel Comics each month. I have to say, he was particularly liked by the readers. He definitely would have been a welcome addition to the Marvel Universe, but once having served his purpose, was quickly disposed of.

Sometimes you don’t realize what you miss, until it’s gone.

MIKULOVSKY: I remember your WWI flying ace, the Phantom Eagle, whose origin you drew in Marvel SuperHeroes #16 (Sept. 1968). He popped up in Hulk #135 (Jan. 1971). [Editor’s note: The Phantom Eagle was the

Beginnings: Marvel production artist, followed by art for the Phantom Eagle in Marvel Super-Heroes #18 (Sept. 1968)

Milestones: The Phantom Eagle / The Incredible Hulk / Nick Fury, Agent of S.H.I.E.L.D. / Ant-Man in Marvel Feature / Killraven in Amazing Adventures / The Defenders / Shogun Warriors / Godzilla / Captain Britain / The Further Adventures of Indiana Jones / The ’Nam / misc.

G. I. Joe titles, including G. I. Joe and the Transformers / Fantastic Four Unlimited / the book The Power of Angels: Reflections from a Ground Zero Chaplain (Big Apple Vision)

Works in Progress: The Goon / Big City Comics covers / British Hulk comic story

Cyberspace: www.herbtrimpe.com

Herb Trimpe Photo courtesy of Herb Trimpe.

Samson and Tootsie Don’t go digging through your longboxes searching for this scene—this Doc Samson/ Captain Tootsie vs. the Hulk battle is for BI readers only! (The Hulk art, by Trimpe, is the cover detail to Incredible Hulk #141, Samson’s first appearance.)

Hulk and Doc Samson © 2008 Marvel Characters, Inc. Captain Tootsie © Tootsie Roll Industries.

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“most unexpected guest star of the year” in that issue’s Hulk vs. Kang time-travel tussle.] I always thought he was a very unique character, very different from the usual cast of Marvel superhero types. Any comments on him?

TRIMPE: Funny you should mention the Phantom Eagle—as I understand it, he has recently been revived in a one-shot deal at Marvel!!! Can you believe that? I make no comment whatsoever about that, only to say that Gary Friedrich created the concept and I designed the character, but there was no mention of that on the site that interviewed a member of the new “creative team.”

They even presented a full-color drawing that I had originally done of the character with no credit given.

Of course, nobody in the world gives a sh*t.

Not even me, actually, as it is not what you would call a high-profile event. But it does give a good idea of the harshness of corporate reality and how easily nice people can get sucked into it.

MIKULOVSKY: How long did it usually take you to draw an average 22-page issue of Hulk?

TRIMPE: I had less than two weeks to pencil 20 or so pages. I would do two, sometimes three a day. Usually, you sent what was done to the writer so he or she could get started, and they in turn, would forward written work to the letterer, and finally the inker. If all went smoothly, we wouldn’t miss a printing date and nobody would get mad at us—or fire us.

MIKULOVSKY: You drew Hulk for so many years, you went through a lot of inkers—you inked your own work, plus were inked by people like George Tuska, Syd Shores, Sal Buscema, Sal Trapani, Joe Staton, Frank Giacoia, and, of course, John Severin. Who was your favorite inker?

TRIMPE: I had no favorite inker, although it was a thrill to have John Severin ink my pencils. I can’t imagine what he thought. My work was so crude—finished, but crude. I was a big EC fan, so this was like dying and going to heaven. Of course, time permitting, I always liked to ink my own art.

MIKULOVSKY: Many of your Hulk covers were unforgettable. Any favorites?

TRIMPE: No favorite covers on The Hulk except the Ka-Zar issue that John Severin inked [issue #109].

MIKULOVSKY: What was it like to work in the Marvel Bullpen back then? Any funny stories or great memories you’d like to share with us?

TRIMPE: Of course, and I’m sure everyone knows, the old days in the Bullpen were terrific. We had a small group, very intimate, small working spaces, and I for one couldn’t wait to get to work every day. I annoyed Stan Lee at times by getting too vocal—we were always yakking it up, pretty noisy, but on a couple of occasions he tended to single me out. It would take a book to list all the anecdotal events that took place in the Bullpen. It would include some people that hardly anyone would now remember, but to me, this was a terrific group of people to work with.

MIKULOVSKY: You did a lot of Hulk-related non-comics art—posters, calendar pages, and the like. A favorite of

WWI Flying Ace Detail from Trimpe’s first professional Marvel story in 1968, the Phantom Eagle tale in Marvel SuperHeroes #16. The Eagle became a Hulk gueststar three years later. © 2008 Marvel Characters, Inc.

The Herb Trimpe/John Severin Team From the Stephen Moore collection comes this unbelievable, Banner-hating splash to Hulk #131. Being inked by EC Comics legend Severin was a thrill for Trimpe. © 2008 Marvel Characters, Inc.

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Nobody Loves the Hulk… …but we love this glimpse at Herb Trimpe’s pencils for the villain-packed cover to Incredible Hulk #139 (May 1971); also shown is the inked version, also by Trimpe.

Special thanks to Bill Thomson for the scans. © 2008 Marvel Characters, Inc.

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mine was the Hulk as George Washington, for the Marvel Bicentennial Calendar.

TRIMPE: The marketing items of which you speak came and went with not much thought of enjoyment or reward. The Hulk as George Washington at Valley Forge was kind of fun.

MIKULOVSKY: The Hulk’s got an extreme rogues’ gallery. Who do you think is his deadliest villain?

TRIMPE: I think probably the Leader was the Hulk’s deadliest villain. He was the smartest and the one with the highest advance in technology.

MIKULOVSKY: Did you regret leaving the Hulk title when you did?

TRIMPE: In a few words, I didn’t at all regret leaving the Hulk series—at the time.

MIKULOVSKY: If you were to do an issue or two of The Hulk today, who would you like to use as villains?

TRIMPE: Can’t imagine who I might choose for a Hulk villain. If the story was left to me, I would simply like to have the Hulk on his own—dealing with the world, and in that context, struggling with his dual identity. The Hulk on a journey of discovery both in body and mind.

Marvel’s Movie Men Gee, fellas, you’ve each got a movie out this summer—is that any way to behave?

One of Herb Trimpe’s many memorable Incredible Hulk covers—issue #131 (Sept. 1970)— from the collection of Stephen Moore. © 2008 Marvel Characters, Inc.

MIKULOVSKY: Were there any characters, heroes, or villains that you would’ve liked to have drawn in The Hulk but never had a chance to do?

TRIMPE: Sure, I would have liked to have drawn Superman in a Hulk comic. Of course, that was out of the question. I think they would have done well together and would have come to a mutual understanding. In a fight, it’s not even a question as to who would win.

MIKULOVSKY: If you got to draw one title for DC and one for Marvel now, which ones would they be?

TRIMPE: One DC title? No contest. Superman. The original, and still the only real superhero around, as far as I’m concerned. Some people may not agree with that.

I think the Marvel title would be—you guessed it— the big green guy … and I don’t mean Godzilla.

MIKULOVSKY: “Let’s Get Small!” for a minute, Herb.

I loved your version of Ant-Man in The Hulk and in Marvel Feature. Did you have a fondness for this character?

TRIMPE: I do have a fondness for Ant-Man … funny you should use that term. I love the micro-world. As a kid, I saw The Incredible Shrinking Man and was thrilled by it.

Also, my brother, who is sadly no longer with us, inked an issue or two of the [Marvel Feature] book. That was a lot of fun. He had ideas of getting into the business, but wound up a successful graphic designer instead.

I redesigned the Ant-Man character for an issue of FF Unlimited. I was already on my way out around that time and had no inside influence, but I thought the character had long-range possibilities. I thought it was cool as hell, but nobody else did.

MIKULOVSKY: Any new projects you’re currently working on?

TRIMPE: As far as new projects go, I’ve been involved in a couple of things. One, I did a small job for Dark Horse, seven pages of a graphic novel called The Goon.

Al Milgrom inked it and it looked great. Also, I did five variant covers for a small outfit in Florida, Big City Comics, and that worked out very nicely. Nice people, all of them.

But speaking of the Hulk, I’m finishing up a sevenpager for a company in England that is a licensee of Marvel characters. Besides the Hulk, the story features Spidey and the Leader. It’s a weird new version of the Leader, but the story is very Marvel retro.

MIKULOVSKY: Why do you think people love the Hulk so much? After all, he’s pretty dangerous for a “hero.”

TRIMPE: The love for the Hulk comes through his inability to control the thing he becomes. In a way, he is powerless and everyone can identify with that in some way. Like the IRS, for instance, or sudden tragedy, or anything else we have no control over. Plus, he has a certain humanness and a sensitivity and kindness that is always thwarted by some outside circumstance— generally, a misunderstanding of some kind. He’s basically not violent—but almost always pushed into a situation where he has no choice.

MIKULOVSKY: I think Marvel should license the Hulk for St. Patrick’s Day promotions.

TRIMPE: I like your idea about the Hulk celebrating St. Patrick’s Day! He probably wouldn’t be allowed to, because he, as always, would be seen as a threat and people would react to that. Then he would get angry, and that would be that.

MIKE MIKULOVSKY is an aspiring comic-book writer, working on his book, The Adventures of Mike & Zeus. He collects Shazam!, Gil Kane, Herb Trimpe, and Jerry Ordway original art, and is also looking for art from Omega the Unknown, plus these Marvel Premiere issues: #1–2 (Warlock), #31 (Woodgod), and #35–37 (3-D Man). He can be reached at mmikul@hotmail.com.

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Imagine being a Star Trek fan and discovering that 22 animated episodes of the original series were produced.

Or being a fan of The Honeymooners and learning that dozens of “lost” shows existed beyond the “classic 39” episodes. Such must be the case for modern-day fans of the Hulk who learn of the existence of the Rampaging Hulk magazine series from the 1970s.

Running for 27 issues between late 1976 and early 1981, The Rampaging Hulk (retitled The Hulk! with issue #10) was initially part of the same black-andwhite magazine line that gave the world The Savage Sword of Conan, Dracula Lives!, Vampire Tales, Monsters Unleashed, Tales of the Zombie, Planet of the Apes, and Crazy. Later, it became a lavish full-color publication, with production values akin to Marvel’s fondly remembered experimental science-fiction/ fantasy magazine, Epic Illustrated.

Like its title character, The Rampaging Hulk faced a number of struggles— and even a controversy or two—during its existence. What cannot be disputed is that it attracted some of the best creative talent of that era, at a time when the Hulk truly was “Marvel’s TV sensation!”

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MOENCH MEETS THE MONSTER “At some point, somebody at Marvel— it might have been Stan Lee—said, ‘Why can’t we do a magazine-sized version of one of the core Marvel characters?’” recalls writer Doug Moench, who scripted most of the Hulk’s magazine adventures. “My vague memory is that they picked the Hulk because the TV show was getting started and they thought it might become a hit and that might attract a slightly older readership that could afford the higher price of the magazine version.”

More Bestial! More Hounded!

More Savage!

Artist Ken Barr’s preliminary art for the cover of The Rampaging Hulk #8, and the published version in the inset. Unless otherwise noted, all art in this article is courtesy of Heritage Comics Auctions (www.ha.com). © 2008 Marvel Characters, Inc.

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Glenn Greenberg

Moench was already writing for most of Marvel’s other black-and-white magazines of the time, and had a good working relationship with the editor of the line, John Warner. Though he had never written the Hulk before, Moench was handed the assignment of launching the character’s new series. It was a whole new beginning for the Hulk—but firmly rooted in the past.

Issues #1 through 9 served as a “continuity implant.”

They all take place during the Hulk’s early days, after The Incredible Hulk #6 in 1963—at which point the title was canceled—and before the Hulk started appearing regularly in Tales to Astonish, beginning with #60 in late 1964.

“We didn’t want to screw up the continuity of the ongoing color book,” Moench recalls. “And it would be a nightmare trying to coordinate with the color book and know what its continuity was going to be, whether Banner would lose the power to turn into the Hulk for six months or whatever. The obvious solution was to set it in the past.”

Moench couldn’t have been happier: “Those first six issues of The Incredible Hulk were some of my favorite early Marvel comics, and I loved being able to do stories of that Hulk.”

Moench determined that a whole new sequence of stories could fit in nicely between the end of the Hulk’s first series and the start of the Tales to Astonish run. But there was a catch.

Weapon of Mass Destruction (below) The Hulk vs. the Army, page 8 from Rampaging Hulk #1. Art by Walter Simonson and Alfredo Alcala. © 2008 Marvel Characters, Inc.

PAST MEETS PRESENT As most longtime Hulk readers know, the character as seen in his first six issues was quite different from the late-’70s incarnation. The original Stan Lee/Jack Kirby Hulk was intelligent, cunning, somewhat sinister, and spoke in full sentences. He rarely—if ever—referred to himself in the third person. But the later Hulk was childlike and wild, and spouted eloquent lines such as, “Hulk is the strongest one there is!” and “You tried to hurt Hulk! Now Hulk will smash!” Moench could use the setting of the Lee/Kirby stories—but not the Lee/Kirby version of the character.

“Editorial said we could do the stuff set in the past, but they wanted us to use the Hulk that everybody knew in the present,” Moench recalls. “So I tried to do a blend, I tried to fit it halfway in-between.” The end result was a Hulk that was neither the original version nor the later one, but nonetheless captured the core essence of the character quite well.

General “Thunderbolt” Ross and his daughter Betty, introduced in the very first Hulk story and still part of the supporting cast in the 1970s, showed up in The Rampaging Hulk #1 (Jan. 1977) but then disappeared from the series.

Conversely, the Hulk’s original sidekick, Rick Jones, who had been absent from the color comic for a number of years, was front and center in the black-and-white magazine.

He joined the Hulk on an odyssey that brought them into contact with a beautiful alien female who formed the third point of a very unusual character triangle.

BEREESENTING … BEREET! Moench realized early on that if he relied on General Ross and Betty as supporting characters, it would get too complicated and constrictive. Their destinies, of course, were already set in stone, as were the Hulk’s and Rick’s.

Moench’s solution was to introduce a new character whose future was not already mapped out. That character was the fugitive techno-artist Bereet, who fled her home planet Krylors to warn Earth about a planned invasion by her people, the shape-changing and merciless Krylorians.

According to Moench, the Krylorian storyline came about as a result of conversations between the writer and the magazine’s initial penciler, Walt Simonson.

“I spoke to Walt, and he wanted to draw aliens and spaceships and that suggested doing the Krylorian stuff—I tried to keep Walt happy! He’s great, one of the better storytellers.”

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Banner and Bereet (left) Page 19 of Rampaging Hulk #3. Art by Simonson and Alcala. © 2008 Marvel Characters, Inc.

Simonson recalls having a great time working on the series: “With the Krylorians, I definitely went back and tried to get a Jack Kirby/Steve Ditko kind of look, the way they drew the old monster books before Marvel turned to superheroes—that early ’60s look of Marvel.”

Moench also gives Simonson the lion’s share of the credit for one of the most important elements of the series: Bereet’s “bag of tricks.” It looked like a simple woman’s handbag, but inside, there was a limitless amount of space that could hold all of Bereet’s amazing techno-art creations—including space vessels, escape mechanisms, and matter converters.

“Walt’s idea was something that looked like a purse on the outside but it’s infinity on the inside,” Moench continues. “Nowadays, we’ve all become familiar with the word ‘tessaract.’”

Simonson appreciates the credit, but doesn’t remember contributing the idea! “If in fact it did come from me,” the artist says, “it would have come from the Madeleine L’Engle book, A Wrinkle in Time. There were tessaracts in there, and I thought they were really cool, so if I contributed that concept, that’s exactly where it came from.”

SIMONSON SMASH! Another key contribution that Simonson made was bringing back the original Jack Kirby visualization of the Hulk, which had not been seen since … well, since Kirby drew the character. Once again, the Hulk had a flat, almost square-shaped head, giving him more of a Frankenstein’s Monster kind of appearance. He looked more sinister, more dangerous, than his ’70s incarnation.

“I certainly had Jack in mind,” says Simonson.

“There had been several different versions of the Hulk by that time. Whatever Hulk I was trying to draw was just the one I thought worked the best for me.

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We were doing the early Hulk anyway, and I’m sure I would have gone back to look at Jack’s early stuff and try to capture some of that feeling.”

The artwork was embellished by inker extraordinaire Alfredo Alcala. Simonson was very pleased with the results.

“I liked what Alfredo was doing,” he says. “He was experimenting with different styles and it was very cool.”

In retrospect, the most important elements that Simonson believes he brought to the title were power and energy. “I wanted to show a lot of energy in the drawings, because I thought that was a lot of what the Hulk was about. I wanted to do a lot of big panels.”

Alas, Simonson left The Rampaging Hulk after #3 (June 1977) to draw Thor, his favorite Marvel character— an assignment he couldn’t turn down. But without a doubt, he’d left his mark on the series and a template for subsequent artists to follow.

CONTINUING THE KRYLORIAN CONSPIRACY Simonson’s final issue was followed by a fill-in tale plotted and penciled by Jim Starlin, inked by Alex Niño, and scripted by John Warner. Rick and Bereet made cameo appearances and the Krylorian invasion was referenced briefly, but the story focused on the Hulk being transported to another planet, to aid a sorcerer against the evil beings who destroyed that world and everyone on it. Of particular note is that, due to a spell cast by the sorcerer, the Hulk’s intelligence level is increased to such a degree that the genuine Lee/Kirby Hulk surfaces and takes center stage. By the end of the story, however, he’s back to the “blended” version instituted by Moench.

Issue #4 (Aug. 1977) also marked the departure of editor John Warner, replaced by Roger Slifer.

With #5 (Oct. 1977), Moench and Alcala were back, joined by new penciler Keith Pollard.

It picked up the Krylorian saga and also kicked off a two-parter featuring the never-before-revealed first encounter between the Hulk and Prince Namor, the Sub-Mariner—predating even Lee and Kirby’s classic Avengers #3.

RETRO REUNIONS AND REVELATIONS A hallmark of the first nine issues of The Rampaging Hulk was its use of many of the characters and situations not only of the Hulk’s early days, but of the Marvel Universe’s, as well.

In issue #1, the Gargoyle—whose only previous appearance had been in The Incredible Hulk #1— made a surprising comeback, having cheated a seemingly definitive death. In #2, the Hulk encountered the original X-Men for the first time (thus contradicting X-Men #66 from 1970, which established that at least the Angel had never met the Hulk before). Issue #3 featured a rematch between the Hulk and the Metal Master, the alien villain from The Incredible Hulk vol. 1 #6 (Mar. 1963).

But the Sub-Mariner two-parter represented a high-water mark for the series, with a particularly strong plot, spot-on characterizations, excellent pacing, and a rip-snorting battle between the Hulk and Namor in the streets of Rome. Keith Pollard brought a slightly different look to the magazine—

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© 2008 Marvel Characters, Inc.

Green Giant Val Mayerik’s amazing cover painting to The Hulk! #10. © 2008 Marvel Characters, Inc.

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his style was certainly not identical to Simonson’s—but his storytelling was strong and the presence of Alcala on inks kept the overall look consistent with the earlier issues.

On issue #6, Pollard was inked by Tony DeZuniga, and while that gave the art a very different look and feel from the previous installment, it nevertheless delivered the second part of Moench’s story quite successfully, with an exciting Hulk/ Sub-Mariner rematch in Atlantis. If any criticism can be leveled at this storyline, it’s that it—like the story guest-starring the X-Men— contradicted established Marvel continuity. It was made fairly clear in Avengers #3, published in 1963, that the Hulk and Namor had never met before.

Following a one-off issue by Moench, Pollard, and guest inker Jim Mooney, in which Bereet’s techno-art inventions turned against her, the stage was set for the two-part conclusion of the Krylorian saga—a conclusion that, surprisingly, brought together all of the founding members of the Avengers before their first encounters with each other in Avengers #1.

Moench and Alcala were back together for #8, but Pollard was now gone. (Also gone was editor Roger Slifer, replaced by David Anthony Kraft.) Longtime Hulk artist Herb Trimpe, who’d left the color comic several years earlier, stepped in to pencil the story— but with Alcala’s inks, only the most observant of readers could really notice any significant stylistic difference in the artwork.

That was certainly not the case with issue #9, illustrated by Sal Buscema and Rudy Mesina. For some reason, no effort was made to depict the Hulk in his early-1960s, flat-headed, Kirbyesque incarnation.

In truth, he looked no different from how he was being drawn—

by Sal Buscema—over in the color comic. Needless to say, this stylistic shift was a bit jarring. And continuity purists surely balked at the notion of the founding Avengers all uniting for an adventure before Avengers #1. But if you read that legendary comic book very closely, accept that some of the key dialogue can be interpreted in more than one way, and perform a mental backflip or two, you can perhaps see a wee bit of wiggle room to squeeze in Moench’s tale.

“I never knew that I ever directly contradicted anything,” Moench says. “I thought I was being very careful not to contradict anything … but maybe I wasn’t!”

With the Krylorians driven from Earth by the Hulk and his fellow pre-Avengers, Bereet found herself stranded on our world. But with the changes in store for The Rampaging Hulk, readers would not get to see how she acclimated herself to life among humans. In fact, from that point on, as far as continuity was concerned, it was if she had never come to Earth in the first place…

TV OR NOT TV With issue #10 (Aug. 1978), the magazine was retitled The Hulk!, set in the then-present, and published in full color. Rick Jones was gone and the series took on an episodic approach, with self-contained tales and no continuing subplots. Traditional Marvel supervillains were nowhere to be found. The stories became more sophisticated and focused on more realistic, human-interest topics such as corruption, child abuse, racism, terrorism, mind control, and the potential dangers of nuclear energy.

“That was a conscious decision by editorial: Let’s do stories more like the Hulk’s hit TV show,” Moench explains. “The hope that this hit TV show would drive sales trumped any of the preceding concerns we had about violating current continuity. I was told not to do the TV show, but to do stories more along the lines of the TV show and don’t worry about continuity—these stories could take place six months before or after whatever was going on in the regular comic series.”

The difficulty for Moench was in finding ways to challenge the Hulk in these new stories. The TV Hulk was far weaker than his comic-book counterpart. Breaking out of a standard bank vault, for example, would be no easy task for the TV version. But how, within the confines of a down-to-earth, realistic, human interest story, could you challenge a Hulk who has lifted entire mountains and ripped apart army tanks with his bare hands?

In #12 (Dec. 1978), Moench had the Hulk battle a carnival strongman who received a major power boost thanks to an experimental exo-skeleton. In #14, the Hulk faced off against a scientist who, after being exposed to gamma radiation, became a snarling, animalistic, super-strong monster. In #15, he found himself battling experimental robots within a secret US military installation—robots linked to and mentally controlled by patriotic young soldiers serving as willing test subjects.

In #18, he lifted and moved an entire island in order to save the life of a young man shot by drug smugglers.

Moench says that he was very skeptical of the new approach at first.

“Why limit ourselves to what a TV show with a limited special effects budget can do? We can draw nine billion spaceships invading planet Earth—we shouldn’t have to limit what we can do! But if that’s what whoever was calling the shots at the time wanted, that’s what had to be done.”

From this point on, the only time it was ever acknowledged that the Hulk lived in the Marvel Universe was in #15 (June 1979), which featured a fun little “mini-crossover” between the Hulk and the magazine’s then-regular backup feature—Moon Knight, by Moench and Bill Sienkiewicz. (Other backup features included Bloodstone, Man-Thing, Shanna the She-Devil, and Dominic Fortune.)

In addition to the new approach to the stories, the title also acquired a new editor, Rick Marschall, and a new penciler—Ron Wilson.

Hulk Hate Rollercoaster!

Detail from page 47 of Hulk! #11. Art by Ron Wilson and Fran Matera. Courtesy of Anthony Snyder. © 2008 Marvel Characters, Inc.

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RON ON THE RAMPAGE Wilson cites Jack Kirby and John Buscema as two of his biggest influences in terms of his approach to drawing the Hulk. He once even received some words of advice from “the King.”

“When I met Jack Kirby in San Diego,” Wilson recalls, “he told me, ‘Just do it your way.’ Powerful words. He was the god of comics, and I hoped to incorporate him into my style, but have it come out my way.”

Wilson worked on the majority of the color issues, paired with a slew of different inkers, all with their own distinctive styles: Ricardo Villamonte, Ernie Chan, Bob McLeod, Rudy Nebres, and Alfredo Alcala.

“Ernie Chan was probably my favorite,” Wilson says. “He had a heavy style, but the man could draw!

And I really liked the issue that Bob McLeod inked.

He had a very clean, polished style.” Indeed, the issue inked (and colored) by McLeod—#13—is one of the best-looking in the entire series.

Wilson and Moench talked frequently during their collaboration, which Wilson enjoyed: “Doug is one of the coolest writers that I’ve ever encountered. He was as much of a teacher to me as he was a writer, and he gave me very good stories to draw.”

As Moench remembers, “Ron was a few years younger than me, and he was a real nice guy who was very diligent and trying very hard to become better and better—and he did. I kept encouraging him, and he kept coming through for us.”

In addition to highly talented inkers, Wilson’s artwork was aided by a new, ambitious, state-ofthe-art coloring process that eventually became known as “full-spectrum Super Marvelcolor.” With each issue of The Hulk!, the coloring became more and more complex, vivid and lush, thanks to the efforts of top colorists such as McLeod and Steve Oliff.

Without a doubt, this kind of coloring served as a forerunner for the sophisticated coloring techniques seen in today’s comics.

MOENCH MOVES ON

PO’ed Pedestrian

Moench wrote every color issue from #10 to 22, including a beautifully illustrated story published in #21 that Bob McLeod penciled, inked, colored, and even lettered. In this offbeat adventure, Bruce Banner and his emerald alter ego were apparently transported to a fantasy world of sorcery, centaurs, dragons, damsels in distress, and evil wizards. That Moench managed to do this story without violating Marvel’s “follow the TV show format” mandate is a testament to his skills and creativity as a writer.

Moench reunited with Wilson in the next issue, but it was at this point that both men departed the series. According to Moench, it was the mandate that finally drove him away.

“Jim Shooter was editor-in-chief at the time, and he was getting very maniacal about this ‘not being enough like the TV show’ nonsense.

I was going to be shoved aside for one issue, to be written by Shooter, to show me how it was supposed to be done, and then I was supposed to come back and do it exactly like that. I just threw up my hands. I was getting way less grief doing King Conan, Moon Knight, and Master of Kung Fu.” Looking back, Moench doesn’t feel he made any significant, lasting mark on the Hulk.

Still, he managed to do some groundbreaking

Earl Norem’s cover painting to The Hulk! #16. © 2008 Marvel Characters, Inc.

© 2008 Marvel Characters, Inc.

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work, particularly in issues #19 and 22, in which he delved deeper and more seriously than any writer before him into the psychological implications of Bruce Banner having Multiple Personality Disorder.

This was years before Peter David would do the same—though far more extensively—in the regular comic series.

THE COMING OF CONTROVERSY The story written by Jim Shooter, “A Very Personal Hell,” published in issue #23 (Oct. 1980), was penciled by John Buscema, inked by Alfredo Alcala, and colored by Steve Oliff. It remains the most memorable—certainly the most controversial—issue in the entire series.

Shooter’s recollection of why the story came about differs from Moench’s.

“Editor-in-chief, to me, was a full-time job plus,” Shooter says. “I only wrote things when I absolutely had to. Something would need to be written, and if I couldn’t find a suitable writer, I just bit the bullet and lost a weekend and did it myself. And that was exactly the case here. There just was no available body that I thought was good enough to do something for this

From The Hulk! #19 The art team of Gene Colan and Alfredo Alcala. © 2008 Marvel Characters, Inc.

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full-color magazine that was important to us. I mean, the Hulk was on TV, it was kind of a big deal. So when we couldn’t get a writer, I said, ‘All right, I’ll do one.’”

Shooter approached the story with something very specific in mind: “I wanted to track better with the TV show. I think the people who had written other issues of the magazine had made it just like the Hulk comic book, only bigger. I said that we really should try to make this more like the TV show because it’s in a magazine format, it gets into places where comics don’t go. Maybe somebody who loves the Hulk TV show will see this, and if it’s not like the Hulk TV show, they’ll be disappointed.”

The story featured Bruce Banner in New York City and having an ill-fated romance with Alice Steinfeld, an older woman battling with her ex-husband over custody of their young son—with Alice’s own mother and sister siding against her. A major theme in the story was the helpless rage that both Alice and Banner felt over the situation and their own lives in general— their own “personal hells,” so to speak, and how they each dealt with the problems plaguing them.

One of Shooter’s goals was to show just how dangerous the Hulk could be, to show exactly why Banner dreaded turning into him. As Shooter notes, both the TV show and the comics usually showed the Hulk as being the solution to a problem—as the thing that got Banner out of a tough situation. Why, then, would Banner dread him so much? In Shooter’s story, the Hulk is at his most menacing without actually becoming a mass murderer. He is truly a danger, something to be feared.

Throughout the story, both Banner and the Hulk encountered a number of less-than-upstanding inhabitants of the Big Apple—sex workers, drug addicts, men who beat their girlfriends, and the like. This was no romanticized version of Manhattan! But none of that was what got Shooter—and Marvel—into hot water.

Early on, it’s established that Banner is staying at a YMCA. When he goes to take a shower, two men attempt to rape him. Banner manages to escape, causing one of the would-be rapists to say, “Oh, pith.” The revulsion and disgust that Banner feels over what nearly happened to him causes him to change into the Hulk and to go on a brutal rampage right in the heart of Manhattan.

“Almost as a joke, I had the character say, ‘Oh, pith,’” says Shooter. “I was uncomfortable with him saying ‘piss,’ even though it was a magazine. I couldn’t think of what he should say, so I put that in, sort of as a placeholder.

The editor, Lynn Graeme, came in and told me she thought that was a hoot, she loved it. And I don’t think you could find someone more liberal and enlightened than Lynn. So I thought, ‘Hey, maybe it was okay,’ and it went to press that way. I still don’t think it was a big deal.

To me, those two guys were just bad guys. I didn’t think, ‘Ooh, I’m gonna use some gay people as bad guys!’”

The YMCA scene, Shooter explains, was based on an actual incident that happened to a friend of his back when they were teens. Still, with regard to leaving in “pith,” he now says, “I should have changed that.

That was probably a mistake. But I meant no harm.”

After the issue saw print, the first inkling Shooter had that there was a problem came with a phone call from Hollywood. A television executive connected with the Hulk TV show apparently complained— loudly—about the story to Stan Lee, who was then serving as Marvel’s publisher and a consultant to the show. “[This executive] was screaming at Stan, demanding to know how we could do this anti-gay story,” says Shooter. Lee, who hadn’t read the issue, called Shooter in a panic to find out what the executive was talking about.

“Stan said to me, ‘What have you done? They’re gonna cancel the show!’” Shooter remembers with a laugh. After being reassured by Shooter that the story was not anti-gay, Lee got a copy of the magazine for himself and read it. He called Shooter back. “Stan said, ‘Jim, don’t worry about anything, I’ll handle it. This is the best comic-book story I’ve ever read.’ Now, Stan is prone to hyperbole—I’m sure it’s not the best comicbook story he ever read or anyone ever read—but he liked it. And that’s the last I ever heard about it from Stan. But it wasn’t the last I heard about it.”

Some readers and media outlets criticized the story for its portrayal of the two homosexual men as rapists— with one of them even having a stereotypical “gay lisp.”

Around the same time, writer/artist John Byrne—probably Marvel’s hottest talent at the time—gave an interview to The Comics Journal in which he made comments that some people interpreted as being insensitive toward homosexuals. As a result, Shooter was approached by Marvel’s public relations department. “They got calls from The Advocate and a couple of other gay publications wanting to know why Marvel was anti-gay. One of them wanted to interview me. So the guy comes in my office and his first question is, ‘Why is Marvel anti-gay?’

And I said, ‘We’re not.’ And he asked, ‘Well, why don’t you have any gay characters?’ And I said, ‘We have lots of them.’ He said, ‘Which ones?’ And I said, ‘You can’t tell, can you?’ He said, ‘Thank you,’ closed his notebook, and left. That’s exactly what happened. It was that short.”

According to Shooter, at least one gay publication— not the one that interviewed him—ended up running an article pondering whether Marvel indeed had an anti-gay bias. Shooter insisted on seeing all the mail that came in on The Hulk! #23. “There were only six letters out of the whole batch that even mentioned anything about gay or anti-gay,” he says. “Two were positive, two were negative, and two didn’t really care. I published the letters and I wrote a personal response to each and every one of them, as well as a response in the letter column [in #25].”

Moench summed up his opinion of the story thusly: “Homosexual rape? I don’t remember that being on the TV show!”

BACK TO BLACK (AND WHITE!) The “Super Marvelcolor” process was not cheap, and at some point it became clear that the sales figures on The Hulk! did not justify this added expense. With issue #24 (Dec. 1980), the magazine was once again in black-and-white.

In the wake of Shooter’s story, the series became even more like the TV show. Rarely, if ever, would the Hulk be given a truly impressive physical challenge.

The Hulk found himself up against such threats as crooked politicians, shotgun-toting rednecks, and Las Vegas mobsters. With a few exceptions, the stories tended to be slow-paced, talky, and very short on action. As in the TV show, they often did not center on the Hulk— he functioned as little more than a plot device.

Following Moench’s departure, writers included David Anthony Kraft, Bill Flanagan, and J. M. DeMatteis, who at the time was just getting started in the comic industry.

DeMatteis’ story “Namasté,” about townspeople in Upstate New York determined to force a spiritual guru— an old college friend of Banner’s—and his followers out of their community, was published in issue #26 and is one of the highlights from this era.

“That never would’ve been a story you’d see in a mainstream Marvel superhero comic,” says DeMatteis.

“But in that magazine, it was perfectly suitable. I liked

Hulk Wet!

the approach. It was nice to do something that wasn’t so based in slam and bang. It meant an approach that was first and foremost about stories of character.”

Flanagan’s “Dreams of Iron … Dreams of Steel,” which appeared in issue #25, was also one of the stronger entries. In it, Banner takes a job at a school for mentally retarded children. Both Banner and the Hulk befriend a young retarded man named Earl, who, in a very touching moment, teaches the Hulk how to write his own name.

“At that time in the comics, the Hulk was kind of mentally retarded,” remembers Flanagan, who is now executive vice president of MTV Networks and a novelist. “So I decided to throw Banner into a situation with retarded people and the Hulk could sort of relate to one of them.” To add some villainy, Flanagan included a subplot about crooked businessmen plotting to take over the local steel factory where Earl worked. “It was kind of framed like the TV show,” he acknowledges.

“As I recall, there was a good response to the story, the letters were great. But Jim Shooter didn’t like it—he told me it was really two separate stories and they didn’t fit together well.”

With Ron Wilson gone, the art was handled by Gene Colan, whose Hulk looked far more human than anything that had come before or since.

“Truth is, I never cared much for the character of

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Bob Larkin’s painted cover to The Hulk! #22. © 2008 Marvel Characters, Inc.

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the Hulk,” Colan says. “I didn’t request the assignment, but I can promise you that I loved every minute of drawing those stories. My passion is about the storytelling and the art.”

DeMatteis, for his part, relished the chance to work with one of his favorite artists. “It was the beginning of my career, and I kind of sucked—but it was drawn by Gene Colan!”

POWERFUL PAINTINGS Despite all the changes in the magazine, one thing remained consistent: It was blessed with powerful, dramatic, fully painted covers by such artists as Ken Barr, Earl Norem, Jim Starlin, Bob Larkin, and Joe Jusko, who produced his first cover for the series (the one for #12) at the age of 19.

“I look at it now and I laugh,” Jusko says. “I didn’t quite know what I was doing. I can’t believe Marvel gave me work! It’s pretty hard to look at these days!” (Jusko’s too hard on himself—as raw and technically imperfect as this early cover may be, its power and energy is almost palpable and it’s undeniably an eye-catching piece that would attract a potential customer.)

One Less Bell to Answer Gene Colan/Alfredo Alcala art from J. M. DeMatteis’ “Namaste,” from Hulk! #26. © 2008 Marvel Characters, Inc.

Probably the best-remembered Hulk cover for which Jusko was responsible was the one for #26 (Apr. 1981), which he painted based on a pencil sketch by John Buscema.

“That was a dream for me because John was my idol,” Jusko says. “I always thought that John’s version of the Hulk was the ultimate version.”

The Buscema/Jusko combo worked wonderfully— the Hulk has never looked as wild and as menacing as he did on that cover.

Another of Jusko’s influences was fellow cover artist Bob Larkin. “When I heard that Larkin had been up to the Marvel offices and saw one of my pieces and said, ‘That’s a really good painting,’ that meant so much to me.”

Indeed, Larkin’s own covers were so realistic that if the Hulk actually existed in our world, he probably would look very much like the way Larkin depicted him. “I tried to do a cross between Lou Ferrigno and how Sal Buscema was drawing the Hulk in the comics at the time,” he explains.

RAMPAGES REVOKED The Hulk! was cancelled with #27 (June 1981)—not long before the TV show itself came to an end. “It wasn’t selling very well,” says Shooter. “By that point, The Hulk! had kind of run its course.”

If that wasn’t bad enough for fans of the magazine, a final parting shot was fired by writer Bill Mantlo, who established in The Incredible Hulk #269 (published in early 1982) that the first nine issues of the magazine never actually happened. Mantlo reintroduced Bereet, but revealed that she had never visited Earth—she’d only observed it from afar, and created a fictional movie about her adventures with the Hulk and Rick Jones to entertain her fellow Krylorians. That fictional movie comprised the first nine issues of The Rampaging Hulk. Oddly enough, Mantlo brought back a character created by Doug Moench in order to dismiss all the Moench stories in which she had originally appeared. The “real” Bereet, who wasn’t nearly as likable as the Moench version, became a supporting character in The Incredible Hulk for a time, but she last appeared in #287 and was never seen or referred to again.

Mantlo explained his reasoning in a quote that was reprinted in 2007 in the Mantlo: A Life In Comics tribute book: “It kind of resolved the continuity flaws that The Rampaging Hulk presented, which I always objected to—the idea of diluting the Hulk’s original appearances in The Avengers and his own magazine.

So we erased that—it was all fiction.”

Moench and Simonson don’t buy it. “That was just dumb,” Moench declares. “[That decision] is one of those things that I don’t understand, and I never will.”

Simonson agrees, laughing about the whole matter. “I love Bill dearly, but he was wrong,” he says. “Of course those stories occurred! Screw everybody else!”

Back in the early 1990s, when the late Mark Gruenwald was Marvel’s executive editor and Chief Continuity Cop, yours truly—then a young, wet-behind-the-ears assistant editor—put the question to him on where the Hulk magazine stood in terms of Hulk continuity.

“The first nine issues are Bereet’s fictional movie,” Gruenwald said without hesitation. “Everything else is in-continuity.” He paused briefly, and then added with a mischievous grin, “Yes, including the Jim Shooter story where Banner is almost raped in a YMCA!” GLENN GREENBERG tempted fate by reviving The Rampaging Hulk as a comic book for Marvel in the late 1990s. It lasted six issues before meeting the same sad fate as its predecessor.

Glenn’s first screenplay, The Intruder, is currently in development as an independent feature film.

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If It’s Thursday, It Must Be The Hulk The Romita-riffing cover to Hulk Comic #1 (Mar. 7, 1979) is not credited, “but may be Dave Gibbons,” according to writer Ian Millsted.

Unless otherwise noted, all scans in this article are courtesy of Gerry Turnbull and Ian Millsted, with special thanks to Elizabeth Merifield.

Ian Millsted

Following the launch of the Incredible Hulk television series of the late ’70s, a black-and-white, magazinesized comic starring the Hulk was launched with the intention of cashing in on the immediate popularity of that series. The stories were written to be closer in mood and format to the televised version. I’m not referring to The Hulk! magazine, which evolved out of The Rampaging Hulk [see previous article].

Instead, this was a weekly magazine that you will only have seen if you lived in the UK or Ireland.

British versions of Marvel comics had been produced since 1972. These were in the weekly format that was the domestic standard in Britain at the time and usually featured several different stories in shorter episodes. For example, the first-ever British Marvel comic was called Mighty World of Marvel and contained reprints of the initial halves of the premiere issues of Fantastic Four and Incredible Hulk, as well as the Spider-Man story from Amazing Fantasy #15. The magazines were editorially produced by the New York offices of Marvel and were initially very successful, but by the late ’70s were struggling.

A new editor, Dez Skinn, was appointed, who would be London-based. “British Marvel had been on the skids, with only Star Wars Weekly holding it together,” Skinn remembers. “My phased ‘Marvel Revolution’ was a three- or four-part relaunch for the entire company, cosmetically rebranded as Marvel UK. The figures worked, so they left me to it.” One of the things Dez Skinn did was look at originating material that would appeal to a British audience with less of a tradition of superhero comics.

The one previous attempt at creating original strips for Britain had been Captain Britain in 1976.

[Editor’s note: This series will be examined in great detail in our next issue, BACK ISSUE #29.] Despite an initial creative team of Chris Claremont (born in Britain) and Herb Trimpe (living in Britain at the time), the title lasted only 39 weekly issues.

Claremont was succeeded by Gary Friedrich and Trimpe by John Buscema and Ron Wilson. The comic was edited, along with the rest of the British line, by Larry Lieber in New York. (As an aside, there was a small Marvel office based in Britain to deal with letters and advertising, whose staff included Neil Tennant prior to his success as one half of the Pet Shop Boys.)

Dez Skinn was aware that the British market and audience wanted more than American-style superheroes.

“I was creating a lineup which wasn’t comprised of contemporary US gods—which our savvy kids would have little truck with!” Skinn says. “Even the reprint titles maxed the mix for the UK, with Godzilla, Master of Kung Fu, Dracula, Conan, and suchlike. I was in the job of creating variety comics,

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anthologies which didn’t just run the peculiarly US idea of superheroes.” Despite starring the Hulk, the new weekly title would fall squarely within the above policy. Skinn was aiming at the millions of viewers who knew the Hulk from television and had no idea who Betty Ross, Rick Jones, Doc Samson, and company were. The Hulk would be the star and be supported by other Marvel characters adapted for Britain. Specifically, the support strips were “Black Knight” in a fantasy setting, spy action with “Nick Fury”, and reprints of “Ant-Man.” Finally, there was an all-new series, “Night Raven.”

Growing Vocabulary (above left) The growling goliath, by Steve Moore and Dave Gibbons, from Hulk Comic #1; and (above right) the slightly more articulate Hulk, by Steve Parkhouse and John Bolton, from issue #3.

THE HULK The Hulk stories featured a greater rotation of creators than the other series. The first issue had a three-page story written by Steve Moore with art by Dave Gibbons. In line with the television show, the Hulk didn’t talk, save for the odd “Grrr.” There was no supporting cast, supervillain, or even Dr. Bruce Banner. Gibbons’ dramatic art was his only work in the comic.

The second issue had another stand-alone three-page story, this time by writer Steve Parkhouse and artist Steve Dillon (hired at the age of 16!). This story did include Bruce Banner and even started with a two-panel origin recap; its brevity enabled it to apply equally to either the US comic Hulk or television Hulk. Dillon was clearly trying to draw a hybrid of the two versions which was probably a thankless task. The Hulk had one line of dialogue.

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The third-issue story was again by Parkhouse, but with art by John Bolton. The Hulk’s vocabulary increased again and the main threat this time was an alligator. A new creative team of writer Kelvin Gosnell and artist Paul Neary (who also did most of the covers) followed in issue four but the pattern of continuity-free stories with non-superpowered villains continued. From the fifth issue, the creative team settled down somewhat with Steve Parkhouse and Paul Neary as regulars. Issues #7 and 8 had no new Hulk story, but a reprint of a US story by Roger Stern and Sal Buscema which fitted in with the wandering-Banner approach. The reprints were resized and edited to fit the UK format. Steve Moore took over the writing from issue #15 and introduced the closest thing so far to a supervillain in Dr. Scarabeus. This story continued to issue #20 and borrowed freely from The Island of Dr. Moreau.

After that, apart from a three-part story in issues #26–28, the magazine reverted to reprints of the US Hulk strip. The Hulk was the star of the magazine and brought the readers in, but the real inspiration was in the support strips.

THE BLACK KNIGHT The second story in the first issue was the “Black Knight”, and this became the real epic within the magazine. The hero was the Dane Whitman version as featured in the US Avengers title, but with key differences. Steve Parkhouse wrote the strip throughout and the art was by John Stokes (with pencils/

TM

Three examples of the Steve Parkhouse/Paul Neary/John Stokes “Black Knight” strip, from: (left) Hulk Comic #1; (below left) Hulk Comic #4; and (below right) Hulk Comic #21. © 2008 Marvel Characters, Inc.

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layouts by Paul Neary in some issues). Straight away Parkhouse took the character off in a mythical direction to which it was well suited. He brought in not only Arthurian legends but wider Celtic mythology.

Most of the episodes also featured Captain Britain as a support character.

The story seemed to fall outside US continuity, though the visual redesign of the Black Knight was used in Avengers afterwards. The series even replaced the Hulk as cover feature on several occasions and was the longest-running of the original features in the magazine, continuing when budget restraints meant reprint material replaced the other original strips.

“It was epic,” says editor Skinn. “It was the last to go because anything else could easily be replaced … but you couldn’t just tell three-quarters of the story then walk away. It’s one thing I was pleased to see continue after I took the long walk.”

License to Thrill A Nick Fury page by Steves Moore and Dillon, from Hulk Comic #1 (Mar. 7, 1979).

NICK FURY, AGENT OF S.H.I.E.L.D. The Nick Fury series was probably closest to its US parent series in tone, though; of course, Nick Fury had never been a superhero and British readers were more

© 2008 Marvel Characters, Inc.

likely to have an affinity with spy stories, as the ongoing popularity of James Bond has shown. The full support cast from the US series was present and the serial would fit into Marvel continuity easily (probably directly after Nick Fury vol.1 #15, should the editors of the Essentials series be reading).

Steve Moore wrote the series and the artist was Steve Dillon, who seemed more comfortable than he was on the one Hulk story he had done. Certainly the run allowed Dillon to develop his storytelling skills alongside his natural talent. Moore wrote one continuous story spanning continents and with plenty of action.

After a four-page opening episode in the first issue, the series settled down to three pages a week until issue #19. After that, US reprints were used until the character was dropped altogether.

NIGHT RAVEN The Night Raven character could certainly be described as a hero behaving badly. More inspired by The Shadow than Marvel superheroes, this was a 1930s -set crime-noir series with a vigilante protagonist written by Steve Parkhouse and with art by David Lloyd.

It was also the series that Stan Lee liked the least of all the original material, as Dez Skinn explains: “Oh, Stan didn’t like Night Raven at all! He couldn’t see the popularity of a 1930s noir strip. But then, he didn’t necessarily understand the UK audience. That’s why he took me on. He was over for one of his regular trips to the UK and I outlined the idea, an enigmatic vigilante who works outside the law and brands the foreheads (“the Night Raven’s sting”) of any out-and-out villains.

Iron Fist Looks like trouble for the cover-featured Black Knight on Hulk Comic #22 (Aug. 1, 1979). © 2008 Marvel Characters, Inc.

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Night Raven by Steve Parkhouse and David Lloyd (top) Night-Raven (originally with hyphen) pages from Hulk Comic #1 (left) and #15. (bottom) Night Raven insignia and character roughs, courtesy of David Lloyd. © 2008 Marvel Characters, Inc.

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Hulk Angry… …over being bumped from another cover, Hulk Comic #31 (Oct. 3, 1979). © 2008 Marvel Characters, Inc.

A bit too Old Testament [for Stan,] maybe. I reassured him with some guff about how we could always jump the character to contemporary times if it didn’t work, so he felt reassured and left me to it.

“As for David’s art, well, I had the same problem with the revamped Night Raven, in V for Vendetta,” Skinn continues. “The distributor didn’t like David’s non-compromising art (the harsh chiaroscuro, the lack of outline on figures/balloons, etc.). A lot of times, people in power just haven’t got it about David.”

The fans did, though, and both Night Raven and David Lloyd went on to bigger things.

Lloyd was replaced by John Bolton after 14 issues, as Skinn explains: “Giving John Bolton the art assignment on Night Raven and moving David onto other things [see the interview with David Lloyd, following] was a nod to the comic-book cognoscente, who would prefer his ‘prettier’ look. More detail and more instant appeal on flick-through, but less gravitas. A mistake.

Sorry, David.” In an interview in Warrior magazine #24 (Nov. 1984), John Bolton commented: “Not reading many comics, I wasn’t aware that David Lloyd had been drawing the strip, but afterwards I felt uncomfortable, as I’d been coming in and taking over.” Bolton drew the strip for six more issues before the character was dropped.

It’s a Gas The smallest Avenger as seen in a Moore/Dillon tale from Hulk Comic #49 (Feb. 6, 1980). © 2008 Marvel Characters, Inc.

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“Night Raven”, however, continued in other formats. Within a few years, Night Raven returned in a series of text stories written, initially, by Alan Moore.

These appeared in a variety of Marvel UK magazines. A 1991 Marvel Graphic Novel with Night Raven entitled House of Cards was written by Jamie Delano with art by David Lloyd. The initial strips were also collected, albeit with the Bolton stories slightly shortened. The character can also be seen in the series The Twelve from Marvel, which premiered in January 2008.

ANT-MAN Reversing the pattern of new stories giving way to reprint was Ant-Man. It is, perhaps, apposite that the smallest hero had the shortest run of new material— six pages total—when all the available US stories had been run. This story ran in #48 and 49 with script by Steve Moore and art by Steve Dillon. After that, the feature was dropped in favor of reprints of other US series.

The magazine changed its name to Hulk Weekly, but with the popularity of the television series cooling in Britain the comic was cancelled altogether after 63 issues. By that time, Marvel UK had already launched another title featuring original material— Doctor Who—which continues to this day. The creators who worked on Hulk have all become major figures in the industry, and it would be nice to see their work on these series collected in some form.

Many thanks to Dez Skinn, David Lloyd, Larry Lieber, and Andrew Stitt.

cond ucte d by

Ian Millsted

“I was asked to come up with a full visualization of Night Raven—or Night-Raven, as it once was, with a hyphen—which I did. I made him look like a kind of Indiana Jones before Indiana Jones. It was the outfit he wore eventually in the prequel which myself and Jamie [Delano] put together later—House of Cards. I conceived that look because it made him an action character—and I was aware we were doing this for Marvel, so I thought that was a perfectly appropriate approach to take. Unfortunately, this look was rejected by Dez and Steve Parkhouse because they wanted a cross between the Spirit and The Shadow, and Steve did some sketches which put a trench coat on him. They even gave me some copies Mike Kaluta’s Shadow to put me on the right track. I thought it was the wrong track considering it was for Marvel, but I had no power to object to any of it—I was just a couple of years in the business and had no clout. And I was a professional who had to follow a brief—that was my job. But I regretted not being able to create the character as an original, not a blend of other concepts.

“I did get the freedom to get him out of the trench coat when he had to get involved in more actionful moments, but otherwise he had to have that trench coat. It was kind of clumsy, because as part of the early concept I’d given him a lightning quick-draw skill from his shoulder holsters.

But, of course, that only worked when he’d dispensed with his trench coat. The treatment I gave the strip from that point was all calculated to evoke the look of the Spirit and The Shadow. Luckily, readers took to the character and the strip.

“Later on, Dez had a visit from Jim Salicrup or another of those exec guys from Marvel who’d come over to overlook progress. He suggested “NightRaven” be more actionful and Marvel-like. I could have said, ‘I told you so,’ but I was still just a nobody artist trying to earn a crust. Anyway, from that point on I started using more foreshortening, different angles.

Whatever Dez’s reasons were for taking me off it and giving it to John Bolton, they can’t have been anything to do with wanting it more Marvel-ish, because John’s stuff, though terrific, was conservative in treatment. And then the strip finished.

“How did I feel about being taken off it? Bad. I was consigned to doing pencils and inks on Paul Neary’s layouts of the Hulk, which I hated and could only stomach by making it Lichtenstein-esque. I had absolutely no respect for that character or concept at all.”

ON NIGHT RAVEN AS A TRIAL RUN FOR V FOR VENDETTA “Dez wanted a similar bunch of characters to those he’d commissioned from folks in Hulk Weekly for Warrior. He asked me for a masked vigilante character or similar, and suggested I do the whole thing.

But I’d worked with Alan [Moore] by then, liked working with him, and suggested Alan write it instead of me. Then we brainstormed V into existence. But, you know, it could have been another period drama set in the ’30s if I hadn’t gotten sick and tired of doing reference work, getting cars right, clothes right, etc. Thank the Lord, eh?”

© 2008 Marvel Characters, Inc. Artwork courtesy of David Lloyd.

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What would you do if you suddenly found yourself in possession of infinite power?

If you were an ordinary guy, going about your ordinary life, working in a dead-end job you long ago ceased to care for, to bring home a lowly wage to help the upkeep of the small home you live in with the wife you long ago fell out of love with, would that acquisition of a power to set you above the gods change you? Would it change you for the better, or for the worse? Would you become a force for good, or evil?

Benefit mankind, or destroy it?

And what would it cost your humanity?

In 1982, two men set about exploring this notion in a new comic strip. A young writer just starting to make waves would script, while a similarly neophyte artist would design and delineate the world they created together. The vehicle in which they chose to express their ideas was a revival of an all-but-forgotten British superhero. It would be the lead strip in a brand new magazine aimed squarely at readers who had grown up with—and perhaps outgrown—the weekly sci-fi comic 2000AD. And it spawned a legend.

The magazine was Warrior. The young writer: Alan Moore. The artist: Garry Leach. And the name of the strip? “Marvelman.”

To begin the story we have to take a brief look back in time. This will take us out of the normal time frame covered by BACK ISSUE, but is essential to aid our understanding of what comes later.

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WITH ONE MAGIC WORD… In 1940, comics publisher Fawcett launched the premier issue of Whiz Comics featuring its brand-new superhero creation, Captain Marvel. That first issue was actually marked #2, but this story is complicated enough without us getting into the reasons for that! Captain Marvel was the adult alter ego of young Billy Batson, who, upon shouting the magic

Bad Boy Kid Miracleman/Johnny Bates glowers evil. Art by Garry Leach. © the respective copyright holder.

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Allan Harvey

word “Shazam,” was transformed into the red-suited superhero.

The wish-fulfillment element of a young boy with a magic word quickly made Captain Marvel a big hit, especially with younger readers. That his adventures also had an element of fun that perhaps other superheroes lacked further fed into his popularity.

Soon, Captain Marvel was selling a million copies each month, and appearing in a whole line of comics along with Captain Marvel, Jr., Mary Marvel, and Hoppy the Marvel Bunny (don’t ask).

DC Comics, rival publishers of Superman, were all too aware of Captain Marvel, and quickly took action to bring down the “Big Red Cheese.” They sued Fawcett, claiming that Captain Marvel was nothing but a cheap imitation of their own Man of Steel.

Fawcett counter-sued, and the court case raged for the next thirteen years.

Late in 1953, with the sales of comics falling across the board in the wake of government concern over their suitability for children (another long story), Fawcett admitted defeat and threw in the towel.

They quickly wound up their operations and ceased publishing all their comics. And that should’ve been that.

It wasn’t.

Far across the Atlantic, in England, publisher L. Miller & Sons had recently begun a line of weekly black-andwhite comics reprinting Captain Marvel and Captain Marvel, Jr. stories. Although superheroes had never been terribly popular in Britain, these two comics were successful enough that Miller was faced with a dilemma when the news came that Fawcett was finished. Did he just cancel the titles and take a financial hit, or try to find a way to carry on? He chose the latter, and contacted Mick Anglo.

Anglo was a packager of comics. He wrote and drew comic strips, and employed a small studio of staff to produce material for a range of publishers.

And he did it cheaply. Anglo agreed to create a new character to replace Captain Marvel in Miller’s comics. The result was Marvelman.

In the last few issues of Captain Marvel and Captain Marvel, Jr., readers were gradually introduced to the new characters in the form of small house ads. Finally, in Captain Marvel #24, and Captain Marvel, Jr. #24, readers were informed that the good Captains had done all they could and were off to a well-earned retirement, leaving their handpicked replacements, Marvelman and Young Marvelman, to continue the fight against crime in their absence.

The following week, Marvelman #25 and Young Marvelman #25 duly appeared in newsagents, and Captain Marvel was never mentioned again. Anglo had done his job well, and it seemed no one really noticed the change. Marvelman’s adventures continued in much the same vein as his predecessor’s, with Anglo and company producing witty and fun stories aimed squarely at younger readers. In 1956, a third title was added, Marvelman Family, which included a new character, Kid Marvelman.

In 1959, a change in the law allowed US comics to be distributed legally in the UK for the first time.

Soon the floodgates opened, and the homegrown publishers lost out to the full-color product of their American counterparts. In an effort to cut costs and make the comics profitable again, Miller canceled Marvelman Family, and switched Marvelman and Young Marvelman to reprint-only monthly titles. By 1963, even that ploy no longer worked, and the comics ceased publication. Miller went out of business and the assets were sold off. And that should’ve been that.

It wasn’t.

In 1971, DC Comics negotiated to buy the defunct Fawcett characters. But in attempting to return Captain Marvel to the newsstands, DC had a problem: Marvel Comics.

Marvel had grown to prominence in the years since the good Captain’s demise, and it was Marvel that now owned the “Captain Marvel” trademark.

As a result, DC was unable to use the character’s name as the title of the book. So, the decision was made to use his magic word instead, and Shazam! #1, cover-dated Feb. 1973, appeared in December 1972.

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We Are Family The splash to the Marvelman Family’s first adventure, from Oct. 1956. © Mick Anglo Studios.

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WARRIOR In 1981, Dez Skinn decided to put together a new magazine featuring the cream of the new British comics talent then being nurtured in the pages of 2000AD. Skinn had been working in the comics industry as an editor for most of his working life, starting with the giant Fleetway/IPC, before branching out on his own with magazines House of Hammer and Starburst. In 1978, Stan Lee had approached him to head up operations at a revitalized Marvel UK, and for two years Skinn brought about a mini-revolution at the company. For the first time, Marvel UK utilized British artists and writers to produce unique adventures of some of Marvel’s top characters.

Having left Marvel behind, Skinn christened his new magazine Warrior, and his own company, Quality Communications, would publish it.

Warrior was to feature stories of non-standard heroic figures, largely defying classification. There would be some horror, some science fiction, some

© Quality Communications.

fantasy, some general weirdness, and, naturally, a superhero would front it.

Skinn was never slow to latch onto a trend, and anticipated the growing interest from the big comics publishers in the US for British talent. 2000AD was making waves across the Atlantic, and Skinn’s Hulk Comic and Doctor Who Weekly at Marvel UK, which had been largely filled with British-produced strips, had made the US parent aware of what was happening in the UK. Skinn knew that it wouldn’t be long before the US would come calling—and he wanted to be ready.

Warrior hit the newsstands in March 1982, straplined “The Magazine of Very Weird Heroes.”

Marvelman was represented on the cover by a silhouette and a question mark. Skinn was probably attempting to appeal to a few souls who might possibly remember that oh-so-obscure character.

Inside, Marvelman led the way as the first strip presented. And, for a first-time reader back in 1982, the strip was a revelation. Alan Moore and Garry Leach captured lightning in a bottle, and superhero stories would never be quite the same again.

The strip’s main conceit—and Moore and Leach’s stroke of brilliance—was to treat superheroes as they might actually be if they really existed in our world.

The creators looked at the world outside their window and imagined a superhero in the midst of it. How would people react to such a being? What would it mean for government? For the law?

And, most importantly, who, or what, could oppose such a superhuman? For their answer to that, Moore and Leach delved into the goofy depths of the Mick Anglo years.

As Warrior—”Marvelman” and “V for Vendetta” (another Alan Moore-scripted strip) in particular—made waves, DC Comics dispatched then-editorial director Dick Giordano to the UK to meet with British artists and writers and offer them work in US comics. It wasn’t long before there was a British invasion of comics talent to the US, somewhat resembling the British invasion of musical talent twenty years before.

With that interest, there came pressure to have the Warrior and 2000AD material reprinted in the US. Eclipse Comics made a deal with Dez Skinn, and many of the Warrior characters began to appear—for the first time in color—in a variety of Eclipse titles from 1985.

Marvel’s legal department made sure that Eclipse would not be able to use Marvelman as the title of his own comic, so rather than go the DC route and name the book after Marvelman’s magic word, “Kimota,” Eclipse and Alan Moore re-christened the character Miracleman for the American audience.

The strips were re-lettered and logos redesigned for the reprint run.

Miracleman #1 (Aug. 1985) featured a brand-new cover by Garry Leach showing Miracleman’s dramatic rebirth. Inside, the book opened with a reprint of a Mick Anglo-era Marvelman Family strip from 1956.

For this version, the strip was partly rewritten by Dez Skinn and Alan Moore, to help pave the way for the Warrior material.

“I’m back!”

Cover to Eclipse Comics’ Miracleman #1 (Aug. 1985). Art by Garry Leach. © the respective copyright holder.

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“A DREAM OF FLYING” “A Dream of Flying” starts the Warrior reprints. Indeed, later, when collected, the whole first story arc was named after this first chapter. Michael Moran has nightmares where he sees himself as a superhero being caught in a nuclear explosion aboard a space satellite.

He sees his friends destroyed as he falls to Earth, and he wakes up screaming.

With a thumping headache, Mike is reluctant to go to work as a freelance reporter covering the opening of Larksmere nuclear power station. His wife Liz comforts him. On the way to Larksmere, Mike ponders his dream and how strangely real it seemed. Once at the plant, he is caught up in violence as armed terrorists appear and threaten the crowd of protesters who are picketing at the gates.

Inside, the terrorists reveal that their aim is to steal plutonium from the plant and offer it for sale to terrorist organizations across the world. Hearing this, Mike’s headache flares worse than ever, and he collapses. A couple of the gunmen drag him outside. While semi-conscious Mike sees a sign written on a glass door, he’s on the wrong side, so the sign appears reversed. The word “atomic” attracts his attention: reversed, it’s “cimota.”

It seems familiar. He whispers it.

And he explodes.

The gunmen are part-blinded and thrown backwards by the blast. Standing in their midst is a large blond man in a blue-and-red costume, with an MM legend on his chest. “Me?” says the man, “I’m … Miracleman.

I remember now…”

More of the gunmen arrive and fire at Miracleman, but the bullets bounce off. He smiles and claps his hands together. The sonic boom floors all his opponents.

He blasts up through the ceiling and flies into space, excitedly thrusting his triumphant arm. Against the backdrop of Mother Earth, he shouts, “I’m Miracleman … I’m back!”

In the next chapter, Miracleman comes home to Liz. She’s shocked by the superhero in her home, and initially finds it hard to believe it’s really Mike. He finally convinces her, and the pair sit down as Mike tells his tale. As a 14-year-old, he’d had a vision of a giant called Guntag Borghelm.

Borghelm claimed to have discovered the key harmonic of the universe—a word that will bestow godlike power when spoken. The word was “Kimota.” When Mike said it, he was transformed into Miracleman.

As the years passed, Miracleman fought crime and all manner of peculiar criminals, both human and monster.

Later, he was joined by another young chap, named Dicky Dauntless, who, when he said Miracleman’s name, was changed into Young Miracleman, whose costume was the same as Miracleman’s, but red. Later still, Johnny Bates arrived, and, though he was very young indeed, he too was transformed, becoming Kid Miracleman. His uniform was bright yellow. Together they were the Miracleman Family. Their nemeses included Young Nastyman and the fiendish Doctor Gargunza.

Liz laughs at all this, but Miracleman’s smashing his hand through the floor silences her.

More from Moore and Leach (top) Mike Moran is plagued by dreams of his mysterious fomer life. (bottom). The evil Bates is revealed. Art by Garry Leach. © the respective copyright holder.

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He then tells her of the time when, in 1963, the Miracleman Family discovered Gargunza’s space fortress. Approaching it, Miracleman felt compelled to hold back and realized something was wrong, but it was too late. The “fortress” was actually an atomic bomb, and, as he fell, Miracleman saw Dicky Dauntless torn apart by the explosion—he momentarily appeared to be two people crushed together.

Mike had woken in the Suffolk Marshes two months later, with burns and multiple fractures. He had no memory of his life as Miracleman. Until now.

As Liz continues to listen, elsewhere a man is watching a television report of the events at Larksmere. A photo of what appears to be a flying man is shown. The man smashes his fist into a table.

“He’s back!” he shouts. “Back to spoil everything!”

The next morning, Liz wakes next to Miracleman.

They’ve clearly had a night to remember. The phone rings. Liz answers as Miracleman changes back into Mike. The caller turns out to be none other than Johnny Bates, the former Kid Miracleman. He’d seen the news reports and decided to get in touch. He’s now the head of Sunburst Cybernetics.

As Mike and Liz arrive at Sunburst, it gets cloudy.

A storm is brewing…

© the respective copyright holder.

Bates welcomes the couple. He reveals that, after the explosion, he hadn’t lost his memory—but had lost his powers. Believing the others dead, and as an ordinary 16-year-old, he’d gotten on with his life. Liz finds him sexy and magnetic, but Mike thinks he’s changed.

Out on the balcony, alone, the two men talk.

Mike reveals that he’d like to believe Bates’ story, but he can’t. He knows Bates is lying. Suddenly fearful, he pushes Bates over the edge of the balcony. Just as Mike suspected, Bates doesn’t fall—he rises into the sky and crackles with malevolent power. Johnny Bates is not human. He survived the explosion intact and has spent the last eighteen years as a god—he’s not about to let Mike spoil his fun!

All of the above appeared in just the first issue of Miracleman! The fact that the strip had originally appeared in such short chunks in Warrior meant that the story really moved along at a clip. In order to give Warrior readers a degree of satisfaction, something momentous had to occur in each installment, so, once collected, the story of Kid Miracleman’s battle against his former mentor takes on an added urgency.

Above all, this is a strip that shows how comics scripting has changed over the years. Today, in an age of “decompressed” storytelling, what once took Moore and Leach just a single issue would fill a six-issue miniseries.

MIRACLEMEN AT WAR Miracleman #2 features another new cover by Leach, and reprints a further three chapters. As Liz flees, Bates slaughters a secretary who happens by with a tray of tea. In a very graphic scene, Bates explodes her head with “heat vision.” It’s too much for Mike Moran, and he whispers his magic word, “Kimota.”

Miracleman leaps at Bates, and their momentum carries them through a smashed window, and on down past dozens of floors to ground level. The impact barely fazes them, but Bates blasts Miracleman with his eyebeams. The older man’s skin burns.

In another chilling moment, Bates picks up a passing toddler and hurls him into the sky while taunting the child’s mother. Miracleman flies after the boy at supersonic speed, catches him, and returns him to his mother. The woman, horrified, calls Miracleman a monster and flees.

The superhero smackdown continues, brutal in its intensity. Bates concentrates positively charged ions from the atmosphere and throws a lightning bolt at Miracleman, felling him. He then hurls him into the ground at mach 3.

And he smiles.

It was at this point that artist Garry Leach admitted defeat. His meticulous attention to detail meant he’d been struggling with deadlines for some time.

In an effort to get back on track, it was agreed that someone else should be brought in for a few chapters to help Leach get back on track. Alan Davis was already working with Alan Moore on the monthly “Captain Britain” strip at Marvel and seemed an ideal choice. Somewhat reluctantly, Davis agreed to come on board.

Davis was from a different artistic tradition than Leach. Whereas Leach was inspired and influenced by the more photorealist artists such as Al Williamson and Angelo Torres, Davis was solidly in the Jack Kirby/Steve Ditko mold, and his art pushed the exaggerated action up a notch.

Sidekicked A panel from the brutal fight scene from Miracleman #2.

Art by Alan Davis and Garry Leach. © the respective copyright holder.

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Liz is driving for her life. Suddenly, Bates is standing in the middle of the road in front of her and her car smashes into him. He is unmoved. He throws her clear, and as Liz watches, he crushes the car with his bare hands. He lifts the mass above his head as he prepares to bring it down upon Liz’s head.

Miracleman arrives and punches Bates into the sky.

A super-boxing match ensues as punch after punch is thrown.

It’s soon clear that Bates has the upper hand, and Miracleman is sorely wounded. As he continues to be battered, he realizes that it’s no good: Bates is just too strong, his eighteen years in super-form have made him unbeatable.

Miracleman falls to the ground.

Bates can’t resist one last kick as he gloats. “I’m going to finish him off! Me! His adoring junior protégé! Me, Kid Miraclem… …an.”

There is a sound of thunder as Bates, having accidentally said his trigger word, is transformed back into little Johnny. The boy looks confused and quivering as Miracleman staggers over to him ready to deliver a death blow.

But he can’t do it. Bates is now just a small boy, jabbering incoherently. The eighteen-year power build up just released has shattered his mind. Although he once more says Miracleman’s name, he doesn’t transform.

Miracleman grabs Liz and flies from the scene, leaving little Johnny Bates to his fate.

COMIC BOOK DREAMS “A Dream of Flying” has an unusual structure. Its major villain has already been defeated, yet the story is only halfway through. The plot continues on after this seeming climax and begins an investigation into the real origins of the Miracleman Family. It’s ultimately revealed that Mike Moran, Dicky Dauntless, and Johnny Bates were involved in a top secret experiment run by Doctor Emil Gargunza and funded by the British government.

Technology from a crashed spaceship was used to create super-bodies, which were then placed in an other-dimensional “infra space.” These were linked to Moran and the others, and the super-bodies could be swapped for their human bodies by use of secret trigger words. Fearful of what these super-beings might do if they were let out into the world, Gargunza had them kept unconscious and he filled their dreams with stories and characters inspired by comic books. As such, all the Mick Anglo-produced strips are explained away as the dreams of the super-folk.

Finally, under political pressure, the experiment was wound up. Miracleman, Young Miracleman, and Kid Miracleman were woken up and sent on a mission to destroy Dr. Gargunza’s orbiting space platform. As we saw at the start of the story, the platform is actually an atomic bomb designed to destroy the super-beings once and for all.

It’s a fine story. While it may not stand up as well today, and perhaps seems a little over-familiar, that’s merely because it was so influential.

The notion of superheroes being treated in a “realistic” manner started here with Alan Moore and Garry Leach. And while it’s often Moore who gets the lion’s share of the credit, it’s largely Leach’s art that set the style and tone of the strip from the very start.

Leach’s photorealistic style was, then, about as far away from standard US cartooning as you could get. He drew real buildings, real cars, real people. Miracleman is not depicted as a musclebound god, he’s a slim, perfectly proportioned Paul Newman look-alike.

He’s “super” because of the way he carries himself. Normal people are diminished in his presence because he has a godlike air about him: He just is superior. And Leach, with his extraordinary artwork, manages to convince us of that. Similarly, Leach’s depiction of Johnny Bates is a chilling portrayal of what might happen if a thoroughly evil man was to be granted ultimate power. Bates is a man who knows exactly what he is, and revels in it.

It’s not hard to imagine that Alan Moore was inspired to even greater heights by his collaboration with such a remarkable artist.

Moore, of course, went on to collaborate with the similarly gifted

Name Calling On the verge of victory, Kid Miracleman accidentally says his trigger word. Art by Alan Davis and Garry Leach. © the respective copyright holder.

Dave Gibbons on their masterpiece Watchmen, possibly the finest graphic novel ever produced.

Miracleman continued on, with Eclipse ultimately publishing 24 issues before it succumbed to bankruptcy in the mid-1990s.

“A Dream of Flying” was followed by a second book, “The Red King Syndrome.” That story wound through Miracleman #4–10 (Dec. 1985–Dec. 1986), and is somewhat let down by inconsistent art.

It starts off strongly enough, with the ongoing reprints from Warrior with art by Alan Davis (who had been persuaded to stay on the strip beyond his initial commitment). However, once the Warrior material ran out, Chuck Beckum (nee Austin) was brought in by Eclipse to delineate Moore’s scripts. It was not a good match. An issue reprinting Mick Anglo strips interrupted the flow of the story further, and then Rick Veitch arrived to conclude the story. Miracleman #9 included a controversial scene where Liz and Miracleman’s daughter is born in graphic detail.

Throughout “The Red King Syndrome,” Johnny Bates continued to make sporadic appearances. He was an inmate in a mental hospital, initially near comatose. He later regained some independence, though the spirit of the evil Kid Miracleman speaks to him in his mind, goading and taunting him. But Bates remains resolute: He won’t allow KM to escape.

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“OLYMPUS” If Book Two was a disappointment, Miracleman Book Three,“Olympus,” is an incredible return to form.

After some years away from the strip, Moore was firing on all cylinders, and was joined by his old Swamp Thing collaborator, John Totleben, for a remarkable story that ran in Miracleman #11–16 (Jan. 1987–Dec. 1989). It is possibly the ultimate superhero story: If you’ve ever wondered what might happen to the world if superheroes suddenly appeared, this is Moore’s answer.

And it’s not pretty.

Largely in flashback, “Olympus” tells the story of the final battle between Miracleman and Kid Miracleman. Bates has partially recovered and is under medical supervision in a care home. The marriage between Liz and Michael Moran is in the process of irretrievably breaking down—she resents his time as Miracleman, fearing that he’s © the respective copyright holder.

losing his humanity. Meanwhile, the aliens from whom the Miracleman technology was gleaned arrive on Earth. And, finally, Miraclewoman, another remnant from Gargunza’s experiment, has made herself known.

Two alien factions, the Qys and the Warpsmiths, are fighting an endless war. They enlist Miracleman’s help in deciding what to do about Earth, given its current, relatively backwards state. When he returns home from the literally senses-shattering Qys homeworld, Miracleman is stunned when Liz leaves him. Then his baby daughter, able to talk since the moment she emerged from the womb, flies off into space to seek her destiny.

A broken man, Michael Moran climbs a hill, removes his clothes, and buries them with a note.

He says his magic word. It will be for the final time.

For intents and purposes, Michael Moran is dead.

At the care home, Bates is bullied and, finally, raped by a group of thugs. It’s too much for him and he succumbs to his inner demon. As tears roll down his cheeks, he whispers, “Miracleman.”

His rapist is left as a pair of disembodied legs; the others are blinded by the transforming blast.

One attacker has his head ripped off; the others suffer far worse. The one nurse at the home who had shown Bates compassion is spared, and sinks to her knees in relief. Then Bates returns and kills her: “They’d say I was going soft, wouldn’t they?”

Miracleman #15 (Nov. 1988) is as perfect a vision of Hell as has ever been depicted in comics.

Bates is free.

He goes on a killing spree and destroys London.

Survivors run through a literal hail of falling hands and feet as Bates carves his way through the population.

Bodies hang from the face of Big Ben; flayed skin hangs from washing lines; decapitation is the order of the day. And at the center of it all is Bates, smiling beatifically, splashing through rivers of blood.

Miracleman, Miraclewoman, and a Warpsmith arrive. They drop Buckingham Palace on Bates, but he shrugs it off. Miraclewoman is swiftly defeated and cast off into space with a punch. Bates is teleported into the very structure of Marble Arch, but destroys it and escapes. The battle rages on.

Bates appears in an all-black mockery of his Kid Miracleman supersuit. He goes one on one with Miracleman in all-out war.

The Warpsmith, Aza Chorn, realizes that the secret of the Miracle beings’ power is that they are surrounded by a kind of force field. Indestructible.

The only way to defeat Bates is from within. Using his warping powers, Warpsmith teleports a lump of stone into Bates’ brain.

Still, he won’t fall.

Torn apart by Bates’ power, Warpsmith tries once more before he dies, and teleports a steel girder through Bates’ chest. He screams in pain.

Somewhere deep inside, little Johnny Bates seizes his opportunity and forces his way to consciousness, saying his magic word one last time.

London Falling Kid Miracleman creates Hell in London in Miracleman #15. Art by John Totleben. © the respective copyright holder.

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In the midst of the devastation, Miracleman finds Johnny Bates, human once more. The wrecked and bloodied form of Kid Miracleman has returned to infra space, and Bates is whole. He begs Miracleman to help him find some way to stop him from ever changing back into his evil persona. Miracleman promises him that he’ll never have to suffer again.

And, gently, as he comforts the sobbing Bates, Miracleman crushes the boy’s skull.

The deed done, Miracleman screams out in anguish as he cradles the dead child.

The coda to all this comes in Miracleman #16 (Dec. 1989), Alan Moore’s final issue. It tells of Miracleman rebuilding London with the help of Miraclewoman and the Warpsmiths. He sets forth creating a new world order, a world where humans can be made superhuman; where the dead can be reborn; where traditional government is replaced; where war and crime become things of the past.

The super-beings remove all nuclear weapons from Earth and destroy them. They re-seed Africa. They repair the hole in the ozone layer.

All manner of miracles are wrought in their name, and a utopia is built with the tacit complicity of the world’s population. They see that what is being done is benevolent, and to the benefit of all mankind. Soon, Miracle-babies fly the skies, their mothers having been impregnated by the gift of Miracleman.

Miracleman sees all that he has done from his perch atop Olympus, a miraculous structure towering miles above London, and he finds that it is good.

Below, in a lowly dwelling, Liz Moran sobs for Miracleman’s lost humanity…

With both Alan Moore and John Totleben working at the top of their game, “Olympus” is one of the most remarkable stories ever published in comics.

It’s complex, intelligent, and thoroughly readable.

Drawing on the experience of having written Watchmen and V for Vendetta, as well as the previous Miracleman material, Moore was able to give full rein to this, his ultimate rumination on the nature of the super-being.

We see the corrupting nature of superpowers from two angles: Bates is destroyed by his power as he loses his humanity in a typical bad-guy manner, but Michael Moran, too, loses his humanity by becoming a god. Although he’s benevolent, and working to create a utopia on Earth, it’s at the cost of everything that made him a man.

Across the 16 issues scripted by Moore, you can see just how far the Miracleman characters had come: from the extremely goofy, child-friendly super folks in primary colors of the 1950s, to god-like beings that live far above humanity, both figuratively and literally.

In some ways, reading this series is a little like looking at the recent history of superhero comics.

In the Silver Age, superheroes were heroes simply because they were good people who had other people’s best interests at heart. By the mid-1980s, that was thought to be rather too simplistic a view by the new breed of comics writer. Superheroes began to be made a little more human, possibly too human—frailties and all. These days, all too often, superheroes are motivated by self-interest. This change was, in part, influenced by Moore and Leach’s early Marvelman/Miracleman tales. It’s possible that, without Miracleman, there’d be no Ultimates, no The Boys, no Supreme Power. Warren Ellis’ Authority stories build on Moore’s work to present a superhero team

that declare themselves the ultimate authority on Earth, though Ellis is, of course, a little more cynical than Moore.

They say that power corrupts, and absolute power corrupts absolutely. With that in mind, at the end of “Olympus,” Moore leaves us to ponder the ultimate question: By creating what is essentially a worldwide dictatorship, has not Miracleman behaved just as badly as Kid Miracleman?

Headline Kid Miracleman and his former mentor battle to the death in Miracleman #15.

Art by John Totleben. © the respective copyright holder.

ALLAN HARVEY is a London-based writer and artist. He maintains Gorilla Daze, a blog that appreciates wacky comics. It can be found at: w w w. t h e f i f t h b r a n c h . c o m / gorilladaze.

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This article is a road map of Mark Shaw’s crimefighting career.

Shaw’s journey is neither about finding himself, for he embarked with a strong passion for justice, nor establishing some kind of just-out-of-reach fashionable identity; honestly, every role he has assumed—public defender, superhero, villain, bounty hunter, government agent—he has worn well. Shaw’s journey has always been about the character’s sites and situation—places he has visited throughout his career that have helped make him a better person. Shaw has driven through extensive physical training, intense mental conditioning, deception, corruption, villainy, redemption, heroism, death, rebirth, manipulation, brainwashing, and personal triumph.

At every mental or tangible obstacle he has encountered and endured over the past thirty years, he has emerged a stronger individual.

Shaw’s journey is not over. There are many sites for him still to visit.

But this is the road map so far.

Introduced as a young public defender in DC’s First Issue Special #5 (Aug. 1975), written by Jack Kirby and illustrated by Kirby and D. Bruce Berry, Mark Shaw’s idealism had been frustrated and discouraged by the law’s inability to bring the shrewder, richer, and more powerful criminals to justice. A sympathetic uncle took Shaw to a secret room in his mansion and informed him of the Manhunter cult, whose determination and success in meting out its own brand of justice had existed for hundreds of years. Communicating with the Grandmaster through the Manhunters’ golden symbol—a lion medallion—Shaw accepted the invitation to travel to the Manhunters’ headquarters deep in the Himalayas and begin an intense training period that, once completed, would garner him the power baton, red costume, and blue mask of a full-fledged member of the Manhunter Shan.

The Manhunter cult provided Shaw a means to channel his desire for justice, a spiritual base, a growing confidence, strong fighting skills, and a renewed sense of integrity. But the Manhunters also deceived him. The Grandmaster withheld from Shaw a dark secret and a hidden agenda. As chronicled by writer Steve Englehart and artists Dick Dillin and Frank McLaughlin, when the Manhunters made their move to discredit the Guardians of the Universe in Justice League of America (JLA) #140 (Mar. 1977), Shaw was led to believe he was only bringing a mass murderer, Green Lantern Hal Jordan, to justice. But GL had been framed by the Manhunters, and it was soon revealed that the Manhunters were androids, originally crafted by the Guardians as their first intergalactic police force. The Manhunters had rebelled, attacked their creators, were defeated, and then exiled to specific corners of the universe. When Shaw learned of the deception, he aided the Justice League of America in defeating the Manhunters, destroyed the Grandmaster, and turned his back on the ways of the Manhunters in JLA #141.

But the Manhunters’ conditioning had corrupted Shaw.

Shaw shed the Manhunter mask and garb and continued his crimefighting career as the Privateer in JLA #143 (June 1977). The taste of power and thrill of mastery over others had consumed him, however, and he became

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Meet Mark Shaw Jack Kirby and inker D. Bruce Berry introduced the new sect of the Manhunter in First Issue Special #5 (Aug. 1975). Original art courtesy of Heritage Comics Auctions.

TM & © DC Comics.

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The Privateer Shaw’s temporary guise, as seen this Dillin-esque Who’s Who #18 (Aug. 1986) entry by Stan Woch and Bob Smith.

TM & © DC Comics.

determined to infiltrate and defeat the Justice League on his own terms; he also adopted the guise of the more villainous Star-Tsar. Eventually, and ironically, the android Red Tornado called him out, and Shaw was exposed, disgraced, and flown to jail by Superman in JLA #149 and 150 (Dec. 1977 and Jan. 1978).

In 1987, Shaw returned as the Privateer in Suicide Squad #8. He didn’t appear any worse for incarceration, either, emerging rehabilitated and victorious after a fistfight with Squad member Rick Flagg. In the next issue, he joined the Squad in its mission to destroy the Manhunter Temple deep in the Louisiana bayou, a tie-in with DC’s company crossover of that year, Millennium.

The Manhunters and their Grandmaster had returned from calculated dormancy and were now launching an assault on the Guardians just as the Manhunters’ creators were in the process of selecting their successors, the Chosen. The Squad was successful in destroying the temple, albeit with casualties, and Shaw’s sentence was commuted to time served. In Suicide Squad #10,

Manhunters Galore

Shaw told Flagg that he was going to once again become Manhunter, and make the name good as a masked bounty hunter hunting masked villains.

It was writer John Ostrander who brought Mark Shaw back and redeemed him. Paired with fellow writer and wife Kim Yale, the duo provided Shaw his own ongoing series—Manhunter #1–24 (July 1988– Apr. 1990)—and his heyday. He defeated and killed a legendary assassin, Dumas. He learned the ways of Giri-Nijo—loyalty, compassion, moral obligation, and duty—from the Oyabun and Yakuza of Japan. He met Sandra Kingsley, and the two developed and shared an awkward but deepening romantic interest. Shaw, alongside the the Suicide Squad, discovered the secret of the missing Argent division in Suicide Squad Annual #1.

He rescued the Flash from capture in Cuba during the alien Invasion! of 1988. He made new friends in Gary De Vries and David Challoner of the Southern Cross Salvage Company, who would help him upgrade his costume and weaponry. He apprehended several noted villains of the DC Universe, including the Penguin, Captain Cold, Cat-Man, and Mirage. He also developed a couple of hang-ups: flying outside of planes and dealing with dangers on various islands, which caused him to think hard from time to time, “I hate islands.” Much-needed levity had been added to the character’s arsenal.

As was some much-needed triumph. Shaw had a key role in 1989’s “The Janus Directive,” a low-key, solid crossover that played out in Checkmate, Suicide Squad, Firestorm, Manhunter, and Captain Atom, wherein he helped prevent world domination by Kobra, capturing the villain single-handedly and turning him over to the Squad (relinquishing the bounty for the greater good).

He also held his own on a case with Batman on the Dark Knight’s home turf. In the series’ climax, Shaw also defeated a second Dumas, and gained the title of one

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The army of Manhunters and their Grandmaster, from Who’s Who Update ’88 #2. Art

by Howard Simpson and Arne Starr.

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true Manhunter from N’Lasa, the man-lion and living symbol of the good attributed to the Manhunter clan, who had taken refuge in the ruins of the Manhunters' headquarters in the Himalayas. Shaw left N’Lasa with the power baton to focus on his personal life, but if ever Shaw felt it necessary to combat evil he need only mentally request the baton from N’Lasa and it would instantly be transported to him.

While Manhunter was never a big seller, it was an entertaining comic book, accompanied by fine artwork from Doug Rice, Mary Mitchell, and Grant Miehm. The series was allowed to finish on a high note, with Shaw getting the girl and all loose ends thoughtfully tied up. Shaw continued to make appearances throughout the DCU, notably in various issues of Suicide Squad.

Yet tragedy was on the road ahead. Somewhat confusing tragedy at that.

In the early 1990s, Eclipso became a prominent supervillain in the DC Universe, so much so that he became powerful enough to take over the South American country of Parador. Suicide Squad leader Amanda Waller gathered together a team of superheroes, known as the Shadow Fighters, to infiltrate the country and rescue a young girl, and Mark Shaw was recruited for the mission. Unfortunately, Shaw was impaled by Eclipso, and his dead body was left behind by the survivors, along with the Creeper, Major Victory, Peacemaker, Dr. Midnight, Wildcat, and Commander Steel in the infamous Eclipso #13 (Nov. 1993), written by Robert Loren Fleming and illustrated

by Audwynn Jermaine Newman.

In the wake of 1994’s Zero Hour, a new Manhunter, Chase Dawler, came into being, written by Steven Grant and drawn by Vince Giarrano. In Manhunter #12 (Nov. 1995), Mark Shaw returned from the dead as the new Dumas. He killed Lawler, causing the powers of the Wild Huntsman embedded in Lawler to transfer into Shaw. Shaw then resuscitated Lawler and defeated the new PsychoPirate. With his new powers, Shaw once again became Manhunter. Sarge Steel later told Lawler that Shaw could not handle the guilt of killing Dumas twice (which is strange, because he seemed to have handled killing his arch-enemy just fine), so Steel allowed Shaw to become Dumas and go deep undercover as an agent against the underworld. When read carefully, Shaw’s apparent death is explained. He was never in Parador.

“The gist is this,” explains Steven Grant: “Shaw went undercover for Steel as Dumas, to infiltrate various criminal operations around the world.

Passing for Dumas makes it easy.

This is where Shaw is when the call goes out in the Eclipso series for aid.

The reason Shaw survives when he’s apparently killed is that the

The Shaw Redemption Mark Shaw as Manhunter as he appeared in his own series, as seen in Who’s Who Update ’88 #2. Art by Doug Rice.

TM & © DC Comics.

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Manhunter in that storyline isn’t him. It’s a ringer Steel sent in, to keep anyone wondering where Manhunter is, since superguys have a habit of going looking for people they think are missing. He doesn’t want anyone blowing the Dumas cover. Who’s in the Manhunter costume in Eclipso, I couldn’t say, but it’s not Mark Shaw.

“I had the series planned for another six issues,” adds Grant, “but then was told to wrap it up in #12. I hadn’t intended to use Shaw in the book at all, but since we constantly got letters from Shaw fans wanting to know why he wasn’t Manhunter anymore, I decided it would be a nice present to them to end by putting the mantle back on his shoulders.”

Sometime between the recruitment of Mark Shaw for Waller’s mission and the arrival of the Shadow Fighters at Waller’s hidden, makeshift headquarters in Eclipso #11 (Sept. 1993), Shaw was replaced and never joined the team (verified in “The Staff,” Manhunter #15, Dec. 2005, where the man who replaced Shaw is finally seen).

From 1995 to 2005, Shaw’s road trip through life drops off the map.

Two other individuals, Kirk DePaul and Kate Spencer, took up the Manhunter mantle in the late 1990s and early 21st century.

In the recent Manhunter series, written by Marc Andreyko, former Manhunters (Dan Richards, Lawler, and DePaul) are assassinated.

The killer is revealed as Mark Shaw, once again in his Dumas identity.

It turns out that Shaw’s past was actually conceived by a series of nanites injected as “implanted fictions” into his brain by the US government. His true origins no longer involve the Manhunter cult and the Guardians of the Universe. Inexplicably, his meeting with N’Lasa—now a fiction—comes before his adoption of the Privateer and Star-Tsar personas—an out-of-place fact. In unfortunate words, Shaw’s history has become “Hawkwhirled,” comics historian John Wells’ way of defining retro-continuity developed beyond reason.

These Hawkwhirlings … I mean, these “implanted fictions,” cause Shaw to have a nervous breakdown, resulting in the Manhunter killing spree. Due to the brainwashing by his own government, Shaw is not held accountable for his actions, but is asked to keep a low profile until a new identity can be established for him.

Personally, I have a difficult time buying into the revisions of Shaw’s established history and continuity. Shaw doesn’t deserve to have his heyday be nothing more than fiction within fiction, and an event-displaced fiction at that (it would be like cutting Nebraska out of a map and placing it west of California, then telling you Nebraska never existed). Hopefully someday this unnecessary Hawkwhirl (the only false note in Andreyko’s otherwise excellent take on Manhunter) will be attributed to residue from one of Superboy-Prime’s thrown punches (see Infinite Crisis).

Regardless, Shaw soon chooses to stop laying low and travels back to the Himalayas where he stumbles onto the hidden kingdom of the Knights of the Order of Saint Dumas (presumably a few mountains over from the ruined headquarters of the Manhunter cult, which, of course, no longer exists, sigh). Apparently, Shaw is led there to begin training as the new Azrael in 2007’s Manhunter #27–30.

It appears only a matter of time before Mark Shaw returns to battle crime. He remains driven, and a remarkably developed character for superhero comics (“implanted fictions” aside). Not bad for a person who always knew what he wanted from the beginning. It has not been an easy journey, however. Fortunately, Shaw has always been able to fall back on the passion that has carried him through and over all obstacles. The man must have a mantra close to heart. To paraphrase John Lennon, I can hear Shaw saying, “Just gimme some justice.”

This article is dedicated to the memory of Jack Kirby and Kim Yale.

JIM KINGMAN purchased his first comic book, DC’s World’s Finest Comics #211, on a family road trip in March of 1972, and has been reading and collecting comic books ever since (with no end in sight). He has been writing about comics since 1993, and currently edits and publishes Comic Effect, a small-press fanzine emphasizing the fun in reading comics. He also has a monthly column on comics at silverbulletcomicbooks.com.

Art dealer Jim Warden (www.doasales.com) contributed this amazing Walter Simonson pinup— and the following backstory: “Walt Simonson does not usually sell his artwork. A few years ago he parted with a handful of pieces to finance something for his collection and he let me arrange the sales of the pieces he let go.

Instead of any monetary commission, I asked Walt to do this Batman/Manhunter piece. My request was for him to do his version of the cover of Detective Comics #443, which wrapped up the original Manhunter storyline. Walt completely blew me away with this piece!” We’re blown away, too, Jim! TM & © DC Comics.

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Editor’s note: While BACK ISSUE covered Iron Man’s ’80s adventures three issues ago in BI #25’s Bob Layton/David Michelinie “Pro2Pro” interview, no “Heroes Behaving Badly” issue would be complete without a look at Iron Man’s classic “Demon in a Bottle” storyline—and we’ve got the dynamite Darwyn Cooke cover to prove it!

Frequent BI contributor Dan Johnson, who conducted that “Pro2Pro,” has been movie trailer-watching as of this writing in February 2008, and has some observations about “Demon’s” drunken Tony Stark and the star of the recently released Iron Man movie that he’d like to get off his chest…

TM

by

The casting of Robert Downey, Jr. as Tony Stark in Iron Man left quite a few people scratching their heads.

There is no denying that Downey has talent—just watch his performances in Chaplin and Wonder Boys.

But he doesn’t quite look the part of a Hollywood action hero. Anyone who knows their comic books and their Hollywood gossip, however, knows that if there is an actor who can bring insight to the troubled character of Tony Stark, it is Downey.

In the comics, Tony Stark has fallen off the wagon more than once. The first time Stark stumbled was in the now-legendary story arc “Demon in a Bottle” by Bob Layton and David Michelinie, which ran in Iron Man #120–128 (Mar. 1979–Nov. 1979). This tale of Stark coming to grips with his addictive nature was one of the first storylines the creative duo suggested to Marvel Comics when they took over the book. “Our first agenda was to push the character into a more realistic direction,” said Michelinie during an interview I conducted with him and Layton for BACK ISSUE #25. “[We were] looking at Tony Stark as a real guy and determining what would a real guy in his position do.”

In “Demon in a Bottle,” Michelinie and Layton gave “real guy” Stark some real serious problems: a hostile takeover attempt of Stark’s business by S.H.I.E.L.D., plus romantic complications, making life unbearable and extremely stressful for Iron Man’s alter ego. “What would a real person do?” Michelinie asked. “A real person would look for some kind of safety valve. At the time, with Tony being a millionaire playboy in the 1980s before crack cocaine became such a popular item, drinking seemed to be the logical way to push him.”

Troubled Tin Man This Bob Layton commissioned illustration, produced for longtime Iron Man fan Daren Domina, is a montage from scenes from the classic “Demon in a Bottle” storyline.

Courtesy of Bob Layton. © 2008 Marvel Characters, Inc.

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Dan Johnson

Just like Tony Stark, Robert Downey, Jr. has also faced some personal demons, having been arrested and jailed several times for drunk driving and illegal drug possession. It is hard enough dealing with life when you are an ordinary person, but add the stress of constantly living your life in a fishbowl as a celebrity and the pressure can really build up—just as it did for Tony Stark in the pages of his comic.

Besides dealing with life as a celebrity, Downey is also a brilliant actor, often cited as one of the best of his generation. He is also from a Hollywood family (his father is film director Robert Downey), and one can only imagine what pressure a truly creative individual faces as he strives to best his last performance.

No doubt there were a number of factors that caused this talent to turn to drugs as an escape. As the character of Tony Stark illustrates perfectly, money and fame can’t buy you happiness.

It is the life Downey has led, and survived up until now, that makes me believe he will do justice to the part of Tony Stark. “When we cast Robert, when he was approved and we got him to be in the movie and Marvel gave us its okay, it completely freed me because I knew that I was halfway there to having a movie that I could be proud of,” said Iron Man director Jon Favreau in an interview conducted by Rickey Purdin for wizarduniverse.com. “I can’t think of anyone better than him. He brings a reality, a humor, a panache, and a life of experience where he really feels like there is a lot of Tony Stark in him. That’s so much better than trying to teach someone to pretend that they are funny or pretend that they are smart or pretend that they’re talented or pretend that they’ve lived with fame and lived with all of the challenges and benefits of it.”

Iron Man is about ten weeks away from release as I write this, and so far there have been very few plot points that have been leaked that indicate Stark’s alcoholism will be addressed in the film, although the topic would make for dramatic subject matter in future installments of an Iron Man franchise.

If this happens, how will moviegoers respond to such a serious plot point being injected into a film that is a part of a genre that has become a standard of popcorn-movie fare? With luck, they will see it as a test that will allow Stark to grow as a character, and will present him with a chance to face his inner demons and conquer them, much the way Marvel Comics realized the original storyline could add a new dimension to Iron Man when Bob and David first signed on and helped to make Shellhead one of the company’s top-tier heroes. “I think Marvel thought we were really on to something, given where we started,” said Bob Layton in BACK ISSUE #25. “The idea was solid and it wouldn’t be irreparable, [where] if we deal with this subject Tony Stark couldn’t be Iron Man anymore. I think we presented it in such a way that it made sense.”

As it was, Tony Stark’s battle with alcoholism helped bring a new sense of reality to comics. It was the first time a superhero had to deal with something much more serious than a girlfriend learning his secret identity or facing an attack by an arch-enemy.

In many ways, the experience made Tony Stark a stronger character, very much in the same way that Downey’s dealings with his own addictions will no doubt lend more credibility to his performance as Stark in the Iron Man film. Like the character he plays, Downey surely knows it is all about building yourself up, one day at a time, and working to be the best you can be.

Cool Exec with a Heart of Steel Robert Downey, Jr. as Tony Stark. © 2008 Dark Blades Films/Marvel Enterprises.

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by

Peter Sanderson

From the late 1970s onward, John Byrne has been a major creative force in American superhero comics, writing and drawing nearly all the classic heroes from Marvel and DC Comics. He has been a vocal advocate of the tradition that superheroes should be paragons of moral behavior. Yet in some of his best-known work, Byrne has portrayed superheroes who cross a line of conventional morality, or who even temporarily turn outright evil, and then demonstrated the consequences for the characters.

During their classic collaboration on X-Men, co-plotters John Byrne and Chris Claremont startled their readers by having two of their characters cross previously forbidden moral lines. It was Byrne and Claremont who first portrayed Wolverine as willing to kill in combat without hesitation.

From that point on it was no longer inconceivable for a hero of a superhero book to kill.

In their legendary 1980 “Dark Phoenix Saga” in X-Men #129–138, Byrne and Claremont not only transformed longtime series heroine Jean Grey into a supervillain but showed her wiping out the population of an entire planet. So frequently has the “Dark Phoenix Saga” been imitated that portraying the “dark side” of a heroic character has become a familiar cliche.

Since his X-Men days, as a writer/artist, John Byrne has continued to explore what happens when superheroes cross a moral line. Notably, in the 1980s Byrne wrote and drew a Superman story arc in which the Man of Steel felt compelled to execute three Kryptonian criminals from the Phantom Zone because he had no sure means of imprisoning them.

But how far can this questioning of superhero morality go? In his interviews and online comments, Byrne has vigorously criticized what he sees as the widespread trend to “deconstruct” superheroes into characters with deep moral flaws.

What, then, makes a superhero different than an ordinary person—or even an “ordinary” hero? Fans of Westerns are accustomed to seeing the good guy gun down the outlaw. Sword-and-sorcery readers have no problem with Conan the Barbarian killing his enemies.

Beyond the costumes and the extraordinary abilities, should a superhero have a superior moral code?

To explore questions such as these, in February 2008 BACK ISSUE interviewed John Byrne via e-mail.

– Peter Sanderson

Marvel Girl Gone Wild Dark Phoenix revealed, on page 24 of X-Men #134 (June 1980). © 2008 Marvel Characters, Inc.

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Beginnings: Wheelie and the Chopper Bunch #2 (1975, Charlton Comics)

Milestones: Too many to detail, but the short list: Rog 2000 / Iron Fist / Uncanny X-Men / Captain America / Fantastic Four / Alpha Flight / Man of Steel / Superman / Sensational She-Hulk / Namor the SubMariner / Avengers West Coast / Wolverine / John Byrne’s Next Men / Wonder Woman / Superman and Batman: Generations / The Doom Patrol / see his website for a complete checklist

Works in Progress: JLA: Classified (DC) / covers for Star Trek: Assignment Earth (IDW) / FX (IDW)

Cyberspace: www.byrnerobotics.com

John Byrne

License to Kill Lethal Logan, as seen in X-Men #116 (Dec. 1978). © 2008 Marvel Characters, Inc.

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PETER SANDERSON: What kind of a moral code should a superhero have? Are there circumstances in which a superhero could and should kill?

JOHN BYRNE: The same moral code as any normal human, only more so, would be how a superhero would operate. Like a good cop, s/he would use deadly force only if there were no other options— with the knowledge that for a superhero there are almost always other options!

SANDERSON: Stan Lee and Jack Kirby did two Fantastic Four storylines in which Ben Grimm went “bad”—once under the control of the Wizard in Fantastic Four #41–43 (Aug.–Oct. 1965), and again under the influence of the Mad Thinker in FF #68–71 (Nov. 1967–Feb. 1968). Do these stories set a model for how to do a “hero goes bad” storyline, and why?

BYRNE: They should set the model, but I am not sure they do. Much of modern storytelling—with heroes going bad (which is not such a far trip as it used to be!) and villains becoming “good” (because the heroes are so gray in their own morality)—seem to happen more out of editorial whim than internal story reasons.

SANDERSON: In the Savage Land storyline in Uncanny X-Men #116 (Dec. 1978), Wolverine slew a guard off-panel. This seems to be a turning point in Marvel history, when a superhero intentionally killed an adversary. Was Wolverine wrong to kill the guard?

Can Wolverine be a superhero and justifiably kill?

BYRNE: It’s a mistake to think of Wolverine as a superhero. He is more closely akin to James Bond.

A guided missile. The whole point to Wolverine is that he was first a killer. This has been muted over the decades since that story, with ninja nonsense and “berserker rages,” but back then the idea was that Wolverine was in the X-Men so he could be controlled. Xavier didn’t want a homicidal maniac mutant running around loose, even if it was under

Lethal Weapon A very feral Wolverine commissioned illustration by John Byrne, from the collection of Ari Shapiro. © 2008 Marvel Characters, Inc.

the auspices of the Canadian government.

When Wolverine killed that guard he was doing what he was trained to do.

SANDERSON: Originally, Wolverine was meant to function as a member of a team. Presumably Professor X and Cyclops could try to keep him under control. Was it a mistake to give him solo adventures, in which he kills at will?

BYRNE: Yes and no. If he was played as James Bond and that was his sole identity as a character, having him routinely killing enemies would be as appropriate as it is for Bond. Once he was mixed into a conventional— or, in the case of the X-Men, unconventional— superhero group, the thrust is, or should be, to steer him away from that first response.

Therein lies the dramatic tension.

SANDERSON: Is the Punisher a hero? What makes him different from Wolverine?

BYRNE: The Punisher to me will ever and always be a Spider-Man villain.

SANDERSON: When you were writing and drawing Namor, Namor went on trial for his various attacks on the human race. Because chemical imbalances had affected his mind in the past, he was judged “guilty but insane.” Does this mean that Namor, like a recovering alcoholic, bears a burden of making amends to those he has wronged?

BYRNE: Mostly depends on the day of the week.

Namor—blood imbalance notwithstanding— is the king of a nation that has been greatly wronged, albeit inadvertently, by the surface world. He feels justified in his attacks upon the human race—though understanding the biological reasons for his rages has helped him see that violence should not, in his case, be a first response.

SANDERSON: Your version of the Hulk (Incredible Hulk #314–319, Dec. 1985–May 1986) was particularly menacing. What makes him a hero? Was it a mistake when Marvel established that numerous innocent people had died as collateral damage in the Hulk’s rampages?

BYRNE: The Hulk is a very difficult character to write properly, as witnessed by the number of times he has been written improperly. Really, the only ways the character works are as an angry version of Banner, where Banner still has some degree of moral-compassing, or as the “Goofy” (as in Disney) version Len Wein wrote. In other words, a Hulk who always has a point beyond which he will not go. Without this, “realistically,” the body count mounts very high, very fast.

Guilty But Insane Courtroom drama from Namor, the Sub-Mariner #13 (Apr. 1991). © 2008 Marvel Characters, Inc.

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Paging Dr. Banner! (above left) A savage Hulk Byrne commission, courtesy of Ari Shapiro, and (above right) Byrne’s sketchbook drawings of the Hulk, circa 1978, courtesy of Heritage Comics Auctions. © 2008 Marvel Characters, Inc.

SANDERSON: Originally, you and Chris Claremont intended that the real Jean Grey (not some cosmic facsimile) was Dark Phoenix. Was Jean “guilty but insane” like Namor? If Jean had survived at the end of Uncanny X-Men #137 (Sept. 1980), could she ever again be accepted as a hero? Could she ever think of herself as a hero again?

BYRNE: Originally—i.e., once the decision was made to have her “go bad”—Jean was possessed by Phoenix, which was a purely evil entity being damped down by Jean’s innate “good.” Mastermind twisted Jean, and inadvertently released the Phoenix. The key, in one of those moments of Marvel serendipity, lies in the first words Jean/Phoenix speaks—proclaiming she is no longer the woman the X-Men know. This is to be taken literally. So, no, Jean is not “guilty but insane”— Jean is absent when Phoenix goes on her rampage.

SANDERSON: Besides “The Dark Phoenix Saga,” you’ve done storylines in which Susan Richards became the evil Malice in Fantastic Four and the Scarlet Witch went “dark” in Avengers West Coast.

What do you see as the appeal of these kinds of these kinds of stories? Do Sue and Wanda bear responsibility for their actions in their evil personas?

No Shades of Grey Phoenix shows Emma Frost her dark side in these panels from X-Men #131. © 2008 Marvel Characters, Inc.

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BYRNE: In both cases, the women had their brains scrambled by an outside influence. In Sue’s case, the Psycho-Man, in Wanda’s, Magneto. It was very important to the structure of my story that Malice was not to be read as Dark Invisible Girl. Malice was completely an invention of the Psycho-Man, not a “dark corner” of Sue’s mind brought into the light.

Sue therefore bears no responsibility for the actions of Malice. It’s a little trickier in the case of Wanda, since the story was taken out of my hands, and I have no idea how it was resolved, so I cannot say whether my thread was carried through to fruition.

SANDERSON: You did a controversial story in Superman #12 (Oct. 1988), in which Superman executed three Phantom Zone criminals because he felt he had no alternative. What were your reasons for doing this story? How do you respond to criticisms that Superman should never kill under any circumstances?

BYRNE: The story I had in mind unfolded approximately as I intended, through Roger Stern and Jerry Ordway, with Superman suffering basically a mental breakdown and assuming the Gangbuster ID as a result, unbeknownst even to himself. The mechanism was to create a scenario in which Superman simply had no choice but to execute the three Kryptonians.

Wicked Wanda and Not-So-Sweet Sue (left) Byrne’s original cover art to Avengers West Coast #49 (Oct. 1989). (right) The Invisible Woman as Malice, from Fantastic Four #281 (Aug. 1985); signed by inker Jerry Ordway and courtesy of Heritage. © 2008 Marvel Characters, Inc.

The question you haven’t asked is if I would do that story today as I did it twenty years ago—and the answer is no. I have a greater fondness for ambiguity now than I did then, and if I were constructing that story today I would be more inclined to create a situation in which the three Kryptonians brought about their own demise, leaving Superman not knowing what his decision would have been.

Probably having already done that scenario in my “Metropolis 900 Miles” story [in Superman vol. 2 #9 (Sept. 1987)] prevented me from considering it at the time.

SANDERSON: There’s a long tradition of characters who started out as supervillains becoming superheroes.

Hawkeye, Quicksilver. and the Scarlet Witch had been ambivalent about their roles as criminals.

More recently, such ruthless evildoers as Magneto, © 2008 Marvel Characters, Inc.

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No Vacancy in the Phantom Zone The controversial execution scene from Superman vol. 2 #22 (Oct. 1988).

TM & © DC Comics.

the White Queen, and the Juggernaut have turned hero, and even joined the X-Men. Other villainous characters, like Venom and Deadpool, have ended up starring in their own series. Are there villains who should never be treated as heroes?

BYRNE: With the exception of Hawkeye, Quicksilver, and the Scarlet Witch, you have named them. Any villain who has committed, or attempted to commit, murder should never be “redeemed.” In the case of Magneto, this is on a par with saying Hitler could have been “rehabilitated.” To even get to a point where we can start to consider this, we have to ignore quite literally everything we know about the character before that point.

SANDERSON: What do you think of the current standards for superhero behavior in the decades following books like The Dark Knight Returns and Watchmen? Has the superhero concept become corrupted by changing mores? Or has it simply become more complex and realistic to appeal to an older audience?

BYRNE: “Complex and realistic” is all too often code for lazy writing. Self-indulgent writing. It is so much harder to write a superhero as a paragon, than to give him feet of clay up to the shoulders. That, which was once the rare exception, has become almost standard procedure in modern comics.

Stan Lee gave his characters human flaws and foibles, and even had them occasionally musing on how easy life would be if they crossed the line and became “bad guys”— but he didn’t have them do it, and he never brought them to a point where they really had to make the choice. If he had, I like to think he would have done something like the Superman story mentioned above, piling on so much backstory to the decision that it would truly have been unavoidable. But, like the Superman story, he would have done it as the whole point, and he would have gone on to explore the ramifications. We would not see something like Magneto being redeemed with scarcely more than an “Oops!

My bad!” defense.

Comics historian PETER SANDERSON was Marvel Comics’ first archivist.

He was also hired in the 1980s to read every comic in the DC library. The author of numerous books, articles, and online columns about comics, Peter’s résumé includes teaching at New York University and producing documentaries on comics. His latest book, The Marvel Vault, co-written with Roy Thomas, is a must-have.

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by

When she was introduced, Tara Markov, better known as Terra, took the readers of The New Teen Titans by storm. Her short, blonde hair, buck-toothed smile, spunky attitude, and mighty earth-shaping powers made her a huge hit from the start.

Make no mistake about it, Titans fans were obsessed with Terra. Creators Marv Wolfman and George Pérez intended for readers to like her—so they could eventually yank the rug out from under them.

Terra was introduced in The New Teen Titans #26 (Dec. 1982) when Changeling (Gar Logan, a.k.a. Beast Boy) stopped her from destroying the Statue of Liberty. This brief, three-page interlude laid the groundwork for the most popular story in New Teen Titans history, “The Judas Contract,” which ran in New Teen Titans #39–40, Tales of the Teen Titans #41–44, and Tales of the Teen Titans Annual #3.

Roger Ash

TALE OF THE TEEN TRAITOR In “Judas,” Changeling stops Terra from robbing a bank and captures her the next time they meet in New Teen Titans #28 (Feb. 1983). She reveals that she is Tara Markov. Her father is a king, and he and her stepmother were kidnapped by terrorists. She and her brother, Brion, searched for them but became separated. She was eventually captured by the terrorists and forced to commit crimes, or they’d kill her parents. The Titans go after the terrorists and learn that Tara’s parents have been dead for a while and that the terrorists have been using her.

After this, Terra joins the Teen Titans, much to the delight of Changeling, as he’s become smitten with her.

Raven and Cyborg, and even a skeptical Changeling, feel Terra isn’t telling the whole truth, and they are right. She is working with Titans villain Slade Wilson, the Terminator (later known as Deathstroke). He is using Terra to learn about the Titans so he can capture them and hand them over to the criminal organization, the H.I.V.E., thus fulfilling the contract he had accepted at the death of his son, Grant Wilson, a.k.a. the Ravager.

She’s a Dirty Girl Terra’s first full-on, full-tilt appearance, The New Teen Titans vol. 1 #28 (Feb. 1983).

Cover art by George Pérez. Original cover art from the collection of David Mandel, with special thanks to Kelvin Mao. TM & © DC Comics.

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After fighting beside the Teen Titans against such villains as the Brotherhood of Evil, Brother Blood, and the Fearsome Five, Terra betrays her teammates.

During a massive battle between the Teen Titans, the Terminator, and the H.I.V.E., Terra is killed in Tales of the Teen Titans Annual #3 (1984).

LAYING THE GROUNDWORK FOR TERRA From the beginning, Tara Markov, created by writer Marv Wolfman and artist George Pérez, was meant to be a spy. According to Wolfman, the basics of the Terra story were developed in a very short time: “George and I met at a local diner, as we often did, and I pitched him the initial idea for the story and character. Together, we then came up with the rest of the storyline and characterizations. Before we left the diner that day, we had worked out most of the important parts of Terra’s evolution.

“We talked over the initial ideas, talked about playing her so that readers would naturally assume she’d become the good girl, but all along we knew who she was and what she’d do. Our biggest challenge

TM & © DC Comics.

was not falling in love with the character so we could do the story as we intended. It’s so easy to decide at the last minute to ‘save’ a character, but we knew up front that would be completely wrong.”

If Terra’s brother’s name sounds familiar, it’s because Brion Markov is better known as Geo-Force from Batman and the Outsiders. That they ended up being brother and sister was a happy accident. “I brought in Terra to DC a few hours before Mike W. Barr brought in Geo-Force for the Outsiders,” says Wolfman.

“That’s because I worked on staff and was in the office by 9:30, whereas he came in later that day. When we realized we had characters with similar powers, we decided to make them brother and sister in order not to have one of them rejected.”

In spite of her caustic personality and the suspicious signs, fans fell in love with Terra. “I have no idea why fans took to Terra, outside of the fact that we knew from day one that they’d believe she’d reform,” states Wolfman. “Also, George drew her as quirky and fun, not beautiful and sexy, which also made it work. She looked like a girl we’d want to make part of the book. Of course, we knew we were playing on reader expectations, and that we intended on turning those expectations on their head, but I never knew why, in retrospect, readers still loved her and why they ignored every bad thing she did—even after the truth was revealed.”

In an interview with Andy Mangels in Comics Interview #50 (1987), George Pérez also commented on fooling the readers: “I deliberately used all the things to make her as likable and cute as possible, so people would never believe we were going to kill a sixteen-year-old. And she was a sixteen-year-old sociopath. She was one of our cleverest gimmicks.”

When it was revealed that Terra was working with Slade, according to Wolfman, the readers “couldn’t believe it. They assumed she was working undercover and that the truth would be revealed next issue.

Even when we had her smoking and in that nightgown, they still thought we were going to reform her.

When they realized we weren’t, they cursed us.”

THE DEATH OF TERRA Reader reaction to Terra’s betrayal was nothing compared to their reaction to her death. “Some people hated us, one even sent a death threat, but most people really came to love the story,” says Wolfman.

“They loved going back over the story to see that we never lied to them. Terra was set up from day one as a villain and stayed that way. Nobody could believe what we did and they always assumed, even beyond the end, that since she was buried and that since earth was her source of power, that she’d come back, reformed, but that was never the case. Tara Markov was dead and buried forever.”

Terra’s death also affected her brother Brion.

The Titans told him that she died in battle, but kept from him the fact that she betrayed them. Batman felt Geo-Force needed to know the truth and told him in Batman and the Outsiders Annual #1 (1984). “That was

The (Psychopathic) Girl Next Door A charming 2005 portrait of Terra by George Pérez. Contributed by its owner, Steven Regina.

TM & © DC Comics.

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something that I felt was appropriate,” says writer Mike W. Barr.

“Geo-Force would have wanted to know that. Batman would not have wanted, I believe, a teammate who had his back that closely to not be fully aware of the situation.”

Reflecting on Terra in the Comics Interview #50 interview with Andy Mangels, Pérez said that he has no particular love for Terra as a character. “I loved handling her, because she was such a good idea.

But she was an idea. Not as much a person. She was there to show exactly how much their humanity can be one thing they have to be careful about, the Teen Titans have to be careful about … they can be too trusting, or their own weaknesses can be used against them.”

Looking back at “The Judas Contract,” Wolfman says that “the story was there for many reasons, but mainly to indicate to the characters that life wasn’t always going to be fair or good. That was important, especially for Changeling, who came into his own especially with his final confrontation with Deathstroke in the diner a few issues later.

“In re-reading, the story is very tight. It goes in many directions.

It introduces a new Titan, Jericho. It introduces Nightwing. It culminates

a storyline that began in Titans #1. It gives the origin of Deathstroke.

It affects all the Titans, mostly the ‘comedy relief’ character [Changeling], so it has a lot of heart. It has an awful lot of plot but is character-driven. I think all those elements, plus the surprise nature of the story, and that George and I really knew what we were doing by this point, made it something special. I’m not modest about this story. I know it worked. I just don’t understand why readers continue to love Terra even after they know she was a psychopath.”

TERRA UNEARTHED Even though Tara Markov was dead, that did not mean it was the end of Terra.

In New Titans #79 (Sept. 1991), seven years after the death of Tara Markov, Terra returned. This Terra, Terra II, hailed from a future ruled by the despot Lord Chaos, the son of Troia/Donna Troy and Terry Long.

She is part of a group, the Team Titans, that is sent back in time by a mysterious figure to kill Donna Troy, thus preventing Lord Chaos’ rule.

Her origin is revealed in Team Titans featuring Terra #1 (Sept. 1992).

In an interesting marketing scheme, there were five versions of Team Titans #1, each featuring the origin of a different member of the team. Terra II is an unknown young woman who looks somewhat like Tara Markov. Lord Chaos implants her with Tara’s DNA, granting her similar powers to Terra I, and plants her as a spy in the Team Titans. The medical procedure will eventually kill her, but she seemingly doesn’t care as she is a loyal servant to Lord Chaos. However, she turns on her master when the mysterious leader of the Titans says he can save her. Terra II becomes a full-fledged, non-spy member of the group.

When asked about the creation of Terra II, Marv Wolfman replies, “It wasn’t my idea, but when the editor presented it to me I said I’d do it only if she wasn’t Terra but someone who was temporarily given her powers and whose mind was altered to think she was Terra. It made sense to do it if we could fool the Titans again, but this time with them being weary and grown up. But the second Terra was not Tara and was never intended to be her.” Who the young woman really was remained a mystery. When asked if he had plans to reveal her identity, Wolfman says, “Terra II was a long time ago, so I don’t remember all the plans.”

Terra II’s first solo adventure was drawn by Phil Jimenez, who would later become the artist on Team Titans. “That was one of the very first assignments I had,” says Jimenez. “I was hired because my work was so heavily influenced by George’s, and it was a Titans book, so they thought that influence might actually pay off with fans.”

Eventually, Jimenez and Jeff Jensen became co-writers on Team Titans. A number of their issues were drawn by Terry Dodson. “I met [editor] Rob Simpson at the 1993 San Diego Comic Con while drawing Mantra and afterward he hired me to draw Team Titans,” relates Dodson. “I enjoyed drawing Terra because I liked her costume and the character had a good personality. Also, this was my first ‘superhero’ comic, so I really enjoyed drawing all the characters in their costumes.”

Terra II was a strong, confident character who stood out in a book that featured, literally, hundreds of characters. Jimenez and Jensen had definite plans for her. “We would have revealed that Terra was the Earth Elemental, the ‘Swamp Thing,’ of the alternate Earth that she had come from,” says Jimenez. “We really wanted to play with her powers and personality in the way that Alan Moore had played with Swamp Thing during his famous run on that book. Mind you, we were 23 at

Bad Influence Slade Wilson, a.k.a. Deathstroke the Terminator, in a 1991 sketch by Steve Erwin, the original artist for the character’s own series which started that same year. Courtesy of Anthony Snyder (www.anthonysnyderart.com).

TM & © DC Comics.

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Fallen Friend Terra’s death revealed, from Tales of the Teen Titans Annual #3 (1984). By Wolfman, Pérez, and inker Mike DeCarlo.

From the collection of Michael Lovitz.

TM & © DC Comics.

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the time, new writers, and not Alan Moore, so I’m not sure how good the payoff would have been. We were also planning for her to be a lesbian, keeping in mind that we had agreed from the start that she was not the Terra of our world. She was a completely different character, so we felt it was safe to play with some of these ideas.

I think editorial decided that they wanted her to be Terra reincarnated and the alternate Earth did not exist, so all of our plans basically were thrown out the door with [the 1994 DC crossover] Zero Hour. We were essentially forced to write our book to that miniseries.”

After the Zero Hour event, Terra’s life gets much more confusing, as she joins and fights alongside a new team of Titans. In New Titans Annual #11 (1995), the Time Trapper sends a probe that tells Terra that she is actually a sleeper agent working for him! Terra destroys the probe before it reveals who she really is.

She goes to visit Tara’s tomb and finds it empty.

Marv Wolfman has strong feelings about that revelation: “Terra II was a plant, someone altered to look and act like Terra with her memory removed. She was never supposed to be Terra, but someone to fool the Titans.

The empty grave was not my idea.”

Fast forward to Titans Secret Files and Origins #2 (Oct. 2000), to the story “Who is Tara Markov?” written by Geoff Johns and Ben Raab. Terra II is in the country of Markovia with Geo-Force. She has taken a DNA test to find out who she really is. When the doctor brings in the results, she can’t bear to look and asks Geo-Force to. He tells her that she’s not Tara but, in the last panel, we see the results and know that he lied. In this issue, she also becomes involved with Titans LA, which will lead to her downfall.

In World War Three Book Three: Hell is For Heroes (June 2007), written by John Ostrander, a spin-off miniseries from DC’s 52 event, Terra II fights Black Adam alongside the Titans. Black Adam takes offense at Terra II crushing him between two boulders and responds to her attack by punching completely through her body! And Terra is dead. Again.

TERRA THE THIRD But wait! You can’t keep a good—or bad—girl down, and even before Terra II was killed, a third Terra appeared in Supergirl #12 (Jan. 2007) by Jimmy Palmiotti, Justin Gray, and Amanda Conner. This Terra doesn’t look anything like the previous Terras— she’s a brunette and dresses in black and white.

She’s also set to star in a new series from DC. Writers Jimmy Palmiotti and Justin Gray are fans of Wolfman and Pérez’s Teen Titans work and bring some of that influence to the new series. “I have read all of the Terra books at one time or another and, when given this assignment, I took everything that had come before and mixed it up and poured it into the new series,” says Palmiotti. “But at the same time we were hired to do a new take on the character and introduce a totally new version of her.

I respect what came before, but this new character is more custom-made for the artist, like what Marv did for George.”

Gray adds that “knowing the history of Terra allowed us to interweave some of the more important elements of her history and build on it in some unexpected ways.”

According to Palmiotti, “Amanda and I worked together on the new suit and look of the character and took into consideration that we have to stay loyal to the terrain from which the character originated and

Terra, Take 2

also make the character look modern at the same time.

Along with [colorist] Paul Mounts, we tried a number of combinations and looks till we were happy with what we got.”

When asked if this new Terra is related to the other Terras, Palmiotti responds, “There is a relation that goes very deep into the origins and what has come before, and we plan to explain it fast and simple and to the point where people will either think it’s cool or want to kill us.”

“The hard and fast rule is that Terra is and always behaves as a selfless heroine, which stands in contrast to some of the direction superheroes have been taking,” says Gray. “She’s still young, sheltered, and somewhat innocent, and I think you need characters like that in a universe that represents a certain cynical darkness.”

“The book is Amanda Conner all the way, and we are there to just set her up and let her run,” concludes Palmiotti. “It’s an artist’s book, and Amanda is able to flesh out our ideas and give them life.”

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The second Terra with her teammates on the Phil Jimenezdrawn cover to Team Titans #7 (Apr. 1993). Courtesy of Michael Lovitz.

TM & © DC Comics.

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Terra didn’t only conquer comics, she also appeared on TV in an adaptation of “The Judas Contract” that ran as part of the Teen Titans animated series. Writer Amy Wolfram was tapped to write most of the cartoon stories featuring Terra.

A difference between the animated Terra and the original Tara Markov is that while Tara is shown as evil, the animated Terra is shown more as someone who’s confused and trying to find her way. “I think had she had the proper training, had she had the proper friends, had she had the proper guidance, she could have gone a different way,” says Wolfram. “I think she never really understood her powers. In our version, that was her main thing. She never understood how to control this power she had and went to the wrong person [Slade] to find out how to do it.

“We had to adapt a lot of ‘The Judas Contract’ to a six- to ten-year-old audience. I think that’s another reason why our Terra couldn’t be as mean and as evil as the Terra in the comic books. For a younger audience, that’s too scary. That was a big challenge.

We tried to take as much of the story as we could and adapt it for our characters and for our audience.”

Like her comic-book namesake, Terra died and eventually returned—or did she? In the Season Five finale, “Things Change,” Beast Boy sees a girl who looks like Terra. At the end of the episode, it’s left unclear if the girl is Terra or not. When asked her opinion, Wolfram replies, “I don’t give my opinion about that.

Honestly, I wanted it to be even more vague. I wanted that to be something that the fans made up for themselves. And in the script, she is not called Terra.

That character’s name is Schoolgirl. The name Terra never appears in the script except in dialogue.”

There’s also a new animated version of The Judas Contract on the way that’s co-written by Marv Wolfman, who reveals, “It’s fairly close to the original, with changes made for the medium and for time.

We’re taking a year-and-a-half storyline and bringing it down to 72 minutes, but I think we actually did a really solid job with it. I’m very pleased with the script.”

Whether she’s a comic-book character or an animated character, Terra seems to fire the imaginations of both fans and creators. As long as this is the case, who knows what the future may hold?

Teen Terra Go! (right) The animated version of Terra in a 2005 sketch by Todd Nauck. From the collection of Laura McCullough.

TM & © DC Comics.

All quotes in this article from George Pérez are from an interview conducted

by Andy Mangels that appeared in Comics Interview #50. The quotes are used with the permission of Mr. Mangels. Thanks, Andy! Also, special thanks to KC Carlson and Alex Segura for their assistance with this article.

ROGER ASH lives in Wisconsin, where he’s worked for Westfield Comics since 1988. After doing over 100 interviews with comics professionals, he decided to try his hand at freelancing and has written for TwoMorrows since 2006.

She’s Got the Whole World in Her Hands (left) Wow! Cover artwork to the forthcoming Terra #1, by penciler Amanda Conner, inker Jimmy Palmiotti, and colorist Paul Mounts. Special thanks to DC Comics’ Alex Segura for the scan.

TM & © DC Comics.

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®

by

Michael Browning

The early 1980s were a much simpler time.

Prior to 1983, superheroes didn’t kill supervillains.

It just didn’t happen.

In the four-color world of comics, villains were the only ones who killed. Superman never used lethal force, Batman simply outsmarted everyone, and Wonder Woman never took a life, although she was a warrior before coming to man’s world.

During the Silver Age, Captain America, despite having been a soldier, was never shown killing a foe— and taking the life of his arch-nemesis was something Flash fans thought they’d never see.

But in The Flash #323 (July 1983), all that would change. In that very issue, Prof. Zoom, the ReverseFlash, led Barry (Flash) Allen on a chase that ended the next issue with the race suddenly coming to an unexpected end. To be exact, it would be Prof. Zoom’s end. And nothing would ever be the same in the Flash’s world again.

Poor Barry Allen—who had suffered the loss of his wife Iris’ life at the hands of the Reverse-Flash back in issue #275, and was about to see his new fiancée, Fiona Webb, slain on their wedding day in the same way—was the man responsible for Zoom’s death.

He wasn’t going to just let Zoom kill Fiona, so he turned on the speed, caught up with the evil Prof., and grabbed him around the neck in a simple chokehold. But the end results shocked the world.

THE FASTEST MANSLAUGHTER ALIVE Flash writer Cary Bates says he came up with the idea to have Flash kill Prof. Zoom. Editor Ernie Colón signed off on the suggestion and, from that point, everything started rolling downhill fast for the Flash.

“As I recall, Ernie was all for it,” Bates writes in a recent interview done via e-mail. “As someone who came to Flash without much experience editing superhero titles, he wasn’t encumbered by a lot of the baggage other editors might have brought to a DC icon and he encouraged me to break as many of the usual rules as we could get away with. I never got any flak from the higher-ups; whether this was because they were staying away or because Ernie ran interference, I don’t know.

“By this point, Ernie and I were totally committed to Flash being forced to take a human life. And the fact that Zoom was trying to repeat history by killing Barry’s current significant other just like he killed Iris was the icing on the cake, in a homicidal maniac kind of way.”

Cuffed Crusader The Scarlet Speedster, arrested for manslaughter! Detail from the Carmine Infantino and Gary Martin cover to The Flash #326 (Oct. 1983). Unless otherwise noted, all art in this article is courtesy of Michael Browning.

TM & © DC Comics.

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Bates says the Flash/Zoom feud went back two decades and had to come to a shocking conclusion.

“Go back to the first few John Broome Zoom stories,” Bates says. “I still maintain there was an undercurrent there that sowed the seeds for an ongoing Flash vs. R-Flash conflict that would one day inevitably lead to a battle to the death.

I recall being motivated by certain aspects of Broome’s characterization of Zoom that hinted he had some sort of obsession with Iris.”

Zoom had tried to win Iris Allen’s love several times and, after realizing he could never have her, he vibrated his hand into her brain, killing her instantly. The death of his beloved wife nearly drove Barry Allen mad.

Fans, too: Iris was a strong female character and a fan favorite. Now, in a shocking turn of events, she had been killed by Prof. Zoom.

The cover to Flash #323 hinted that something bad was going to happen: Maybe readers were blinded by the racing speed of the two foes. Maybe they just never thought the Flash was capable of taking a life.

They never saw the ending coming. “You had Flash kill Professor Zoom! The Flash is no longer a hero; heroes don’t kill,” wrote reader Jeff Peckham in a letter published in Flash #328.

Reader Scott Bierworth commented in the same issue, “Well, Flash is a murderer now. It was an accident, wasn’t it?”

Flash wasn’t charged with murder, but he was jailed for manslaughter.

Bates says he never received any opposition to Flash killing Reverse-Flash from the head honchos at DC. “Back in those days, the fate of any Flash villain was the sole call of the Flash editor, just as Green Lantern’s villains were the sole domain of the GL editor, et cetera,” Bates says. “Unlike Superman and Batman, who were both appearing extensively in other media, DC’s secondtier characters rarely faced the same kind of front-office scrutiny as the big guys, which precluded anyone from killing higher-profile villains like Penguin or Brainiac, for example.”

Bates was working with one of the original co-creators of the Silver Age Flash, Carmine Infantino, who did some of his best work on the Death of Reverse-Flash/ Trial of the Flash storyline. Colón says he and Bates had to get Infantino motivated to draw the Flash because, at that time, Infantino regarded the work as just another job. Infantino says that it was true that he wasn’t very happy working on a monthly book again, but he still got a little involved in the plotting of the storyline.

While Infantino admits that his recollections of the storyline are few, he recalls objecting to the Flash killing Reverse-Flash.

“There should never have been any killing,” Infantino says. “With that, comics took a step where they shouldn’t have gone, I think. I remember they threw Flash in jail for awhile. I think they ruined the [Flash] character. I was strictly the artist, but I did complain to Julie [Schwartz, original Flash editor] and said, ‘I don’t think this is a very good idea.’ It was just another job at that point and I didn’t want to do it.

Joe Orlando stepped in and said he wanted me to do it. It got tiresome toward the end. They were dragging it out too long. I didn’t like the idea of him killing the Reverse-Flash or the trial for him killing the guy.

I didn’t think it was a comic book anymore. I don’t know what the hell they were trying to do. I’d like to think there was some other way for Flash to stop Reverse-Flash without killing him. By the end, I was really tired of it and didn’t want to do it anymore.”

Editor Ernie Colón fondly remembers being The Flash’s editor for “one year, two weeks, and three days.”

Before Zoom’s Doom...

Little did monitor duty-ing JLAers Firestorm and Wonder Woman know that the Fastest Man Alive was racing toward chaos on this opening splash to Flash #323. From the Michael Browning collection.

TM & © DC Comics.

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Running into Trouble This page and previous: Detail from the original Carmine Infantino/Rodin Rodriguez cover art to The Flash #323 (July 1983), with the Flash (left) and the Reverse-Flash racing toward their final conflict. From the collection of Michael Browning.

TM & © DC Comics.

The Flash Kills!

THE FLASH ON TRIAL The Flash was arrested in Flash #326 (Oct. 1983), and in the following issue was brought before the entire Justice League of America, because, like Jeff Peckham wrote in his letter, “heroes don’t kill.” But Superman cast the deciding vote that allowed Flash to retain his membership in the JLA. In Flash #340 (Dec. 1984), the title character was put on trial for the death of Prof. Zoom. Things looked bad for the Flash … and they were about to get worse.

After the trial began, Flash learned his defense lawyer held a grudge against him because of the death of her father. He also had to witness his sidekick and

When this cover to Flash #324 hit the stands in 1983, the concept of a superhero who kills was largely foreign to readers of the day.

TM & © DC Comics.

sidebar

He says the killing of Prof. Zoom at the hands of the Flash was a way to humanize the hero and prevent him from being another clone of Superman.

“I didn’t know much about the Flash and I wasn’t then and I am not now a comics reader,” Colón says.

“I didn’t like superheroes. But, the Flash was an interesting character because I felt that, essentially, most superhero characters wind up being Superman in one way or another. The Flash can whirl around so quickly that, in one issue, he went through a wall.

Essentially, he started to be more and more like Superman, so I wanted to humanize him a little bit.

I told Carmine and Cary that if a guy really went by a street that fast going after a criminal, the air that he left behind would be practically a vacuum and he might knock over people and hurt them. So, we did that and, in one issue, we had him knock over some poor guy who broke his arm. It gave him a little more human error.

Cary and I had a lot of story conferences. I thought he was a very effective writer in that he could really handle different kinds of stories and different kinds of characters.

I think he’s one of the best in the business and one of the most underrated. Very much so.”

Reverse-Flash Appearances Prof. Zoom, the Reverse-Flash, appeared in the following DC issues:

TM & © DC Comics.

Flash #139 (Sept. 1963) Flash #147 (Sept. 1964) Flash #153 (June 1965) Flash #165 (Nov. 1966) Flash #175 (Dec. 1967) Flash #225 (Jan.–Feb. 1974) Flash #233 (May 1975) Flash #237 (Nov. 1975) Secret Society of Super-Villains #12 (Jan. 1978)– 15 (June–July 1978) Cancelled Comic Cavalcade #2 (Fall 1978) (Secret Society of Super-Villains story)

DC Comics Presents #1 (July–Aug. 1978)– 2 (Sept.–Oct. 1978) Justice League of America #166 (May 1979)– 168 (July 1979) Flash #275 (July 1979) Flash #281 (Jan. 1980)– 283 (Mar. 1980) Flash #321 (May 1983)– 325 (Sept. 1983) Life Story of the Flash (1997)

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biggest fan, Kid Flash, testify that he believed the Flash could have stopped Zoom without killing him.

“Once I decided Flash would be up for murder, this was one of the first story beats I came up with was the drama of having Kid Flash forced to turn against his own and be a witness for the prosecution,” Bates says.

In Flash #347, what seemed to be the ghost of the Reverse-Flash appeared and the jury argued over a verdict. Flash #348 saw the jury hand down a verdict of guilty and the Flash was thrown back in jail to await sentencing. But because of a time-travel problem caused by Reverse-Flash’s death occuring 500 years before he was even born, a mysterious time traveler entered the body of juror Nathan Newbury and helped the jury to acquit the Flash of manslaughter in Flash #349.

By the time all this was happening, DC Comics’ Crisis on Infinite Earths had reached issue #6. Readers of Crisis saw the ominous signs on the wall that Flash was indeed going to die in the universe-changing maxiseries. But, as they say, there’s always a calm before the storm...

Shattered Lives Page 3 of Flash #324 rewound the previous issue’s events for the reader’s benefit.

TM & © DC Comics.

Flash #350 (Oct. 1985) wrapped up the series in grand fashion with the Flash discovering that Iris— the wife he thought dead, who had actually been pulled back to the future whence she came by her parents at the exact moment of her “death”—had inhabited the body of juror Nathan Newbury and steered the jury to a verdict of not guilty. Flash discovered that it was really Abra Kadabra impersonating ReverseFlash and our hero engaged in a final confrontation with his entire Rogues’ Gallery and Kadabra, a battle he won.

Barry Allen had gone through enough in the 20th century, so he decided to relocate to the future with Iris. Their happiness, though, was short-lived, as Flash was soon pulled into the Crisis on Infinite Earths and, as has been said countless times, the rest is history.

The Flash died in Crisis #8.

Bates brought all of the Flash’s Rogues’ Gallery into the fray during the trial because he knew the series was about to end and wanted to go out with a bang.

“Since things were wrapping up for good (at least as far as I was involved) I’m sure I was trying to touch all the bases I could in terms of cameos and guest stars,” Bates says. “I guess I always had a thing for Abra, dating back to that first classic Flash cover where he was introduced (it showed an Abra Kadabra poster pointing his wand at Flash to turn him into a wooden

The Flash is All Thumbs The Carmine Infantino/Mike DeCarlo cover to Flash #327 (Nov. 1983), with the Justice League of America deciding upon the fate of fellow member Flash.

TM & © DC Comics.

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Wally West Under Oath Kid Flash testifies against his running mate in this shocking last page (page 23) to Flash #344 (May 1985).

TM & © DC Comics.

puppet). And in terms of final guest-star appearances, I was purposely saving Iris for last.”

Had Flash not been a dead man running, would Bates have kept him together with Fiona Webb, his fiancée who had a nervous breakdown over being stood up at the altar?

“I may have conceived Fiona Webb as a new love interest with long-range potential well before Flash received his real world death-sentence. Fiona could have well become Barry’s permanent love interest had it not been for the Crisis superseding the outcome of the trial,” Bates says. “Once his death was sealed, I felt an eventual reunion between Barry and Iris was the only way to go. I don’t know when it all fell into place for me, but it was a conscious effort to go full circle, using the 1971 revelation that Iris was from the 30th century as the keystone that would end up serving a crucial function in the final resolution of the book.”

Although fans were led to believe that Reverse-Flash had returned in the final issues, it really was another villain, Abra Kadabra, that was impersonating the deceased Prof. Zoom.

Bates says he never even considered bringing Zoom back from the dead, despite the fact that he’s a time traveler.

“By that time he had played such a major role in the events of Flash’s life, I suppose I didn’t want to risk overexposure,” Bates says.

Did anyone at DC want the Flash to live long and prosper in the future with Iris? “[Crisis writer] Marv Wolfman has gone on record saying he objected to the decision to kill Barry, so I can only assume the rationale for the decision came from the top,” Bates says.

“I imagine both Paul Levitz and Jenette Kahn must have signed off on it.”

After the series ended, Bates went on to other assignments, while the Flash met his fate in the Crisis, then returned with a different person wearing the crimson costume. Wally West took over for his uncle in a new series that spun out of the 1986 Legends miniseries. The new Flash series was written by Nexus writer Mike Baron and penciled by Jackson “Butch” Guice.

Bates says he was satisfied with Barry Allen’s final effort to save the world.

“All things considered, I thought Marv did a decent job of carrying out DC’s wishes by making sure Barry had an appropriately heroic death. As proof of that, people are still talking about Barry Allen and his sacrifice to this day, but rarely do we ever hear any discussions about the Crisis’ other casualty, the Kara Zor-El Supergirl,” Bates says.

Looking back on how he wrote the Trial of the Flash storyline, Cary Bates says he wouldn’t mind going back and changing some of the legal issues which attorney and Comics Buyer’s Guide columnist Bob Ingersoll picked apart in his column, “The Law is a Ass.” “This is one of my major regrets,” Bates admits. “If I were doing this all over again, I would’ve invested more time in researching the legal aspects. Not to get too morbid here, but had there been a Court TV network back in the ’80s examining a capital murder trial day after day with the same scrutiny as the O. J. Simpson case, many aspects of the Flash trial would have been presented in a more realistic manner.”

The trial lasted a lot longer than some fans’ patience, and many Flash readers complained the story was dragging along too slowly.

Back from the Dead?

This surprise return of the deceased Reverse-Flash in Flash #346 had readers scratching their heads. Art by Infantino and Frank McLaughlin.

TM & © DC Comics.

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“As I’ve stated in other interviews,” Bates says, “early in the trial arc, the decision came down from the powers-that-be that Flash would die in the Crisis on Infinite Earths crossover. Because Flash was history as of issue #350 no matter what, no one instructed me to do anything, leaving it entirely up to me as to how to finish out the book. This may have been in deference to my 15-year run, longevity on a title pretty much unheard of, even in those days.

So, rather than wrap up the trial and embark on a new truncated storyline with a forgone conclusion, I decided to explore more aspects of the trial and subsequent events in much more detail than I originally intended.

“Some months were easier than others; there were those issues where plot elements seemed to be practically writing themselves, but there were other times when I was really sweating to make sure everything came together. I always intended for there to be a Flash trial. It was the duration of the storyline that changed. While it’s no secret the fan reaction (to the trial’s length in particular) was sharply divided, the people who hated it really hated it. On the other hand, I’ve read also blogs and articles over the years talking about it being ahead of its time, and one of DC’s earliest and most audacious long-form story arcs. Some fans have even asked for it to be collected in a TPB, though I doubt that would be happening anytime soon.”

SAVING FACE After 15 years as writer of The Flash, Bates was looking for a change of direction for the Scarlet Speedster.

When Flash suffered a severe beating at the hands of Big Sir in issues #341 and 342, Bates added a unique plot twist: The Flash was taken to Gorilla City and surgically given a totally new face.

“Barry Allen taking on a new face and completely changing his civilian identity while remaining Flash would’ve certainly spun the book in an entirely new direction,” Bates says. “I dimly recall toying with the idea of using the new face as the jumping off point for a ‘Flash retcon’ of sorts, since a lot of the criticism the book was getting at the time was directed at ‘Barry Allen.’ This would’ve been analogous to the character starting his life over (at least the civilian half of it) to the same radical extreme as someone who ends up in a government witness-protection program.

There was probably a discussion with Marv, letting him know I’d be leaving Barry (with his new face) in the 30th century with Iris, enjoying his extremely abbreviated ‘happy ever after.’”

The new look for Barry Allen allowed Flash to keep his identity secret when his lawyer, Cecile Horton, decided to unmask him in court, and helped make sure no one in the general public knew who the Scarlet Speedster really was.

THE LAST DAYS OF THE FLASH Slipping sales were partly to blame for the decision to kill the Flash, both as a series and as a character.

Sales on The Flash only got worse as the trial storyline dragged on. According to the first edition of The Standard Catalog of Comic Books published in 2002, circulation statements on Flash #275, the issue in which Iris was killed, the series was selling 102,297 copies a month. By Flash #317, sales had declined to 72,771, a dismal number in those days. The circulation numbers held steady until #329 when they dropped to 69,881, which is where they stood when the trial began in #340. The Standard Catalog says Capitol City, one of the top comics distributors to the direct market at that time, listed orders for 4,750 for Flash #345, 4,900 for #346, 5,300 for #347, 5,600 for #348, 5,950 for #349, and 13,300 for the final issue, #350.

Former DC editor Bob Greenberger, who had just started work at DC when the Trial of the Flash storyline was in full swing, vividly recalls the storyline and how people felt about the direction in which the Flash was headed.

“After Mike Barr left staff as an editor (and following Ernie Colón’s departure as editor of The Flash with #328), Cary Bates became writer/editor in recognition of his tenure and following a growing trend to rely on writer/editors to spread the editorial workload.

Cary may have been a part of DC’s firmament since the late 1960s, but he’d never been a staff editor and therefore, may not have been properly prepared to edit the title given the changes in the marketplace and readership, which were occurring at the same time.

As a result, he began his mega-serial comfortable with the dramatic possibilities but he was working in a vacuum.

DC’s sales and marketing were evolving at that point with recognition that the direct-sales channel as an increasingly important percentage of sales. It also meant the myriad distributors and fan magazines had louder voices than before and to them, a lengthy

Guilty!

TM & © DC Comics.

A stone-faced jury delivers the verdict of the Flash trial on page 23 of Flash #348, drawn by Infantino and McLaughlin.

TM & © DC Comics.

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serial like this didn’t seem a smart move. However, passing on editorial comments like this did not happen with any regularity at that point within the halls, so Cary blithely wrote on, unaware he was helping seal the Speedster’s doom.

“When I joined staff in January 1984, the storyline had already begun with Flash #323. I had been a longtime reader of the series and personally wasn’t thrilled with the trial. Killing Prof. Zoom may have seemed a ‘just’ reaction to his killing Iris but I thought heroes shouldn’t kill—not with all the high-tech options to make sure Zoom could never harm another soul. It was an isolated incident that didn’t seem to resonate well with fans or colleagues. As I got to know my colleagues, it was clear no one was enjoying the seemingly endless story, either. Now, I got there as issue #331, or so, was going on sale, meaning this was nearing its first anniversary. Cary had already plotted out several more issues of twists and turns but shared the details only with executive editor Dick Giordano.

The general consensus seemed to be that a book about the Fastest Man Alive should, you know, feature superspeed derring-do, not a lengthy courtroom case.

“As Cary was going his way and sales began to tank, I was meeting regularly with Len Wein and Marv Wolfman plotting out the Crisis on Infinite Earths.

Among our many tasks was figuring out which dramatic changes needed to be made, and that of course meant death. We drafted a Death List and on it, because of the poor sales and Len’s particular dislike of the storyline, was Barry Allen. Now, it was also argued that this event was bringing down the curtain on the Silver Age, so it also meant killing the recognized first hero of that era made dramatic sense. Dick and publisher Jenette Kahn accepted the logic, especially since both Jay Garrick and Wally West were going to survive the event. If we really needed a Flash, either could fill the role. At the time his death was approved, no firm plan for succession had been decided.

Given that Supergirl and Flash were the biggest names on the approved list, Dick decided to deliver the news to Cary and editor Julie Schwartz at the same time.

He explained all the rationale including the Speedster’s sliding sales numbers. We had already looked at the production schedules and noted that issue #350 would have to wrap everything up, ending on a nice round number. Of course, that also meant a trial that began in issue #322 would wrap up more than two years later, which didn’t sit well with anyone, but everyone also felt if Flash was going to die, let Cary take the time to wrap things up his way. Cary and Julie took the news stoically although it was also clear neither man was happy with the idea that characters they guided were going to be offed.”

Dick Giordano, then DC Comics’ vice president/ executive editor, says he heard several complaints about the storyline, but never understood why people

were so upset. “In most of the letters that I read and in speaking with fans at convention and the like, the complaint I heard most often was that it wasn’t enough story for 28 issues,” Giordano says. “I know there wasn’t as much action, but that isn’t story.

I’m not sure what they missed.”

Giordano has vague memories of the storyline, but recalls that when he okayed it, the Flash was not yet set to die in Crisis. “My memory of the story is almost non-existent,” Giordano says. “I did not initiate the storyline but did green-light it. At its onset, we had not set a particular number of issues in which to tell the tale and we did not know at the time that the Flash would be killed in Crisis. I was not the editor of that title and so was not personally involved with the

A Face Only a Mudda Could Love Barry (Flash) Allen’s face, beaten to a pulp! Carmine Infantino/Frank McLaughlin page 23 from Flash #341 (Jan. 1985).

TM & © DC Comics.

Nip/Tuck Writer Cary Bates and artist Carmine Infantino always knew how to keep the readers hanging—especially with this suspenseful last-page cliffhanger. Flash #345, page 23, the big reveal: Barry Allen’s new face!

TM & © DC Comics.

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day-to-days. I did not read all the issues and so didn’t know all the plot points even at that time. We did know from diminishing sales that if we didn’t resurrect the character, it would eventually fade into the sunset. I put a professional writer and one of my favorite artists on it and let them do the work. In hindsight, I could have taken more time in monitoring what was being done, but I doubt that I would have been able to make a significant difference in the end result. My only excuse for not being more involved in the adventures of the character is that I was up to my ears in new projects at DC and didn’t always keep tabs on the old.”

Cary Bates says he didn’t take the news that he was losing the Flash too well and further news that Superman was being taken away from him made it worse. Bates’ reaction to Giordano’s news was “not good. Compounded by the fact this was around the same time I found out they would be passing off Superman, which I had been writing for almost 20 years by that point, to John Byrne.

“It was uncomfortable, no doubt about it. As I recall, the meeting was a ‘twofer’; the Supergirl writer and editor were there as well.

Dick told both creative teams at the same time that Supergirl and Flash would not survive the Crisis. Ironically, the timing was the easiest part about all this, because I was given the word so far in advance.

The one thing I wasn’t allowed to do, for obvious reasons, was leak any hints (no matter how obscure) to the readers about what would be in store for Barry down the road.”

Bates says he was sad to leave a character he’d written for nearly two decades. “Sad, sure, but invigorated in a way as well.

Although Carmine and I went on to do DC’s adaptation of the V TV series for a year or so, it wasn’t long before I snagged the assignment of revitalizing Captain Atom, followed by books based on two original

characters I created, Silverblade (for DC) and Video Jack (for Epic/ Marvel).” Carmine Infantino says he knew Bates wasn’t happy about the news that Flash was going to be killed. “I know he did not like [DC] killing the Flash off,” Infantino says.

Infantino was pleased with the covers he drew on the Flash toward the end of the series.

“I did some interesting covers on that storyline. I felt they were very good,” Infantino says. “I really didn’t want to go back to The Flash. But I did some good covers. Remember the cover where he’s laying on a cot in the jail cell? Looking down on the Flash on that cover, you could feel the loneliness. When I’d do a cover, I’d read the script first, then I’d draw the cover. Some of those covers were clever.

I think my covers were more different than anybody else’s at DC.” Ernie Colón says he pushed Carmine Infantino to produce what he believes is the best work of Infantino’s career.

“I’ll tell you something really interesting about Carmine,” Colón says.

“He is a real curmudgeon like Alex Toth was. Carmine wanted the work, but he didn’t want to talk to the editors and I kept after him and telling him what I thought of his work and how we could work together on a new direction for the Flash and he went for it.

“I showed his work to Dick Giordano and I said to him, ‘Tell me this is the best work you’ve ever seen Carmine do’ and Dick said, ‘It absolutely is.’ Carmine was just terrific to work with. The stories that Cary put out were really good and we really motivated Carmine to bear down and do the best work he could. The fan reaction to Carmine’s work on The Flash was excellent. The letters we got [about Carmine’s art] were just terrific. The covers had to go through Len Wein, but I think Len was afraid of Carmine. Carmine is a tough guy and you don’t want to jerk him around. He’s a genuinely tough guy so his covers went by without much trouble. I really felt Cary and I motivated him and he was responsive to us and we had a good time with that. We were a good trio on that book. Flash was not my favorite book, but it was my favorite in the sense of improving something that needed improvement. I’m not throwing flowers at myself, but I think that when I came in, [Carmine] was asleep on that job, just going through the motions. Then, when Cary and I came into it together, I really think he responded and came out with some great, great work.”

Inker supreme Klaus Janson inked the last 16 covers that Infantino drew for The Flash as the trial kicked into high gear, and inked the covers through to the end. Janson says he was very happy to get to ink Infantino’s pencils.

“I think Carmine asked for me,” Janson says. “I had inked Carmine before on Daredevil, Howard the Duck, and The Defenders, so he was familiar with my work. This was during the time when I was doing a bit of regular work for DC, so I was up there all the time.

“I actually met Carmine way before I ever worked with him,” Janson says. “I was 16 and traveled one day to DC in the hopes of getting in on one of those office tours they occasionally did back then. Long story short: They had canceled the tours but I got in and during the visit I was introduced to Carmine in his office. We had a brief conversation and he pointed to the wall of covers behind him and asked which one I liked. I think he was testing me. So I was more than aware of who he was and his legacy. It was an extreme privilege to work with him. I just loved inking his pencils so much. His pencils lent themselves to a certain approach that I happen to like a lot.

Different artists produce different pencils and they all cannot be approached in the same manner. I would not ink Carmine the way I would ink John Buscema, for instance. So the approach that I took that I thought was best for Carmine was an approach that is particularly enjoyable and fun. I mean, I just like the way the end

Sealed with a Kiss Carmine Infantino and Frank McLaughlin draw a happilyever-after Flash #350 (Oct. 1985) last-page conclusion.

TM & © DC Comics.

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The Trial of the Flash Team (right) Flash writer Cary Bates (right rear) at a 1980s DC Comics party, with Allan Asherman (left) and Carl Gafford (center); photo courtesy of Bob Rozakis. (far right) Flash artist Carmine Infantino in a 2006 appearance at San Diego Comic-Con International; photo courtesy of Scoop. result looked. John Romita, Jr. has a bit of Carmine in him. Not a whole lot, but there is a bit of overlap and I can feel myself using a similar approach with John that I used [to ink] Carmine.

“I feel very very lucky to have worked with Carmine,” Janson says. “I hold him in very high esteem and it’s always a privilege to work with an artist who knows what they are doing. The work is very smart. When I get the chance to work with someone whose work is that well informed, it forces me to raise the level of my own artistic contribution.”

Cary Bates loved working with Carmine Infantino on The Flash.

“Carmine was always one of my favorite artists when I was just a kid reading comics in Ohio, and there’s no way in hell the 12-year-old Cary Bates would have ever dreamed he’d be writing Flash stories one day and Carmine would be drawing them,” Bates says.

“That’s why it was particularly gratifying for me when he came back to the book around 1980 or so. And because of his own incomparable history with the Flash, I’m glad he was able to revisit so many of the characters he brought to life in the Flash #300 retrospective issue.

I think over the course of the stories, especially once the trial arc took off, he may have become a bit more invested in the material, although I totally understand his comment about Flash ‘just being another job.’

This was the mindset of pretty much all the pros who came into comics from other illustration-related

Flash on the Death List The ink was barely dry on Flash #350 when Barry Allen met his demise in Crisis on Infinite Earths #8 (Nov. 1985).

TM & © DC Comics.

The Flash’s Final Run The Trial of the Flash storyline by Cary Bates and Carmine Infantino was serialized throughout these last 28 issues of the Fastest Man Alive’s title: The Flash #323 (July 1983) The Flash #324 (Aug. 1983) The Flash #325 (Sept. 1983) The Flash #326 (Oct. 1983) The Flash #327 (Nov. 1983) The Flash #328 (Dec. 1983) The Flash #329 (Jan. 1984)

The Flash #330 (Feb. 1984) The Flash #331 (Mar. 1984) The Flash #332 (Apr. 1984) The Flash #333 (May 1984) The Flash #334 (June 1984) The Flash #335 (July 1984) The Flash #336 (Aug. 1984)

The Flash #344 (Apr. 1985) The Flash #345 (May 1985) The Flash #346 (June 1985) The Flash #347 (July 1985) The Flash #348 (Aug. 1985) The Flash #349 (Sept. 1985) The Flash #350 (Oct. 1985)

The Flash #337 (Sept. 1984) The Flash #338 (Oct. 1984) The Flash #339 (Nov. 1984) The Flash #340 (Dec. 1984) The Flash #341 (Jan. 1985) The Flash #342 (Feb. 1985) The Flash #343 (Mar. 1985)

TM & © DC Comics.

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Cold Feet This Captain Cold vs.

Flash illo by Carmine Infantino and Dick Giordano was a 2006 birthday gift to Michael Browning from his wife Shauna.

TM & © DC Comics.

industries—the job was always about craft, since he was from a generation when there were no artists coming into the business as comics fans. It would be several decades before the fan community became a breeding ground for up-and-coming artists. I thought Klaus Janson’s style was a great match with Carmine’s pencils, which is why I persuaded him to ink as many Flash covers as his schedule permitted those last two years or so.”

SHOULD BARRY ALLEN RETURN? As rumors fly on the Internet, the return of Barry Allen is always a hot topic. Bates says he isn’t sure Barry Allen needs to come back from the dead.

“That’s a tough call,” Bates says. “A few years ago no one would’ve predicted Hal Jordan could ever bounce back from all that Parallax stuff and now Hal is a prominent DC hero again, so nothing is impossible or undoable, especially in comics. But if Barry were ever to come back, his return and re-emergence would have to be done with great care and ingenuity. And regardless, it would no doubt engender both positive and negative reactions from the fans.”

Bates says Wally West becoming the next Flash was the “only logical way to proceed.

“In retrospect, I suppose it could be viewed as one of the first examples of DC applying the ‘legacy theory’ they’ve used so often in the years since (i.e., the idea that a superhero can live on after the original character leaves or dies, as long as there is a suitable replacement … as we’ve seen with Robin, GL, the Atom, etc.).

I haven’t followed the book since I left. I realize it may be a generational thing—and putting aside for the moment I wrote the character for 15 years—just as Sean Connery will always be the definitive James Bond, for me Barry Allen will always be the definitive Flash.”

Bob Greenberger says he believes bringing Barry Allen back is a bad idea.

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“Bringing Barry back is a bad, bad idea because it’s the last real remnant of the original Crisis,” Greenberger says. “Everyone reveres the project and respects what it did but has systematically undermined it ever since. Barry should remain dead as a testament to the maxiseries. Flash had to die, frankly, because he began the Silver Age so dying brought down the curtain. His sales were down and there was general dissatisfaction with the creative direction and it was deemed too far gone to be successfully course corrected.”

After writing the Flash for so long, you’d think Bates would be the first pick to write the adventures of Wally West Flash. But he wasn’t, and he says it was probably time for a change on the book.

“I think by that time DC was determined to pass Flash (in the form of Wally West) on to a new creative team,” Bates says. “And after staying with one writer on the book for almost 15 years, it would be difficult to argue they weren’t justified.”

Yet Bates says he wouldn’t change much about the Silver and Bronze Age Flash’s final storyline if he were given the chance to do it all over today.

“If pressed, I would have to say I would do it all over again, although, I think it’s safe to say that, given the competition in today’s comic-book market, not to mention the influence of mainstream movies and ultra-violent video games, a hero killing a villain wouldn’t have anywhere near the same impact.”

Matewan, WV, native MICHAEL BROWNING is an award-winning newspaper editor, writer, and photographer, and is an advisor to The Overstreet Comic Book Price Guide. He’s contributed to Rolling Stone, BACK ISSUE, Comics Buyer’s Guide, Comic Book Marketplace, Rough Stuff, and Charlton Spotlight, and publishes his own fanzine, Comic Book Issues.

The Secret History of All-American Comics, Inc. The Story of M. C. Gaines’ Publishing Empire

Bob Rozakis

by

Book Two – Chapter One: The Old Order Changeth

Without Max Charles Gaines, it is unlikely that comicbook history would be what it is. From the earliest magazines collecting reprints of newspaper comic strips to the dawn of the Golden Age, and throughout the heyday of comic-book popularity in the 1940s, Charlie Gaines (as he was generally called by those who knew him) was a driving force.

At the beginning of 1945, Gaines split officially with National/DC and began issuing the adventures of Wonder Woman, the Flash, and Green Lantern, as well as Funny Stuff, Mutt & Jeff, and his favorite project, Picture Stories from the Bible, under the All-American Publications banner, with an “AA” symbol replacing the previous “DC” sigil on covers. According to a notice in the Dec. 1944 issue of Independent News, the trade publication of Independent News, the distribution company basically owned by the same folks who owned National/DC, Jack Liebowitz was officially Gaines’ co-publisher on the new AA line. [For details, see The All-Star Companion, Vol. 3.] The AA venture was short-lived, however—lasting only about eight months—and sometime in 1945 Gaines sold his company entirely to his DC partners Liebowitz and Harry Donenfeld, and soon launched EC (Educational Comics, a.k.a. Entertaining Comics) to publish Picture Stories and other, new titles.

But what if things hadn’t turned out quite that way?

Bob Rozakis, longtime writer and production director for DC Comics, has imagined a distinct version of what Alter Ego’s editor Roy Thomas likes to call “Earth-22”—combining the notions of Julius Schwartz/Gardner Fox and Catch-22 author Joseph Heller—a parallel world on which events took a different, yet quite possible, even logical turn. After all, in The Mad World of William M. Gaines (Lyle Stuart, 1972), the official biography of M. C. Gaines’ son, who became famous (and infamous) as the publisher of EC’s Tales from the Crypt, MAD, et al., author Frank Jacobs writes: “[A]ll was not roses within the new partnership, especially after Donenfeld, in one of his typically impulsive gestures, gave his half of the All-American group to his accountant, Jack Liebowitz. Suddenly, Max found himself partnered with Liebowitz, and they didn’t get along. Bill remembers that every afternoon his father would take a taxi to the uptown offices, where he, Liebowitz, and Donenfeld would scream at each other for two hours. Something had to give and that something was Max’s patience. In early 1945, he hurled out his ultimatum: ‘You buy me out or I’ll buy you out.’

They bought him out.”

But what if he had bought Donenfeld and Liebowitz out, instead?

In this opening installment of Book Two of a new series which is being divided between the pages of BACK ISSUE and its TwoMorrows big-sister mag Alter Ego, the author explores an alternate reality and reveals—

The Adventures of Green Lantern When He Was a Boy Young Alan Scott’s adventures became a part of the Green Lantern legend in the late 1940s, thanks to editor Mort Weisinger, and Kid Lantern’s solo tales appeared well into the 1970s. Art on this 1960s cover by Curt Swan and longtime AA inker Shane Foley. (Logos and characters in this fantasy history are © or based upon characters © DC Comics.)

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Ted and Bob (left) Ted Skimmer and Bob Rozakis, circa 1973. Neither can remember what they were dressed up for, “but it was probably a company luncheon of some sort,” says Bob. I first met Ted P. Skimmer when I started working at AA in 1973. At the time, Ted’s duties straddled the production and editorial areas … he worked in the film library and the stat room, but he also was the backup proofreader and unofficial researcher. In the latter role, he had custody of the AA library, bound volumes of all the books the company had published, going all the way back to the very first DC books in the ’30s.

Ted’s tenure at AA began in 1944. Seventeen years old at the time, too young for the draft, he’d been hired as a fill-in assistant for “just a couple of weeks.”

Thirty years later, he would joke, “I keep wondering when the weekend is coming.”

Over the years, Ted taught himself the skills that would earn him freelance money: coloring and lettering.

“The coloring came first. Some artwork got lost and they had to slot in a replacement story, but there were no color guides for it. They were going to print it in black-andwhite, but I grabbed a set of silver prints and some dyes and in about an hour and a half had a set of color guides.

It was only a six-page story and, frankly, looking back at it now, it was some pretty ugly coloring. But at least there was something.”

After that, Ted got a story from time to time. “Mostly it was last-minute, emergency jobs. They had me doing them on staff time, so they didn’t have to pay me extra.”

The lettering came later. “Lettering looks a lot easier, but it’s really a pain in the ass. First you’ve got to rule in all the lines, then you letter in the words, draw the balloons, and erase all the pencil lines. There’s a more immediate turnaround needed, though, so if you can bat out a few pages overnight, it keeps an inker or two busy the next day.”

Ted Skimmer worked on staff at AA until 1997. He continues to do an occasional coloring job, but his hands are too unsteady to allow him to do lettering any more. “I could never figure out that computerized stuff, anyway,” he says. To his delight, he was asked to recolor that first six-pager he’d done. “They were reprinting it in one of the Archive books and one of the kids thought it would be appropriate. I didn’t want to change it too much since those books are supposed to be faithful reproductions of the originals, but I did tone down some of the garish solid colors.”

Ted had a front-row seat to more than fifty years of the company’s history and was happy to share it with me … and you.

– Bob Rozakis

A SCHIFF IN POWER Looking back at the history of AA, a lot has been said about 1970, when Mort Weisinger retired, because it was the first major shift in the editorial department in more than fifteen years. But that was just the beginning of changes. By the end of the ’60s, Charlie had handed over virtually all the day-to-day control of the company to Bill and the younger Gaines was determined to put his own stamp on what was coming out.

But the departure of Weisinger and the splitting up of the Green Lantern books was just the first step in Bill’s overhaul of the company.

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Green Lantern in the PostWeisinger Era The retirement of Mort Weisinger in 1970 resulted in the splitting up of his Green Lantern “family” of titles.

(More on that in an upcoming issue of Alter Ego.) Julie Schwartz, who had last handled the Emerald Warrior in the late 1940s, regained control of GL’s magazine (opposite page); cover art by Gil Kane and Shane Foley. Green Lantern also took a permanent spot in the Murray Boltinoffedited Brave and the Bold, teaming up with different heroes in each issue.

Foley inked relative newcover Neal Adams on this cover.

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We were all quite aware that Bill did not like Mort and that animosity dated back to the early ’50s. Far less obvious was Bill’s growing dissatisfaction with Jack Schiff and, to a lesser extent, Bob Kanigher. As the Marvel books were growing more popular and eating into their market share during the ’60s, AA’s editors remained oblivious to the changes in the market and their audience.

Mort in particular would insist that the majority of the readership was boys ages 10 to 14 and that was one of the reasons he would recycle plots. Schiff’s approach was not dissimilar; his books were cookie-cutter copies of one another.

You could put a 1960 issue of Weird Science next to a 1970 issue and not be able to tell the difference.

Your Two Favorite Heroes Together A reduction in price and page count in 1954 resulted in the Flash and Green Lantern teaming up instead of starring in separate stories.

Except for a brief period in the 1970s when Flash co-starred with other heroes, the two mainstays of the AA Universe shared top billing in Comic Cavalcade for more than thirty years. Cover by Adams and Foley.

Kanigher was churning out war stories by the dozen that were distinguishable only by which of his “battle stars”—Sgt. Rock, Johnny Cloud, Captain Storm, Gunner and Sarge—had the lead. He was also showing a total lack of interest in Wonder Woman, whose sales had been dropping steadily throughout the decade, and seemed to be reinventing her every six months or so. I think he retold her origin three times in the space of a year and except for her being made out of a lump of clay, nothing much else was the same. There was no continuity at all; in one issue Diana Prince was in the Air Force, in the next she was a nurse, and then she would not exist at all.

Bill studied the Marvel books and saw how different they looked from all the AA titles. There was one editorial meeting in the late ’60s where he brought in a pile of their competitors’ books and threw them on the table. “What is it about these books that makes them sell better than ours?” he challenged the editors.

One of the editors said, “Who says they do?”

Bill pulled out some sales charts that showed Marvel’s sales steadily climbing month by month while AA’s were declining. “Numbers don’t lie,” he said.

That was apparently enough to force the editors to look a bit more closely at the Marvel books. I think it was Schiff who pointed out, “They use a lot of red logos.”

After he said it, Murray Boltinoff started counting them.

Sure enough, there were a lot of red logos.

Julie Schwartz was the only one that actually opened the books and leafed through them. He was unimpressed with the plotting, though he did admit that the dialogue had flair.

When Bill pointed out that Marvel’s readership was skewing older than AA’s, high school kids and even college students were reading them, Mort Weisinger snorted and said, “So let them have the nerds. How big an audience can there be of kids who haven’t outgrown comic books?”

Mort Weisinger His 1970 retirement was a catalyst for change among the AA editorial staff.

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Bill looked at Charlie, who shrugged and said, “I have to agree with Mort. And even though our sales are falling while Marvel’s are growing, we are still outselling them substantially.”

So Bill let the matter drop. He chose not to argue with his father in front of the rest of the staff, but it’s pretty certain they had discussions behind closed doors. [Editor’s note: Bill Gaines was asked about this particular meeting in an interview in the late 1980s and verified most of what had been said about it. “Yes, Schiff did make a comment about the red logos and Murray did count them.

“But most people believe I didn’t argue my case more strongly because I did not want to cross my father. Actually, it was because I didn’t really have a case to argue. I was basing it all on a gut feeling.”

When he was asked about the charts he’d shown, Bill laughed. “There was no way I had any access to Marvel’s sales figures. I made those charts up!”]

Once Charlie retired, Bill assumed the role of publisher and had the opportunity to change the books in a substantial way. His first step was clearing out some of what he considered the dead wood.

Bill had a particular fondness for Weird Science and Tales from the Crypt and was upset about the way Schiff had been editing them. When Bill and Julie had created them, the stories were original and exciting.

Schiff’s version was retreads of ’50s monster movies.

Gaines had maintained a friendship with Joe Orlando, one of the artists who had worked on the books back in the ’50s. Though he had left AA in 1957 to do better-paying work for Harvey Kurtzman’s MAD magazine, Orlando still did an occasional comic book story. In 1971, Orlando was working for Jim Warren’s black-and-white Creepy and Eerie magazines, turning out material that was far more “adult” than anything AA would consider publishing.

The two of them went to lunch one afternoon and Bill had brought along copies of Crypt and Science, along with an issue of Creepy. “I like what you’re doing,” Bill said. “What would you do with these?”

Orlando flipped through the magazines and said that they didn’t have any punch to them. “Even if I couldn’t do the kind of stuff we’re doing in Creepy,” he said, “there’s still a lot more you can do here.”

“Well, how would you like to be the one to do it?” asked Bill.

Orlando was surprised. “I was thinking, ‘He can’t be serious,’” Orlando recounted in an interview. “AA’s comics were for kids. There was no way they were going to do the kind of stories we were doing at Warren. But the more we talked, the more I realized that that was exactly what Bill wanted to do.”

Following his lunch with Orlando, Gaines returned to the AA office and called his father. Charlie listened to Bill’s plan and agreed. The younger Gaines then called

Out with the Old, In with the Older…

Unhappy with the look and writing in Tales from the Crypt under Jack Schiff, Bill Gaines hired Joe Orlando to take over the editing. In addition to bringing in new (and young) writers and artists, Orlando brought back the magazine’s original logo. Cover art by Orlando and George Roussos.

The Man with a Plan Though reluctant at first to join his father’s company, in 1971 Bill Gaines had full control of AA Comics and plotted a course that made him the publisher of the best-selling comics in the world. Photo by John Putnam.

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This story has been told numerous times before and is believed to be apocryphal. However, no history of All-American and the comics industry in general can be considered complete without it.

During the late 1950s and early ’60s, Charlie Gaines and Martin Goodman were among a group of publishing industry people who played poker together. One evening, Goodman said to Gaines, “You must be doing pretty well with the superheroes. I saw that you just started a new Batman book.”

Gaines took the opportunity to gloat a bit. “Yeah, that and the Superman book are doing well for us.

But I think we’re hitting the jackpot

with our new Justice League book.

The test issues flew off the shelves.”

At the time Goodman’s Atlas Comics consisted of monster comics, Westerns, and romance books, virtually all of them written by Stan Lee. The Monday following the poker game, Goodman walked into Lee’s office and said, “AA is making a mint on their super-hero team-up book. I want you to come up with one.”

So Stan came up with the Fantastic Four, which was followed by Spider-Man, the Hulk, the X-Men, and the entire Marvel universe.

“You have to wonder,” Bill Gaines once said. “If my father hadn’t played poker with Goodman, where would comics be today?”

Joe Orlando After working for AA in the early 1950s, Joe Orlando spent a number of years as a regular artist for Harvey Kurtzman’s MAD. By 1970, he had returned to drawing horror stories for Jim Warren’s Creepy and Eerie magazines.

Orlando and made him a firm offer, which Joe accepted.

Later that afternoon, Gaines called Schiff into his office. “I’m reshuffling some titles,” he told the editor.

He explained that Joe Orlando would be joining the company and would be taking over Tales from the Crypt, Weird Science, Strange Adventures, and Mystery in Space. “And we’re canceling the romance books; they’re not selling.”

Schiff seemed puzzled, since Bill had just talked about his entire workload. “Okay, so which titles will I be taking over?”

“None of them.”

And that was how Jack Schiff “retired.”

DO YOU DARE ENTER…?

The rejuvenation of AA’s horror titles was the company’s first step in taking back the audience it was losing to Marvel. In the first month that he was at the company, Joe Orlando brought in a variety of new talent. He started buying scripts from writer Archie Goodwin, who was a regular contributor to the Warren books, along with Denny O’Neil and Steve Skeates, who were writing for Charlton. He found artists like Bernie Wrightson and Mike Kaluta, whose styles reminded him of the artists who had worked on the books in the ’50s. And he got Neal Adams to be his cover artist.

“I wanted to make sure that there was no doubt at all these were not the same books any more,” Orlando said. “I even had [letterer] Ben Oda go back to doing the Leroy lettering we’d used back in the ’50s.”

An even bigger coup (and attack on Marvel’s popularity) came later in 1971.

Though Charlie Gaines had socialized with Marvel publisher Martin Goodman from time to time, Bill did

Frankenstein—1970 As he did with Tales from the Crypt, Orlando brought back the original logo on Weird Science. Instead of what Bill Gaines referred to as “re-treads of bad monster movies,” the books became a mix of science fiction and classic horror updated to 1970s tastes.

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not have any direct contact with anyone at the competition. At least, not contact that anyone was aware of.

In 1965, Roy Thomas came to New York to take a job as assistant to Mort Weisinger.

“I’d already written a Doiby Dickles script a few months before, while still living and teaching in the St. Louis area,” Thomas recalled. “I worked at AA for eight days in late June and very early July of 1965 and then quit because I could not work with Mort.”

Bill Gaines said that he always felt AA owed Thomas something as a result. “We offered the kid a job, had him move to New York, and then put him to work with Weisinger. There isn’t a person in the industry who could honestly say that Mort was easy to work with and here we put this green kid at his mercy. After Roy quit and we rehired Bridwell, there was an office pool about how long he would last this time. But Nelson surprised everyone, even Mort, I think, and survived. I guess that, having already been fired once by Mort, Nelson felt there wasn’t much more Weisinger could do to him.”

While most of the comics industry was unaware of Thomas’ brief tenure at AA, Bill Gaines did not forget it. He and Roy had lunch together from time to time.

“That we had both been high school teachers gave us a common ground,” recounted Thomas. “One time Bill told me how his father had wanted to create a line of comic books that could be educational and used in the classroom.

Charlie told Bill to create a comic book that he, as a chemistry teacher, could get into the New York City schools. Bill came up with Weird Science!”

By 1970, Roy had become associate editor at Marvel and Bill was publisher at AA. Their lunch conversations were mostly about the industry problems both companies faced: the printing quality at Spartan Printing, the color separations being done at Chemical Color Plate, the freelancers who could not meet deadlines.

“There were some artists who were doing work on both sides of the street,” recounted Thomas. “Frank Giacoia was supposed to be inking an issue of Superman for Julie and he’d also being doing a job for us under the name Frankie Ray. Frank was never the speediest inker to begin with, so everybody would be waiting and nagging him.”

It was apparently during one of the lunches that Roy let slip how Jack Kirby had not been happy at Marvel for quite awhile. Gaines did not react immediately, but filed the information away for future exploration.

KIRBY IS COMING! It was not long after that Gaines ran into Kirby at a local comic-book show.

Gaines innocently asked, “How are things?” Kirby took the opportunity to tell him, holding nothing back.

As the Marvel line expanded through the ’60s, Stan Lee had been doing less and less plotting of the stories, leaving the work for Kirby to do: “He’ll say, ‘Doctor Doom kidnaps Sue’ and I have to fill 20 pages. Most of the time, I’m putting in the dialogue so that he will know what is going on. Yet he’s getting all the credit as the writer.”

Jack Kirby The “King” had last worked for AA Comics in the late 1950s, co-creating the Challengers of the Unknown and penciling all variety of stories, including a run on Wildcat in the back of Sensation Comics.

After more than a decade of superheroics at Marvel, Jack returned as an AA editor with a mix of incredible new ideas as well as new spins for some old concepts.

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Editorial assignments at AA in 1973 JULIUS SCHWARTZ Superman Batman Flash Comics All-Flash Justice League Green Lantern All-American Comics

ROBERT KANIGHER and JOE KUBERT Our Army at War Our Fighting Forces Star Spangled War Stories

MURRAY BOLTINOFF Kid Lantern and the Lantern Legion Comic Cavalcade GI Combat The Brave and the Bold Ghosts The Witching Hour

JOE ORLANDO Weird Science Tales from the Crypt Sensation Comics Plop!

Wonder Woman Weird Western Tales

JACK KIRBY Young Love Challengers of the Unknown Mister Miracle Kid Kamando Spirit World

E. NELSON BRIDWELL Green Lantern Family (with Schwartz and Boltinoff) 100-Page Super-Spectacular (reprints)

ROTATING EDITORS Showcase

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Gaines was well aware that the look of the Marvel line was much of what enabled their books to cut into AA’s market share, along with holding onto an audience that had supposedly aged out of the market. And that look was the direct result of Kirby’s work. To be able to claim that energy for AA would be a major coup.

“I understand what you’re saying,” Bill told him. “I think you deserve more credit. That said, if you have some new ideas, some things you want to be yours, I’d like to see them.”

Kirby did indeed have some ideas, what he felt would be groundbreaking material in the comics medium. He told Gaines that he had tried more than once to get Stan to let him do his own material, but Lee had cajoled him into continuing on the books they’d been doing for years.

“Well,” Gaines told him, “if you are serious about this, then I have a place for you. Tie up your loose ends with Marvel and call me to let me know when you’re coming.”

Gaines later confessed that he did not expect anything to come of this meeting. “I thought Jack just needed to blow off steam. He was as key an element to Marvel’s success as Stan and I didn’t think there was any way they’d let him walk. But maybe they thought he was bluffing and by the time they figured out he wasn’t, he was out the door.” So it must have come as a surprise to Gaines a week later when Kirby called to say he would be arriving the following Monday and would appreciate an office with a drawing board in it.

A week later, Kirby was an editor at All-American.

A NOT-SO-AVERAGE JOE

No Flash in the Pan The longest-running title in the All-American lineup, Flash Comics, has starred the Fastest Man Alive for 68 years! The backup slot, held for many years by Hawkman, has featured many other AA superheroes, including Stretch Bando, the Plastic Policeman. This 1972 cover was penciled by Dick Giordano and inked by stalwart Shane Foley.

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The final piece that Gaines wanted to lock into his new-look AA picture was Joe Kubert. Just as Jack Kirby was the visual lynchpin of Marvel’s superhero comics, Kubert was the key to AA’s lucrative line of war comics. Though Kubert did some superhero books early in his career, notably The Flash and “Hawkman” in the late 1940s, and had been tapped as the artist for Julie Schwartz’s revival of Aquaman (later to be replaced by Murphy Anderson when the character got his own title), it was in Kanigher’s war books that the artist excelled.

Kubert was the definitive artist on “Sgt. Rock”, the lead feature in Our Army at War, and drew all the covers for the AA war books. Gaines was well aware that Stan Lee had wanted to get Marvel into that part of the market and coveted Kubert. Lee and Kirby had made a couple of tries, most notably with Sgt. Fury and His Howling Commandos, but sales could not match anything AA was producing. [Editor’s note: For many years, both Lee and Kirby have claimed credit for the idea to reintroduce Captain America in Sgt. Fury beginning in #13. The one thing that everyone agrees about is that sales rocketed with that issue, and it is no surprise that the title characters quickly took a back seat to the superhero and eventually vanished from the title completely.]

Given the opportunity, Gaines would have liked to “retire” Bob Kanigher (as he had done with Jack Schiff) and put Kubert in his place, but the artist was not interested in a full-time staff position. Kubert was, in fact, more interested in starting a school for up-andcoming comics artists.

Gaines, seeing an opportunity that would benefit everyone, offered the company’s support in the venture.

He did, after all, still hold a valid New York State teacher’s license, something that would be recognized and accepted across the Hudson River in Kubert’s hometown of Dover, New Jersey. So, when the negotiations were completed, Kubert and Kanigher shared the title of editor on the war books and Gaines held an instructor’s position at the Kubert School.

What no one realized at the time, but something that proved immensely valuable to AA in the coming years, was that the Kubert School would become a training ground for an entire generation of artists and writers, all of whom instantly had a foot in the door at AA. In putting together his staff for the 1970s, Gaines had also built the framework for the decades to follow.

Next issue: Woodchucks!

We can’t bring this issue to a close without another look at the Thing/Hulk rivalry, this time in the form of a recreation of the cover of Marvel Feature #11 by the always affable Arthur Adams.

From the collection of dashing David Mandel, with a special-thanks nod to kind-hearted Kelvin Mao. © 2008 Marvel Characters, Inc.

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KILLING TIME WITH THE SUICIDE SQUAD

Send your comments to: Email: euryman@msn.com (subject: BACK ISSUE) No attachments, please!

Postal mail: Michael Eury, Editor • BACK ISSUE 118 Edgewood Ave. NE • Concord, NC 28025

Thanks for the fine, fine job done on the Suicide Squad article in BI #26. It was much longer than I expected it to be—but not longer than it deserved!

I noticed a few mistakes: Luke and John’s Deadshot mini was in ’88, I believe—certainly not ’98—and even though I penciled and inked a handful of covers, I never did the full interior art to any issue of the Squad, so I don’t really think you can say I “drew it (my)self for awhile.”

But overall, I know you did a great job because it made me wish I was still working on the book!

Thanks for the time and effort.

– Karl Kesel Karl, your extensive art files and contributions helped us cover Suicide Squad in depth. Thanks again, and thanks for writing!

– M.E.

Superman TM & © DC Comics.

NOBODY DOES IT BETTER

Your friendly neighborhood Euryman—also the editor/main author of The Krypton Companion—is joining the guest list at the annual Superman Celebration in the Man of Steel’s hometown, Metropolis, Illinois, from June 12–15, 2008. Come celebrate Supie’s 70th birthday and say hello. Get info at 1-800-949-5740 or www.supermancelebration.net.

HE’S SO DIZZY, HIS HEAD IS SPINNING Just wanted to write and say how much I enjoy BACK ISSUE. I’ve had my comic shop set one aside every month for me since the romance comics issue. I ordered about 12 back issues of BACK ISSUE as well as several back issues of Comic Book Artist, and my head is spinning at all the information within.

I also wanted to mention a possible idea for a future story about The Freedom Fighters. I’ve never really read any sort of backstory on that title.

Anyways, keep up the great work. You’ve got me hooked!

– Grant Watson Freedom Fighters will join Captain America, US 1, and a few other starspangled spandexers in a “Red, White, and Blue”-themed issue in … well, 2010. Who says this isn’t the age of BACK ISSUE long-range planning?

– M.E.

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BI #26 was one of your most cohesive issues, in terms of subject matter, I thought—you can picture Black Widow, James Bond, Nathaniel Dusk, Ms.Tree, the Scorpion, et al., all hanging out together, know what I mean?

When I was growing up, Paul Gulacy was one of the first artists whose work I noticed, primarily for his ability to render alluring women—women who were incredibly sexy, yet could kill you, too.

I now hereby blame Mr. Paul Gulacy for the first few years of my romantic life where I chased after the exact wrong kind of woman.

Alan Porter’s James Bond piece was very interesting, though I have two small quibbles: One, wasn’t there some “famous” story of someone at DC in the late ’60s realizing that DC had, in fact, owned the rights to do James Bond comics but no one ever noticed, having missed the chance to produce comics during Bond’s most popular years?

Also, he mentioned Howard Chaykin’s “rushed” work on Marvel’s For Your Eyes Only adaptation. Maybe so, but he fails to mention his work was inked by … Vince Colletta. So the blame can’t all be on Chaykin!

The Sgt. Rock team-up piece was great—I loved Bob Haney’s passport photo: Did any customs official ever realize they were letting a mad genius into their country? And Sgt. Rock … talking to Wonder Woman … IN SPACE? I gotta buy that comic!

Like the Silverblade piece a few issues ago, Nathaniel Dusk was an underrated series. A Showcase Presents: Nathaniel Dusk book seems like a no-brainer, doesn’t it?

Some comics publishers would probably wince at Ms.Tree’s checkered publishing history … I would say any character that can keep an audience—any audience—via all those different publishers indicates there’s something really solid there, and really marketable if done right. Somebody give IDW Max Allan Collins’ phone number!

As always, when there’s a new BACK ISSUE, it’s the highlight of my day. Today was no exception.

CANNOT WAIT for the Aquaman issue!

– Rob Kelly Always nice to receive a letter from you, Rob. While we think a Nathaniel Dusk reprint is a great idea, there’s not enough Dusk material to warrant the 500-plus-page Showcase Presents format.

What about a digest-sized reprint, like a pulp novel?

Re your Bond question and comment, I went to the article’s writer, Alan J. Porter, who was kind enough to offer the following response: “I think the ‘famous’ story of DC realizing they once had the rights to James Bond and let it pass is one of those comics industry urban myths that comes with 20/20 hindsight.

Although I’ve heard the story a few times, and seen a few online forum posts mention it, I’ve never been able to find an attributable source where the ‘revelation’ is mentioned, nor spoken to anyone at DC who has confirmed the story.

I got my copy and read the Mr. T article and interview.

It was fabulous. By far the best interview anyone has done with me on any topic ever. Nice job making me sound intelligent. The whole article was upbeat and positive as well as highly informative. Everyone that I have allowed to read it has been impressed!

– Randy Emberlin www.randyemberlin.com

James Bond TM & © 2008 Ian Fleming (Glidrose) Productions.

LISTEN UP, FOOLS!

“In writing the article I made the choice to stick with the convention of only naming the writer and artist in interests of word count. My upcoming book from Hermes Press on Bond comics will go into a lot more detail on the full creative teams. Was Vince Colletta’s inking a contributory factor to the look of Marvel’s For Your Eyes Only? Possibly, but the storytelling and panel flow, to my eyes at least, doesn’t come up to Chaykin’s normal standards, leading to my conclusion about it being ‘rushed.’”

Thanks, Alan, for that info … we’re looking forward to your 007 comics book! And fans of James Bond and Norm Breyfogle will appreciate the artwork above, a page of storyboard samples done by Norm and Joe Rubinstein…

– M.E.

TWO FOR T In BACK ISSUE #26, page 68, Michael Aushenker incorrectly reports that my cover illustrations for Mr. T (#4–5, 7) were done in the medium of pastels.

In fact, all three paintings were instead done in the medium of acryllic paint.

Just for the record.

– Norm Breyfogle We pity that Aushenker fool for th’ error! (Sorry, couldn’t resist.) Thanks for setting the record straight, Norm—and for allowing us to run that James Bond page (which was contributed by Anthony Snyder).

Speaking of Michael Aushenker, he received the following letter from Mr. T artist Randy Emberlin, which he shared with us…

– M.E. H e r o e s

PRESS RELEASE, Thursday, February 21, 2008 MR. T RETURNS IN MAJOR GRAPHIC NOVEL BY BRITISH PUBLISHER In anticipation of the major worldwide launch of its Mr. T graphic novel in summer 2008, British publisher Mohawk Media has announced that it is celebrating with a special Limited Advance Edition.

With a total number of only 4,000 copies, Mr. T: Limited Advance Edition is now available. It marks the return to prominence of Mr. T, the Mohawk muscleman who was voted the fourth “Greatest American” in a recent global BBC poll, muscling in front of the likes of Thomas Jefferson, George Washington, Benjamin Franklin, and Franklin D. Roosevelt.

“It’s great to be the star of a graphic novel,” says Mr. T. “And great entertainment is always driven by great writing!”

Mr. T continues: “There’s my long-time fans, but there’s also a new generation because of A-Team reruns, my cartoon show reruns, and the renewed interest in Rocky III following the recent sequel.

That’s humbling, and this graphic novel is my method of reaching them all. I’m so proud of all my life’s work, but to see myself in this book feels extra special.”

Author Christopher Bunting adds: “We’ve seen comebacks happen over and over again in the entertainment industry, whether it’s John Travolta, the Spice Girls, or fictitious characters such as Indiana Jones or Rambo. Now it’s Mr. T’s time.”

Bunting continues: “I’m often drawn to writing ‘mystery’ dramas, where threads weave a much larger tapestry, with the core being the human journey, in the vein of Lost or Heroes. Therefore my attention had increasingly turned to novels and scriptwriting, and away from the shrinking comic industry. This graphic novel has been the perfect vehicle. I could approach it as a novel, yet also incorporate the finest elements from comics and television.

“And besides, when Mr. T calls you personally, wanting you to do it, you don’t dare say no!”

Editor Stuart Buckley adds: “This book’s star is already a household name known and loved the world over, making this possibly the world’s highest-profile graphic novel. It’s a call for celebration, hence this Limited Advance Edition.”

Mr. T, who contributes world-exclusive interviews to the graphic novel and acts as its executive editor, adds: “I’ve always strived to be a good role model to children and adults alike. I can’t think of a better way to do that than by encouraging people to read!

What would I say to anyone who doesn’t read my graphic novel? ‘I pity the fool!’”

Mr. T: Limited Advance Edition can be ordered direct from publisher Mohawk Media at www.mohawkmedia.co.uk for the exclusive price of $39.00/£15.99including delivery. Alternatively, from April 2008, it will be available through bookstores worldwide, including online, by quoting its 13-digit ISBN: 9780955680403.

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IN SEARCH OF BACK ISSUES I really have to stop collecting BACK ISSUE magazine. Every time I grab the new issue from the local comic shop and start reading, I’m reminded of certain comics that I no longer own and end up tracking them down online.

Okay, I’m not really going to stop buying your magazine, but could you at least occasionally write about comics I didn’t like so I can save a few bucks?

– Art Lapham Gee, Art, since one fan’s trash is another fan’s treasure, that’s a tall order. But we’ll see if we can find a crappy old, hated-by-all dud from the back-issue bins for a major retrospective, and save you a few bucks!

– M.E.

ATLAS OMISSIONS

TM & © DC Comics.

© 1975 Atlas/Seaboard.

Planet of the Apes © 2008 Twentieth Century Fox.

Just wanted to make a small correction to the article about Atlas/Seaboard comics in BACK ISSUE #26. Your checklist missed out on two titles, which were both magazines: Movie Monsters, which lasted four issues; and the ultra-rare Gothic Romances. This title was the last one that Martin Goodman published, and he persuaded Alex Toth, Howard Chaykin, and Neal Adams to contribute some marvelous ilustrations. It personally took me almost a decade just to track down a copy.

I love BACK ISSUE and I hope that it continues doing its important historical comics retrospective work for many years to come.

– Don Cole

Thank you for those corrections re Atlas/Seaboard, Don. I compiled that checklist, so the oversight is mine. Movie Monsters was an inadvertent omission, but I wasn’t aware of Gothic Romances until your message—it is ultra-rare!

– M.E.

A FAN OF B&B AND MR. T BI #26 offered one of the best things I like about your magazine, revisiting old favorites and getting background information and insights that help me greater appreciate those works. In the article on Sgt. Rock’s team-ups, Jim Kingman gave a thorough listing of the stories, as well as details on what happened in them and their backgrounds. One of my favorite Brave and Bold stories, #124, was mentioned. I enjoyed issues where somehow DC writers/artists/ editors got involved inside the stories, and this one especially since I was a big fan of B&B and both Bob Haney and artist Jim Aparo. Granted, the story was a rather bizarre setup, but as Kingman rightly points out, Haney often threw out continuity to achieve what mattered to him, a thrilling, action-packed story in one issue. As previously covered [in BACK ISSUE #7 – M.E.], Haney’s B&B run provided plenty of exciting stories, though sometimes unusual plot devices were used to bring about the team-ups. While continuity may be important, to me if 8 4

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the characters are acting consistently with previous settings, I didn’t mind seeing Batman team up with really different characters, such as Kamandi or Legion of Super-Heroes or Sgt. Rock.

The other “What The--?!” article also was well-researched and presented. I was a big fan of the A-Team series on TV, especially Mr. T, and I was glad he got better comics exposure as time went on. I was excited to hear of the return of Mr. T to comics a couple of years ago, only to find out from Randy Emberlin it was quickly ended. His descriptions of some of the plots sounded like it would be a great series, so we are all hoping the unpublished stories can get published sometime soon.

Thanks again for all the research, and also the nice presentations of art like Gulacy’s cover and interior work. I’m looking forward to next issue’s coverage of royalty in comics.

– Paul Green Paul, any fan of The Brave and the Bold is a friend of mine. It’s great to hear from yet another reader who appreciates Bob Haney’s tightly plotted action yarns! Paul also sent the above 2007 sketch of one of this issue’s stars, the Flash, by Rich Buckler—thanks, Paul!

– M.E.

THANKS TO A GENEROUS GRANT I couldn’t believe it when my friends (and my local comic-shop owner) informed me that not only had I a published letter in BI #24, but that ALAN GRANT actually replied to it! I couldn’t believe it because, well, I didn’t know I had written more than a brief e-mail to you [re: Batman driving a car right into a bunch of bomb-belted terrorists in London], which you kindly replied to, and that was it, as far as I knew. Well, you can imagine my delight when I went and bought the issue and read my letter,

your comment, and Mr. Grant’s as well. I was also happy to see BI #26 with its Suicide Squad articles portraying terrorism in comics (a plot picked up by Mr. Ostrander in the current SS mini).

Thanks again for submitting my silly e-mail to the source, Mr. Grant, and for giving me yet another reason to enjoy your wonderful mag!

– Vinny Bellizia Alan Grant is one of a handful of comics pros ready to come to BACK ISSUE’s aid when called upon. Ye editor is deeply grateful—Alan and other creators volunteer their time, with no compensation, in granting us interviews, sending us artwork, and answering letters like yours, Vinny. We’re lucky to have the support of friends of BI who are happy to join us on our trips down memory lane.

– M.E.

S U B M IS S IO N G U ID E L IN E S BACK ISSUE is on the lookout for the following comics-related material from the 1970s and 1980s: Unpublished artwork and covers Original artwork and covers Penciled artwork Character designs, model sheets, etc.

Original sketches and/or convention sketches Original scripts Photos Little-seen fanzine material Other rarities

GO TO THE HEAD OF THE CLASS I’d hope you have been inundated with letters from over here about a certain huge faux pas in your published letter from fellow Yorkshireman David Barker (ey up, lad, thee alreet?) in BACK ISSUE #23. But on the off-chance that they were sent seamail, please let me set the record straight about UK comics publishers of the mid-20th Century.

David, admitting his uncertainty, said about unofficial Marvel reprints in the UK that he believed they were produced by Fleetway Publications. Not really; in fact, he couldn’t be more wrong in his assumption...

Fleetway was an imprint of IPC Magazines, then the world’s biggest commercial publisher (the US government being the biggest actual publisher!). The titles he was thinking of (as you visualized in Creepy Worlds) were put out by the world’s smallest publisher, the one-man-band Alan Class.

Having worked at IPC/Fleetway and knowing Alan Class personally, and having dabbled at Marvel UK myself, you could say I’m pretty sure about this!

Nice to see the John Watson Spidey/Venom painting reproduced on your editorial page.

Shame you don’t have interior color; the subtlety of the piece is that you only realize Spider-Man is in his red “webbed” costume underneath street clothes by his feet! Interestingly, John initially produced the piece with Green Goblin as the lurker, but did the second version you ran with the more menacing Venom.

Another great issue, by the way!

– Dez Skinn

Creators and collectors of 1970s/1980s comics artwork are invited to share your goodies with other fans!

Contributors will be acknowledged in print and receive complimentary copies (and the editor’s gratitude).

Submit artwork as (listed in order of preference): Scanned images: 300dpi TIF (preferred) or JPEG (emailed or on CD, or to our FTP site; please inquire) Clear color or black-and-white photocopies llins. © Dez Skinn and HarperCo

Thanks for those corrections, Dez. As you’re aware, BACK ISSUE is delving more and more into UK comics history, and we appreciate your continuing help in our explorations.

Sorry it took a while to run your letter, by the way—but its delay in publication gives me the chance to plug your new book! Dez Skinn has edited a new directory of comic artists published by HarperCollins and titled Comic Art Now. It features an international array of artists including John M. Burns, Mike Ploog, Alex Ross, Roberta Gregory, and John McCrea, with cover art by Rian Hughes.

This 10.5" square, coffee-table book went on sale in late March 2008, so be on the lookout for it!

X-Men © 2008 Marvel Characters,

Inc. BACK ISSUE TM & © TwoMorrow s.

And it’s time to plug our own material—BACK ISSUE #29, our “Mutants” issue. X-Men fans are gonna love this one: There’s an Ann Nocenti/Arthur Adams “Pro2Pro” on Longshot, a look at the X-Men work of CHRIS CLAREMONT, JOHN BYRNE, PAUL SMITH, and JOHN ROMITA, JR.; BOB McLEOD’s and BILL SIENKIEWICZ’s New Mutants; the UK’s Captain Britain series; the Beast as the first breakout mutant; the lost Angel stories; the return of the original X-Men in X-Factor … and a “Greatest Stories Never Told” revelation of Nightcrawler’s “original” father. DC fans, we haven’t forgotten you: There’s also a history of DC’s mutant, Captain Comet, and a new chapter in BOB ROZAKIS’ fantasy history of AA Comics!

With a rarely seen X-Men cover by DAVE COCKRUM! Don’t ask, just BI it! See you in sixty!

Your friendly neighborhood Euryman, Michael Eury, editor

H e r o e s

B e h a v i n g

BACK ISSUE is also open to pitches from writers for article ideas appropriate for our recurring and/or rotating departments.

Request a copy of the BACK ISSUE Writers’ Bible by emailing euryman@msn.com or by sending a SASE to the address below.

Please allow 6–8 weeks for a response to your proposals.

Artwork submissions and SASEs for writers’ guidelines should be sent to: Michael Eury, Editor BACK ISSUE 118 Edgewood Ave. NE Concord, NC 28025

Advertise In BACK ISSUE! FULL-PAGE: 7.5" Wide x 10" Tall • $300 HALF-PAGE: 7.5" Wide x 4.875" Tall • $175 QUARTER-PAGE: 3.75" Wide x 4.875" Tall • $100 Prepay for two ads in Alter Ego, DRAW!, Write Now!, Back Issue, Rough Stuff, or any combination and save: TWO FULL-PAGE ADS: $500 ($100 savings) TWO HALF-PAGE ADS: $300 ($50 savings) TWO QUARTER-PAGE ADS: $175 ($25 savings) These rates are for black-&-white ads, supplied on-disk (TIF, EPS, or Quark Xpress files acceptable) or as camera-ready art.

Typesetting service available at 20% mark-up. Due to our already low ad rates, no agency discounts apply. Sorry, display ads not available for the Jack Kirby Collector.

Send ad copy and check/money order (US funds), Visa, or Mastercard to: TwoMorrows Publishing 10407 Bedfordtown Drive • Raleigh, NC 27614 Phone: 919/449-0344 • FAX 919/449-0327 E-mail: twomorrow@aol.com

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Lavishly illustrated with RARE AND NEVER SEEN comics, merchandising, and advertising art (includes a color section)! Also includes an extensive index of his published work, comments and tributes by NEAL ADAMS, DENNIS O’NEIL, TERRY AUSTIN, PAUL LEVITZ, MARV WOLFMAN, JULIUS SCHWARTZ, JIM APARO and others, plus a Foreword by NEAL ADAMS and Afterword by PAUL LEVITZ! (176-pg. Paperback with COLOR) $19.95 ISBN: 9781893905276 Diamond Order Code: STAR20439

JUSTICE LEAGUE COMPANION VOL. 1 A comprehensive examination of the Silver Age JLA written by MICHAEL EURY (co-author of THE SUPERHERO BOOK). It traces the JLA’s development, history, imitators, and early fandom through vintage and all-new interviews with the series’ creators, an issue-by-issue index of the JLA’s 1960-1972 adventures, classic and never-before-published artwork, and other fun and fascinating features. Contributors include DENNY O’NEIL, MURPHY ANDERSON, JOE GIELLA, MIKE FRIEDRICH, NEAL ADAMS, ALEX ROSS, CARMINE INFANTINO, NICK CARDY, and many, many others. Plus: An exclusive interview with STAN LEE, who answers the question, “Did the JLA really inspire the creation of Marvel’s Fantastic Four?” With an all-new cover by BRUCE TIMM!

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Edited by ROY THOMAS The greatest ‘zine of the 1960s is back, ALL-NEW, and focusing on GOLDEN AND SILVER AGE comics and creators with ARTICLES, INTERVIEWS, UNSEEN ART, P.C. Hamerlinck’s FCA (Fawcett Collectors of America, featuring the archives of C.C. BECK and recollections by Fawcett artist MARCUS SWAYZE), Michael T. Gilbert’s MR. MONSTER, and more!

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ALTER EGO #1

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STAN LEE gets roasted by SCHWARTZ, CLAREMONT, DAVID, ROMITA, BUSCEMA, and SHOOTER, ORDWAY and THOMAS on INFINITY, INC., IRWIN HASEN interview, unseen H.G. PETER Wonder Woman pages, the original Captain Marvel and Human Torch teamup, FCA with MARC SWAYZE, “Mr. Monster”, plus plenty of rare and unpublished art!

Featuring a never-reprinted SPIRIT story by WILL EISNER, the genesis of the SILVER AGE ATOM (with GARDNER FOX, GIL KANE, and JULIE SCHWARTZ), interviews with LARRY LIEBER and Golden Age great JACK BURNLEY, BOB KANIGHER, a new Fawcett Collectors of America section with MARC SWAYZE, C.C. BECK, and more!

GIL KANE and JACK BURNLEY flip-covers!

Unseen ALEX ROSS and JERRY ORDWAY Shazam! art, 1953 interview with OTTO BINDER, the SUPERMAN/CAPTAIN MARVEL LAWSUIT, GIL KANE on The Golden Age of TIMELY COMICS, FCA with SWAYZE, BECK, and SCHAFFENBERGER, rare art by AYERS, BERG, BURNLEY, DITKO, RICO, SCHOMBURG, MARIE SEVERIN and more! ALEX ROSS & BILL EVERETT covers!

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ALTER EGO #4

ALTER EGO #5

ALTER EGO #6

ALTER EGO #7

ALTER EGO #8

Interviews with KUBERT, SHELLY MOLDOFF, and HARRY LAMPERT, BOB KANIGHER, life and times of GARDNER FOX, ROY THOMAS remembers GIL KANE, a history of Flash Comics, MOEBIUS Silver Surfer sketches, MR. MONSTER, FCA section with SWAYZE, BECK, and SCHAFFENBERGER, and lots more! Dual color covers by JOE KUBERT!

Celebrating the JSA, with interviews with MART NODELL, SHELLY MAYER, GEORGE ROUSSOS, BILL BLACK, and GIL KANE, unpublished H.G. PETER Wonder Woman art, GARDNER FOX, an FCA section with MARC SWAYZE, C.C. BECK, WENDELL CROWLEY, and more! Wraparound cover

by CARMINE INFANTINO and JERRY ORDWAY!

GENE COLAN interview, 1940s books on comics by STAN LEE and ROBERT KANIGHER, AYERS, SEVERIN, and ROY THOMAS on Sgt. Fury, ROY on All-Star Squadron’s Golden Age roots, FCA section with SWAYZE, BECK, and WILLIAM WOOLFOLK, JOE SIMON interview, a definitive look at MAC RABOY’S work, and more! Covers by COLAN and RABOY!

Companion to ALL-STAR COMPANION book, with a JULIE SCHWARTZ interview, guide to JLA-JSA TEAMUPS, origins of the ALL-STAR SQUADRON, FCA section with MARC SWAYZE, C.C. BECK (on his 1970s DC conflicts), DAVE BERG, BOB ROGERS, more on MAC RABOY from his son, MR. MONSTER, and more! RICH BUCKLER and C.C. BECK covers!

WALLY WOOD biography, DAN ADKINS & BILL PEARSON on Wood, TOR section with 1963 JOE KUBERT interview, ROY THOMAS on creating the ALL-STAR SQUADRON and its 1940s forebears, FCA section with SWAYZE & BECK, MR. MONSTER, JERRY ORDWAY on Shazam!, JERRY DeFUCCIO on the Golden Age, CHIC STONE remembered! ADKINS and KUBERT covers!

(100-page magazine) $5.95 Diamond Order Code: JAN001713

(100-page magazine) SOLD OUT (100-page Digital Edition) $2.95

(100-page magazine) $5.95 Diamond Order Code: JUL002003

(100-page magazine) $5.95 Diamond Order Code: NOV002267

(100-page magazine) $5.95 Diamond Order Code: FEB012215

ALTER EGO #9

ALTER EGO #10

ALTER EGO #11

ALTER EGO #12

ALTER EGO #13

JOHN ROMITA interview by ROY THOMAS (with unseen art), Roy’s PROPOSED DREAM PROJECTS that never got published (with a host of great artists), MR. MONSTER on WAYNE BORING’S life after Superman, The Golden Age of Comic Fandom Panel, FCA section with GEORGE TUSKA, C.C. BECK, MARC SWAYZE, BILL MORRISON, & more! ROMITA and GIORDANO covers!

Who Created the Silver Age Flash? (with KANIGHER, INFANTINO, KUBERT, and SCHWARTZ), DICK AYERS interview (with unseen art), JOHN BROOME remembered, never-seen Golden Age Flash pages, VIN SULLIVAN Magazine Enterprises interview, FCA, interview with FRED GUARDINEER, and MR. MONSTER on WAYNE BORING! INFANTINO and AYERS covers!

Focuses on TIMELY/MARVEL (interviews and features on SYD SHORES, MICKEY SPILLANE, and VINCE FAGO), and MAGAZINE ENTERPRISES (including JOE CERTA, JOHN BELFI, FRANK BOLLE, BOB POWELL, and FRED MEAGHER), MR. MONSTER on JERRY SIEGEL, DON and MAGGIE THOMPSON interview, FCA with SWAYZE, BECK, and DON NEWTON!

DC and QUALITY COMICS focus! Quality’s GILL FOX interview, never-seen ’40s PAUL REINMAN Green Lantern story, ROY THOMAS talks to LEN WEIN and RICH BUCKLER about ALL-STAR SQUADRON, MR. MONSTER shows what made WALLY WOOD leave MAD, FCA section with BECK & SWAYZE, & ’65 NEWSWEEK ARTICLE on comics! REINMAN and BILL WARD covers!

1974 panel with JOE SIMON, STAN LEE, FRANK ROBBINS, and ROY THOMAS, ROY and JOHN BUSCEMA on Avengers, 1964 STAN LEE interview, tributes to DON HECK, JOHNNY CRAIG, and GRAY MORROW, Timely alums DAVID GANTZ and DANIEL KEYES, and FCA with BECK, SWAYZE, and MIKE MANLEY! Covers by MURPHY ANDERSON and JOE SIMON!

(100-page magazine) $5.95 Diamond Order Code: MAY012450

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(100-page magazine) $5.95 Diamond Order Code: NOV012568

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ALTER EGO #17 Spotlighting LOU FINE (with an overview of his career, and interviews with family members), interview with MURPHY ANDERSON about Fine, ALEX TOTH on Fine, ARNOLD DRAKE interviewed about DEADMAN and DOOM PATROL, MR. MONSTER on the non-EC work of JACK DAVIS and GEORGE EVANS, FINE and LUIS DOMINGUEZ COVERS, FCA and more!

ALTER EGO #14

ALTER EGO #15

ALTER EGO #16

A look at the 1970s JSA revival with CONWAY, LEVITZ, ESTRADA, GIFFEN, MILGROM, and STATON, JERRY ORDWAY on All-Star Squadron, tributes to CRAIG CHASE and DAN DeCARLO, “lost” 1945 issue of All-Star, 1970 interview with LEE ELIAS, MR. MONSTER on GARDNER FOX, FCA with SWAYZE, BECK, & JAY DISBROW! MIKE NASSER & MICHAEL GILBERT covers!

JOHN BUSCEMA ISSUE! BUSCEMA interview (with UNSEEN ART), reminiscences by SAL BUSCEMA, STAN LEE, INFANTINO, KUBERT, ORDWAY, FLO STEINBERG, and HERB TRIMPE, ROY THOMAS on 35 years with BIG JOHN, FCA tribute to KURT SCHAFFENBERGER, plus C.C. BECK and MARC SWAYZE, and MR. MONSTER revisits WALLY WOOD! Two BUSCEMA covers!

MARVEL BULLPEN REUNION (BUSCEMA, COLAN, ROMITA, and SEVERIN), memories of the JOHN BUSCEMA SCHOOL, FCA with ALEX ROSS, C.C. BECK, and MARC SWAYZE, tribute to CHAD GROTHKOPF, MR. MONSTER on EC COMICS with art by KURTZMAN, DAVIS, and WOOD, and more! Covers by ALEX ROSS and MARIE SEVERIN & RAMONA FRADON!

(100-page magazine) $5.95 Diamond Order Code: FEB022730

(108-page magazine) $5.95 Diamond Order Code: APR022615

(108-page magazine) $5.95 Diamond Order Code: MAY022386

ALTER EGO #18

ALTER EGO #19

ALTER EGO #20

STAN GOLDBERG interview, secrets of ’40s Timely, art by KIRBY, DITKO, ROMITA, BUSCEMA, MANEELY, EVERETT, BURGOS, and DeCARLO, spotlight on sci-fi fanzine XERO with the LUPOFFS, OTTO BINDER, DON THOMPSON, ROY THOMAS, BILL SCHELLY, and ROGER EBERT, FCA, and MR. MONSTER on WALLY WOOD ghosting Flash Gordon! KIRBY and SWAYZE covers!

Spotlight on DICK SPRANG (profile and interview) with unseen art, rare Batman art

by BOB KANE, CHARLES PARIS, SHELLY MOLDOFF, MAX ALLAN COLLINS, JIM MOONEY, CARMINE INFANTINO, and ALEX TOTH, JERRY ROBINSON interviewed about Tomahawk and 1940s cover artist FRED RAY, FCA, and MR. MONSTER on WALLY WOOD’s Flash Gordon, Part 2!

Timely/Marvel art by SEKOWSKY, SHORES, EVERETT, and BURGOS, secrets behind THE INVADERS with ROY THOMAS, KIRBY, GIL KANE, & ROBBINS, BOB DESCHAMPS interviewed, 1965 NY Comics Con review, panel with FINGER, BINDER, FOX and WEISINGER, MR. MONSTER, FCA with SWAYZE, BECK, RABOY, SCHAFFENBERGER, and more! MILGROM and SCHELLY covers!

(108-page magazine) $5.95 Diamond Order Code: AUG022420

(108-page magazine) $5.95 Diamond Order Code: OCT022884

(108-page magazine) $5.95 Diamond Order Code: NOV022845

(108-page magazine) $5.95 Diamond Order Code: JUL022370

ALTER EGO #21 The IGER “SHOP” examined, with art by EISNER, FINE, ANDERSON, CRANDALL, BAKER, MESKIN, CARDY, EVANS, BOB KANE, and TUSKA, “SHEENA” section with art by DAVE STEVENS & FRANK BRUNNER, ROY THOMAS on the JSA and All-Star Squadron, more UNSEEN 1946 ALL-STAR ART, MR. MONSTER on GARDNER FOX, FCA, and more! DAVE STEVENS and IRWIN HASEN covers!

(108-page magazine) $5.95 Diamond Order Code: DEC023029

ALTER EGO #22

ALTER EGO #23

ALTER EGO #24

ALTER EGO #25

ALTER EGO #26

BILL EVERETT and JOE KUBERT interviewed

by NEAL ADAMS and GIL KANE in 1970, Timely art by BURGOS, SHORES, NODELL, and SEKOWSKY, RUDY LAPICK, ROY THOMAS on Sub-Mariner, with art by EVERETT, COLAN, ANDRU, BUSCEMAs, SEVERINs, and more, FCA, MR. MONSTER on WALLY WOOD at EC, ALEX TOTH, and CAPT. MIDNIGHT! EVERETT & BECK covers!

Unseen art from TWO “LOST” 1940s H.G. PETER WONDER WOMAN STORIES (and analysis of “CHARLES MOULTON” scripts), BOB FUJITANI and JOHN ROSENBERGER, VICTOR GORELICK discusses Archie and The Mighty Crusaders, with art by MORROW, BUCKLER, and REINMAN, FCA, and MR. MONSTER on WALLY WOOD! H.G. PETER and BOB FUJITANI covers!

X-MEN interviews with STAN LEE, DAVE COCKRUM, CHRIS CLAREMONT, ARNOLD DRAKE, JIM SHOOTER, ROY THOMAS, and LEN WEIN, MORT MESKIN profiled by his sons and ALEX TOTH, rare art by JERRY ROBINSON, FCA with BECK, SWAYZE, and WILLIAM WOOLFOLK, MR. MONSTER, and BILL SCHELLY on Comics Fandom! MESKIN and COCKRUM covers!

JACK COLE remembered by ALEX TOTH, interview with brother DICK COLE and his PLAYBOY colleagues, CHRIS CLAREMONT on the X-Men (with more never-seen art

by DAVE COCKRUM), ROY THOMAS on All-Star Squadron #1 and its ’40s roots (with art by ORDWAY, BUCKLER, MESKIN and MOLDOFF), FCA, MR. MONSTER, and more! Covers by TOTH and SCHELLY!

JOE SINNOTT interview, IRWIN DONENFELD interview by EVANIER & SCHWARTZ, art by SHUSTER, INFANTINO, ANDERSON, and SWAN, MARK WAID analyzes the first Kryptonite story, JERRY SIEGEL and HARRY DONENFELD, JERRY IGER Shop update, ALEX TOTH, MR. MONSTER, and FCA with SWAYZE, BECK, and KEN BALD! Covers by SINNOTT and WAYNE BORING!

(108-page magazine) $5.95 Diamond Order Code: JAN032492

(108-page magazine) $5.95 Diamond Order Code: FEB032260

(108-page magazine) $5.95 Diamond Order Code: MAR032534

(108-page magazine) $5.95 Diamond Order Code: APR032553

(108-page magazine) $5.95 Diamond Order Code: MAY032543

ALTER EGO #27

ALTER EGO #28

ALTER EGO #29

ALTER EGO #30

ALTER EGO #31

VIN SULLIVAN interview about the early DC days with art by SHUSTER, MOLDOFF, FLESSEL, GUARDINEER, and BURNLEY, MR. MONSTER’s “Lost” KIRBY HULK covers, 1948 NEW YORK COMIC CON with STAN LEE, SIMON & KIRBY, JULIUS SCHWARTZ, HARVEY KURTZMAN, and ROY THOMAS, ALEX TOTH, FCA, and more! Covers by JACK BURNLEY and JACK KIRBY!

Spotlight on JOE MANEELY, with a career overview, remembrance by his daughter and tons of art, Timely/Atlas/Marvel art by ROMITA, EVERETT, SEVERIN, SHORES, KIRBY, and DITKO, STAN LEE on Maneely, LEE AMES interview, FCA with SWAYZE, ISIS, and STEVE SKEATES, MR. MONSTER, BILL SCHELLY, and more! Covers by JOE MANEELY and DON NEWTON!

FRANK BRUNNER interview, BILL EVERETT’S Venus examined by TRINA ROBBINS, Classics Illustrated “What ifs”, LEE/KIRBY/DITKO Marvel prototypes, JOE MANEELY’s monsters, BILL FRACCIO interview, ALEX TOTH, MR. MONSTER, JOHN BENSON on EC, The Heap by ERNIE SCHROEDER, and FCA! Covers by FRANK BRUNNER and PETE VON SHOLLY!

ALEX ROSS on his love for the JLA, BLACKHAWK/JLA artist DICK DILLIN, the super-heroes of 1940s-1980s France (with art by STEVE RUDE, STEVE BISSETTE, LADRÖNN, and NEAL ADAMS), KIM AAMODT & WALTER GEIER on writing for SIMON & KIRBY, ALEX TOTH, MR. MONSTER, and FCA! Covers by ALEX ROSS and STEVE RUDE!

DICK AYERS on his 1950s and ’60s work (with tons of Marvel Bullpen art), HARLAN ELLISON’s Marvel Age work examined (with art by BUCKLER, SAL BUSCEMA, and TRIMPE), STAN LEE’S Marvel Prototypes (with art by KIRBY and DITKO), Christmas cards from comics greats, MR. MONSTER, & FCA with SWAYZE and SCHAFFENBERGER! Covers by DICK AYERS and FRED RAY!

(108-page magazine) $5.95 Diamond Order Code: JUN032614

(108-page magazine) $5.95 Diamond Order Code: JUL032570

(108-page magazine) $5.95 Diamond Order Code: AUG032604

(108-page magazine) $5.95 Diamond Order Code: SEP032620

(108-page magazine) $5.95 Diamond Order Code: OCT032843

ALTER EGO #32

ALTER EGO #33

ALTER EGO #34

ALTER EGO #35

ALTER EGO #36

Timely artists ALLEN BELLMAN and SAM BURLOCKOFF interviewed, MART NODELL on his Timely years, rare art by BURGOS, EVERETT, and SHORES, MIKE GOLD on the Silver Age (with art by SIMON & KIRBY, SWAN, INFANTINO, KANE, and more), FCA, ALEX TOTH, BILL SCHELLY on comics fandom, and more!

Covers by DICK GIORDANO and GIL KANE!

Symposium on MIKE SEKOWSKY by MARK EVANIER, SCOTT SHAW!, et al., with art

by ANDERSON, INFANTINO, and others, PAT (MRS. MIKE) SEKOWSKY and inker VALERIE BARCLAY interviewed, FCA, 1950s Captain Marvel parody by ANDRU and ESPOSITO, ALEX TOTH, BILL SCHELLY, MR. MONSTER, and more! Covers by FRENZ/SINNOTT and FRENZ/BUSCEMA!

Quality Comics interviews with ALEX KOTZKY, AL GRENET, CHUCK CUIDERA, & DICK ARNOLD (son of BUSY ARNOLD), art by COLE, EISNER, FINE, WARD, DILLIN, and KANE, MICHELLE NOLAN on Blackhawk’s jump to DC, FCA, MICHAEL T. GILBERT on HARVEY KURTZMAN, & ALEX TOTH on REED CRANDALL! Covers by REED CRANDALL & CHARLES NICHOLAS!

Covers by JOHN ROMITA and AL JAFFEE! LEE, ROMITA, AYERS, HEATH, & THOMAS on the 1953-55 Timely super-hero revival, with rare art by ROMITA, AYERS, BURGOS, HEATH, EVERETT, LAWRENCE, & POWELL, AL JAFFEE on the 1940s Timely Bullpen (and MAD), FCA, ALEX TOTH on comic art, MR. MONSTER on unpublished 1950s covers, and more!

JOE SIMON on SIMON & KIRBY, CARL BURGOS, and LLOYD JACQUET, JOHN BELL on World War II Canadian heroes, MICHAEL T. GILBERT on Canadian origins of MR. MONSTER, tributes to BOB DESCHAMPS, DON LAWRENCE, & GEORGE WOODBRIDGE, FCA, ALEX TOTH, and ELMER WEXLER interview! Covers by SIMON and GILBERT & RONN SUTTON!

(108-page magazine) $5.95 Diamond Order Code: NOV032695

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ALTER EGO #37

ALTER EGO #38

ALTER EGO #39

ALTER EGO #40

ALTER EGO #41

WILL MURRAY on the 1940 Superman “KMetal” story & PHILIP WYLIE’s GLADIATOR (with art by SHUSTER, SWAN, ADAMS, and BORING), FCA with BECK, SWAYZE, and DON NEWTON, SY BARRY interview, art by TOTH, MESKIN, INFANTINO, and ANDERSON, and MICHAEL T. GILBERT interviews AL FELDSTEIN on EC and RAY BRADBURY! Covers by C.C. BECK and WAYNE BORING!

JULIE SCHWARTZ TRIBUTE with HARLAN ELLISON, INFANTINO, ANDERSON, TOTH, KUBERT, GIELLA, GIORDANO, CARDY, LEVITZ, STAN LEE, WOLFMAN, EVANIER, & ROY THOMAS, never-seen interviews with Julie, FCA with BECK, SCHAFFENBERGER, NEWTON, COCKRUM, OKSNER, FRADON, SWAYZE, and JACKSON BOSTWICK! Covers by INFANTINO and IRWIN HASEN!

Full-issue spotlight on JERRY ROBINSON, with an interview on being BOB KANE’s Batman “ghost”, creating the JOKER and ROBIN, working on VIGILANTE, GREEN HORNET, and ATOMAN, plus never-seen art by Jerry, MESKIN, ROUSSOS, RAY, KIRBY, SPRANG, DITKO, and PARIS! Plus FCA, MR. MONSTER on AL FELDSTEIN Part 2, and more! Two JERRY ROBINSON covers!

RUSS HEATH and GIL KANE interviews (with tons of unseen art), the JULIE SCHWARTZ Memorial Service with ELLISON, MOORE, GAIMAN, HASEN, O’NEIL, and LEVITZ, art by INFANTINO, ANDERSON, TOTH, NOVICK, DILLIN, SEKOWSKY, KUBERT, GIELLA, ARAGONÉS, FCA, MR. MONSTER and AL FELDSTEIN Part 3, and more! Covers by GIL KANE & RUSS HEATH!

Halloween issue! BERNIE WRIGHTSON on his 1970s FRANKENSTEIN, DICK BRIEFER’S monster, the campy 1960s Frankie, art by KALUTA, BAILY, MANEELY, PLOOG, KUBERT, BRUNNER, BORING, OKSNER, TUSKA, CRANDALL, and SUTTON, FCA #100, EMILIO SQUEGLIO interview, ALEX TOTH, MICHAEL T. GILBERT, and more!

Covers by WRIGHTSON & MARC SWAYZE!

(108-page magazine) $5.95 Diamond Order Code: APR043055

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(108-page magazine) $5.95 Diamond Order Code: JUN042972

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(108-page magazine) $5.95 Diamond Order Code: AUG043186

ALTER EGO #42

ALTER EGO #43

ALTER EGO #44

ALTER EGO #45

ALTER EGO #46

A celebration of DON HECK, WERNER ROTH, and PAUL REINMAN, rare art by KIRBY, DITKO, and AYERS, Hillman and Ziff-Davis remembered by Heap artist ERNIE SCHROEDER, HERB ROGOFF, and WALTER LITTMAN, FCA with MARC SWAYZE, MR. MONSTER, BILL SCHELLY, and ALEX TOTH! Covers by FASTNER & LARSON and ERNIE SCHROEDER!

Yuletide art by WOOD, SINNOTT, CARDY, BRUNNER, TOTH, NODELL, and others, interviews with Golden Age artists TOM GILL (Lone Ranger) and MORRIS WEISS, exploring 1960s Mexican comics, FCA with MARC SWAYZE and C.C. BECK, MR. MONSTER, ALEX TOTH, BILL SCHELLY on comics fandom, and more! Flip covers by GEORGE TUSKA and DAVE STEVENS!

JSA/All-Star Squadron/Infinity Inc. special!

Interviews with KUBERT, HASEN, ANDERSON, ORDWAY, BUCKLER, THOMAS, 1940s Atom writer ARTHUR ADLER, art by TOTH, SEKOWSKY, HASEN, MACHLAN, OKSNER, and INFANTINO, FCA, and MR. MONSTER’S “I Like Ike!” cartoons by BOB KANE, INFANTINO, OKSNER, and BIRO! Wraparound ORDWAY cover!

Interviews with Sandman artist CREIG FLESSEL and ’40s creator BERT CHRISTMAN, MICHAEL CHABON on researching his Pulitzer-winning novel Kavalier & Clay, art

by EISNER, KANE, KIRBY, and AYERS, FCA with MARC SWAYZE and C.C. BECK, OTTO BINDER’s “lost” Jon Jarl story, MR. MONSTER, BILL SCHELLY on comics fandom, and ALEX TOTH! CREIG FLESSEL cover!

The VERY BEST of the 1960s-70s ALTER EGO! 1969 BILL EVERETT interview, art by BURGOS, GUSTAVSON, SIMON & KIRBY, and others, 1960s gems by DITKO, E. NELSON BRIDWELL, JERRY BAILS, and ROY THOMAS, LOU GLANZMAN interview, tributes to IRV NOVICK and CHRIS REEVE, MR. MONSTER, FCA, TOTH, and more!

Cover by EVERETT and MARIE SEVERIN!

(108-page magazine) $5.95 Diamond Order Code: SEP043043

(108-page magazine) $5.95 Diamond Order Code: OCT043189

(100-page magazine) $5.95 Diamond Order Code: NOV043080

(100-page magazine) $5.95 Diamond Order Code: DEC042992

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ALTER EGO #47

ALTER EGO #48

ALTER EGO #49

Spotlights MATT BAKER, Golden Age cheesecake artist of PHANTOM LADY! Career overview, interviews with BAKER’s half-brother and nephew, art from AL FELDSTEIN, VINCE COLLETTA, ARTHUR PEDDY, JACK KAMEN and others, FCA, BILL SCHELLY talks to comic-book-seller (and fan) BUD PLANT, MR. MONSTER on missing AL WILLIAMSON art, and ALEX TOTH!

WILL EISNER discusses Eisner & Iger’s Shop and BUSY ARNOLD’s ’40s Quality Comics, art by FINE, CRANDALL, COLE, POWELL, and CARDY, EISNER tributes by STAN LEE, GENE COLAN, & others, interviews with ’40s Quality artist VERN HENKEL and CHUCK MAZOUJIAN, FCA, MR. MONSTER on EISNER’s Wonder Man, ALEX TOTH, and more with BUD PLANT! EISNER cover!

Spotlights CARL BURGOS! Interview with daughter SUE BURGOS, art by BURGOS, BILL EVERETT, MIKE SEKOWSKY, ED ASCHE, and DICK AYERS, unused 1941 Timely cover layouts, the 1957 Atlas Implosion examined, MANNY STALLMAN, FCA, MR. MONSTER and more! New cover by MARK SPARACIO, from an unused 1941 layout by CARL BURGOS!

(100-page magazine) $5.95 Diamond Order Code: FEB053220

(100-page magazine) $5.95 Diamond Order Code: MAR053331

(100-page magazine) $5.95 Diamond Order Code: APR053287

ALTER EGO #50 ROY THOMAS covers his 40-YEAR career in comics (AVENGERS, X-MEN, CONAN, ALL-STAR SQUADRON, INFINITY INC.), with ADAMS, BUSCEMA, COLAN, DITKO, GIL KANE, KIRBY, STAN LEE, ORDWAY, PÉREZ, ROMITA, and many others! Also FCA, & MR. MONSTER on ROY’s letters to GARDNER FOX! Flip-covers by BUSCEMA/ KIRBY/ALCALA and JERRY ORDWAY!

(100-page magazine) $5.95 Diamond Order Code: MAY053172

ALTER EGO #54 ALTER EGO #51

ALTER EGO #52

ALTER EGO #53

Golden Age Batman artist/BOB KANE ghost LEW SAYRE SCHWARTZ interviewed, Batman art by JERRY ROBINSON, DICK SPRANG, SHELDON MOLDOFF, WIN MORTIMER, JIM MOONEY, and others, the Golden and Silver Ages of AUSTRALIAN SUPER-HEROES, Mad artist DAVE BERG interviewed, FCA, MR. MONSTER on WILL EISNER, BILL SCHELLY, and more!

JOE GIELLA on the Silver Age at DC, the Golden Age at Marvel, and JULIE SCHWARTZ, with rare art by INFANTINO, GIL KANE, SEKOWSKY, SWAN, DILLIN, MOLDOFF, GIACOIA, SCHAFFENBERGER, and others, JAY SCOTT PIKE on STAN LEE and CHARLES BIRO, MARTIN THALL interview, ALEX TOTH, MR. MONSTER, BILL SCHELLY, and more! GIELLA cover!

GIORDANO and THOMAS on STOKER’S DRACULA, never-seen DICK BRIEFER Frankenstein strip, MIKE ESPOSITO on his work with ROSS ANDRU, art by COLAN, WRIGHTSON, MIGNOLA, BRUNNER, BISSETTE, KALUTA, HEATH, MANEELY, EVERETT, DITKO, FCA with MARC SWAYZE, BILL SCHELLY, ALEX TOTH, and MR. MONSTER! Cover by GIORDANO!

(100-page magazine) $5.95 Diamond Order Code: JUN053345

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MIKE ESPOSITO on DC and Marvel, ROBERT KANIGHER on the creation of Metal Men and Sgt. Rock (with comments

by JOE KUBERT and BOB HANEY), art by ANDRU, INFANTINO, KIRBY, SEVERIN, WINDSOR-SMITH, ROMITA, BUSCEMA, TRIMPE, GIL KANE, and others, plus FCA, ALEX TOTH, BILL SCHELLY, MR. MONSTER, and more! ESPOSITO cover!

(100-page magazine) $6.95 Diamond Order Code: SEP053301

ALTER EGO #56

ALTER EGO #57

ALTER EGO #58

Interviews with Superman creators SIEGEL & SHUSTER, Golden/Silver Age DC production guru JACK ADLER interviewed, NEAL ADAMS and radio/TV iconoclast (and comics fan) HOWARD STERN on Adler and his amazing career, art by CURT SWAN, WAYNE BORING, and AL PLASTINO, plus FCA, MR. MONSTER, ALEX TOTH, and more! NEAL ADAMS cover!

Issue-by-issue index of Timely/Atlas superhero stories by MICHELLE NOLAN, art by SIMON & KIRBY, EVERETT, BURGOS, ROMITA, AYERS, HEATH, SEKOWSKY, SHORES, SCHOMBURG, MANEELY, and SEVERIN, GENE COLAN and ALLEN BELLMAN on 1940s Timely super-heroes, FCA, MR. MONSTER, and BILL SCHELLY! Cover

by JACK KIRBY and PETE VON SHOLLY!

GERRY CONWAY and ROY THOMAS on their ’80s screenplay for “The X-Men Movie That Never Was!”with art by COCKRUM, ADAMS, BUSCEMA, BYRNE, GIL KANE, KIRBY, HECK, and LIEBER, Atlas artist VIC CARRABOTTA interview, ALLEN BELLMAN on 1940s Timely bullpen, FCA, 1966 panel on 1950s EC Comics, and MR. MONSTER! MARK SPARACIO/GIL KANE cover!

(100-page magazine) $6.95 Diamond Order Code: DEC053401

(100-page magazine) $6.95 Diamond Order Code: JAN063429

(100-page magazine) $6.95 Diamond Order Code: MAR063545

ALTER EGO #55 JACK and OTTO BINDER, KEN BALD, VIC DOWD, and BOB BOYAJIAN interviewed, FCA with SWAYZE and EMILIO SQUEGLIO, rare art by BECK, WARD, & SCHAFFENBERGER, Christmas Card Art from CRANDALL, SINNOTT, HEATH, MOONEY, and CARDY, 1943 Pin-Up Calendar (with ’40s movie stars as superheroines), ALEX TOTH, and more! ALEX ROSS and ALEX WRIGHT covers!

(100-page magazine) $6.95 Diamond Order Code: OCT053396

ALTER EGO #59 Special issue on Batman and Superman in the Golden and Silver Ages, ARTHUR SUYDAM interview, NEAL ADAMS on 1960s/70s DC, SHELLY MOLDOFF, AL PLASTINO, Golden Age artist FRAN (Doll Man) MATERA and VIC CARRABOTTA interviewed, SIEGEL & SHUSTER, RUSS MANNING, FCA, MR. MONSTER, SUYDAM cover, and more!

(100-page magazine) $6.95 Diamond Order Code: APR063474

ALTER EGO #60

ALTER EGO #61

ALTER EGO #62

Celebrates 50 years since SHOWCASE #4!

FLASH interviews with SCHWARTZ, KANIGHER, INFANTINO, KUBERT, and BROOME, Golden Age artist TONY DiPRETA, 1966 panel with NORDLING, BINDER, and LARRY IVIE, FCA, MR. MONSTER, never-before-published color Flash cover by CARMINE INFANTINO, and more!

History of the AMERICAN COMICS GROUP (1946 to 1967)—including its roots in the Golden Age SANGOR ART SHOP and STANDARD/NEDOR comics! Art by MESKIN, ROBINSON, WILLIAMSON, FRAZETTA, SCHAFFENBERGER, & BUSCEMA, ACG writer/editor RICHARD HUGHES, plus AL HARTLEY interviewed, FCA, MR. MONSTER, and more! GIORDANO cover!

HAPPY HAUNTED HALLOWEEN ISSUE, featuring: MIKE PLOOG and RUDY PALAIS on their horror-comics work! AL WILLIAMSON on his work for the American Comics Group—plus more on ACG horror comics! Rare DICK BRIEFER Frankenstein strips! Plus FCA, MR. MONSTER, BILL SCHELLY on the 1966 KalerCon, a new PLOOG cover—and more!

(100-page magazine) $6.95 Diamond Order Code: MAY063496

(100-page magazine) $6.95 Diamond Order Code: JUN063522

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ALTER EGO #63

ALTER EGO #64

ALTER EGO #65

ALTER EGO #66

ALTER EGO #67

Tribute to ALEX TOTH! Never-before-seen interview with tons of TOTH art, including sketches he sent to friends! Articles about Toth by TERRY AUSTIN, JIM AMASH, SY BARRY, JOE KUBERT, LOU SAYRE SCHWARTZ, IRWIN HASEN, JOHN WORKMAN, and others! Plus illustrated Christmas cards by comics pros, FCA, MR. MONSTER, and more!

Fawcett Favorites! Issue-by-issue analysis of BINDER & BECK’s 1943-45 “The Monster Society of Evil!” serial, double-size FCA section with MARC SWAYZE, EMILIO SQUEGLIO, C.C. BECK, MAC RABOY, and others! Interview with MARTIN FILCHOCK, Golden Age artist for Centaur Comics! Plus MR. MONSTER, DON NEWTON cover, plus a FREE 1943 MARVEL CALENDAR!

NICK CARDY interviewed on his Golden & Silver Age work (with CARDY art), plus art

by WILL EISNER, NEAL ADAMS, CARMINE INFANTINO, JIM APARO, RAMONA FRADON, CURT SWAN, MIKE SEKOWSKY, and others, tributes to ERNIE SCHROEDER and DAVE COCKRUM, FCA with MARC SWAYZE, MICHAEL T. GILBERT and MR. MONSTER, new CARDY COVER, and more!

Spotlight on BOB POWELL, the artist who drew Daredevil, Sub-Mariner, Sheena, The Avenger, The Hulk, Giant-Man, and others, plus art by WALLY WOOD, HOWARD NOSTRAND, DICK AYERS, SIMON & KIRBY, MARTIN GOODMAN’s Magazine Management, and others! FCA with MARC SWAYZE and C.C. BECK, MICHAEL T. GILBERT and MR. MONSTER, and more!

Interview with BOB OKSNER, artist of Supergirl, Jimmy Olsen, Lois Lane, Angel and the Ape, Leave It to Binky, Shazam!, and more, plus art and artifacts by SHELLY MAYER, IRWIN HASEN, LEE ELIAS, C.C. BECK, CARMINE INFANTINO, GIL KANE, JULIE SCHWARTZ, etc., FCA with MARC SWAYZE & C.C. BECK, MICHAEL T. GILBERT on BOB POWELL Part II, and more!

(100-page magazine) $6.95 Diamond Order Code: OCT063800

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ALTER EGO #68

ALTER EGO #69

ALTER EGO #70

ALTER EGO #71

ALTER EGO #72

Tribute to JERRY BAILS—Father of Comics Fandom and founder of Alter Ego! Cover by GEORGE PÉREZ, plus art by JOE KUBERT, CARMINE INFANTINO, GIL KANE, DICK DILLIN, MIKE SEKOWSKY, JERRY ORDWAY, JOE STATON, JACK KIRBY, and others! Plus STEVE DITKO’s notes to STAN LEE for a 1965 Dr. Strange story! And ROY reveals secrets behind Marvel’s STAR WARS comic!

PAUL NORRIS drew AQUAMAN first, in 1941—and RAMONA FRADON was the hero’s ultimate Golden Age artist. But both drew other things as well, and both are interviewed in this landmark issue—along with a pocket history of Aquaman! Plus FCA, MICHAEL T. GILBERT, and more!

Cover painted by JOHN WATSON, from a breathtaking illo by RAMONA FRADON!

Spotlight on ROY THOMAS’ 1970s stint as Marvel’s editor-in-chief and major writer, plus art and reminiscences of GIL KANE, BOTH BUSCEMAS, ADAMS, ROMITA, CHAYKIN, BRUNNER, PLOOG, EVERETT, WRIGHTSON, PÉREZ, ROBBINS, BARRY SMITH, STAN LEE and others, FCA, MR. MONSTER, a new GENE COLAN cover, plus an homage to artist LILY RENÉE!

Represents THE GREAT CANADIAN COMIC BOOKS, the long out-of-print 1970s book

by MICHAEL HIRSH and PATRICK LOUBERT, with rare art of such heroes as Mr. Monster, Nelvana, Thunderfist, and others, plus new INVADERS art by JOHN BYRNE, MIKE GRELL, RON LIM, and more, plus a new cover by GEORGE FREEMAN, from a layout by JACK KIRBY!

SCOTT SHAW! and ROY THOMAS on the creation of Captain Carrot, art & artifacts

by RICK HOBERG, STAN GOLDBERG, MIKE SEKOWSKY, JOHN COSTANZA, E. NELSON BRIDWELL, CAROL LAY, and others, interview with DICK ROCKWELL, Golden Age artist and 36-year ghost artist on MILTON CANIFF’s Steve Canyon! Plus FCA, MR. MONSTER, and more!

(100-page magazine) $6.95 Diamond Order Code: MAR073852

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FRANK BRUNNER on drawing Dr. Strange, interviews with CHARLES BIRO and his daughters, interview with publisher ROBERT GERSON about his 1970s horror comic Reality, art by BERNIE WRIGHTSON, GRAHAM INGELS, HOWARD CHAYKIN, MICHAEL W. KALUTA, JEFF JONES, and others FCA, MR. MONSTER, a FREE DRAW! #15! PREVIEW, and more!

FAWCETT FESTIVAL—with an ALEX ROSS cover! Double-size FCA (Fawcett Collectors of America) with P.C. HAMERLINCK on the many “Captains Marvel” over the years, unseen Shazam! proposal by ALEX ROSS, C.C. BECK on “The Death of a Legend!”, MARC SWAYZE, interview with Golden Age artist MARV LEVY, MR. MONSTER, and more!

JOE SIMON SPECIAL! In-depth SIMON interview by JIM AMASH, with neverbefore-revealed secrets behind the creation of Captain America, Fighting American, Stuntman, Adventures of The Fly, Sick magazine and more, art by JACK KIRBY, BOB POWELL, AL WILLIAMSON, JERRY GRANDENETTI, GEORGE TUSKA, and others, FCA, MR. MONSTER, and more!

(100-page magazine) $6.95 Diamond Order Code: NOV073947

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ALTER EGO #74 STAN LEE SPECIAL in honor of his 85th birthday, with a cover by JACK KIRBY, classic (and virtually unseen) interviews with Stan, tributes, and tons of rare and unseen art by KIRBY, ROMITA, the brothers BUSCEMA, DITKO, COLAN, HECK, AYERS, MANEELY, SHORES, EVERETT, BURGOS, KANE, the SEVERIN siblings—plus FCA, MR. MONSTER, and more!

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(100-page magazine) $6.95 Diamond Order Code: OCT073927

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ALTER EGO #78 ALTER EGO #77 ST. JOHN ISSUE! Golden Age Tor cover by JOE KUBERT, KEN QUATTRO relates the full legend of St. John Publishing, art by KUBERT, NORMAN MAURER, MATT BAKER, LILY RENEE, BOB LUBBERS, RUBEN MOREIRA, RALPH MAYO, AL FAGO, special reminiscences of ARNOLD DRAKE, Golden Age artist TOM SAWYER interviewed, and more!

(100-page magazine) $6.95 Ships May 2008

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DAVE COCKRUM TRIBUTE! Great rare XMen cover, Cockrum tributes from contemporaries and colleagues, and an interview with PATY COCKRUM on Dave’s life and legacy on The Legion of Super-Heroes, The X-Men, Star-Jammers, & more! Plus an interview with 1950s Timely/Marvel artist MARION SITTON on his own incredible career and his Golden Age contemporaries!

(100-page magazine) $6.95 Ships June 2008

ALTER EGO #79

ALTER EGO #80

SUPERMAN & HIS CREATORS! New cover

by MICHAEL GOLDEN, exclusive and revealing interview with JOE SHUSTER’s sister, JEAN SHUSTER PEAVEY—MIKE W. BARR on Superman the detective— DWIGHT DECKER on the Man of Steel & Hitler’s Third Reich—plus the NEMBO KID (Italian for “Superman”), art by BORING, SWAN, ADAMS, KANE, and others!

SWORD-AND-SORCERY COMICS! Learn about Crom the Barbarian, Viking Prince, Nightmaster, Kull, Red Sonja, Solomon Kane, Bran Mak Morn, Fafhrd and The Gray Mouser, Beowulf, Warlord, Dagar the Invincible, and more, with art by FRAZETTA, SMITH, BUSCEMA, KANE, WRIGHTSON, PLOOG, THORNE, BRUNNER, and more!

New cover by RAFAEL KAYANAN!

(100-page magazine) $6.95 Ships July 2008

(100-page magazine) $6.95 Ships August 2008

12-ISSUE SUBSCRIPTIONS: $78 US Postpaid by Media Mail ($108 First Class, $132 Canada, $180 Surface, $216 Airmail).

For a 6-issue sub, cut the price in half!

COMPANION BOOKS

NEW FOR 2008

TITANS COMPANION VOLUME 1

JUSTICE LEAGUE COMPANION VOL. 1

Celebrating the 25th Anniversary of the NEW TEEN TITANS, this comprehensive history features interviews with and rare art by fan-favorite creators MARV WOLFMAN, GEORGE PÉREZ, JOSÉ LUIS GARCÍALÓPEZ, LEN WEIN, and others! Also included is a indepth Silver Age section featuring interviews with NEAL ADAMS, NICK CARDY, DICK GIORDANO and more, plus CHRIS CLAREMONT and WALTER SIMONSON on the X-MEN/TEEN TITANS crossover, TOM GRUMMETT, PHIL JIMENEZ and TERRY DODSON on their ’90s Titans work, rare and unpublished artwork by CARDY, PÉREZ, GARCÍA-LÓPEZ, GRUMMETT, JIMENEZ, and others, a new cover by JIMENEZ, and an introduction by GEOFF JOHNS! Written by GLEN CADIGAN.

A comprehensive examination of the Silver Age JLA written by MICHAEL EURY (co-author of THE SUPERHERO BOOK). It traces the JLA’s development, history, imitators, and early fandom through vintage and all-new interviews with the series’ creators, an issue-by-issue index of the JLA’s 1960-1972 adventures, classic and never-before-published artwork, and other fun and fascinating features. Contributors include DENNY O’NEIL, MURPHY ANDERSON, JOE GIELLA, MIKE FRIEDRICH, NEAL ADAMS, ALEX ROSS, CARMINE INFANTINO, NICK CARDY, and many, many others. Plus: An exclusive interview with STAN LEE, who answers the question, “Did the JLA really inspire the creation of Marvel’s Fantastic Four?” With an all-new cover by BRUCE TIMM!

(224-page trade paperback) $24.95 ISBN: 9781893905504 Diamond Order Code: SEP053209

(224-page trade paperback) $24.95 ISBN: 9781893905481 Diamond Order Code: MAY053052

FLASH COMPANION Details the publication histories of the four heroes who have individually earned the right to be declared DC Comics' "Fastest Man Alive": Jay Garrick, Barry Allen, Wally West, and Bart Allen. With articles about legendary creators SHELLY MAYER, GARDNER FOX, E.E. HIBBARD, JULIUS SCHWARTZ, ROBERT KANIGHER, JOHN BROOME, ROSS ANDRU, IRV NOVICK and all-new interviews with HARRY LAMPERT, CARMINE INFANTINO, CARY BATES, ALEX SAVIUK, MIKE W. BARR, MARV WOLFMAN, MIKE BARON, JACKSON GUICE, MARK WAID, and SCOTT KOLINS, among others, THE FLASH COMPANION recounts the scarlet speedster's evolution from the Golden Age to the 21st century. Also featured are "lost covers," never before published commission pieces by Flash artists throughout the decades, a ROGUES GALLERY detailing The Flash's most famous foes, a tribute to late artist MIKE WIERINGO by MARK WAID, a look at the speedster’s 1990s TV show, and "Flash facts" detailing pivotal moments in Flash history. Written by KEITH DALLAS, with a a cover by DON KRAMER. (224-page trade paperback) $26.95 • ISBN: 9781893905986 • Ships July 2008

NEW FOR 2008

KRYPTON COMPANION

BLUE BEETLE COMPANION

Picks up where Volume 1 left off, covering the return of the Teen Titans to the top of the sales charts!

Featuring interviews with GEOFF JOHNS, MIKE McKONE, PETER DAVID, PHIL JIMENEZ, and others, plus an in-depth section on the top-rated Cartoon Network series! Also CHUCK DIXON, MARK WAID, KARL KESEL, and JOHN BYRNE on writing the current generation of Titans! More with MARV WOLFMAN and GEORGE PÉREZ! NEAL ADAMS on redesigning Robin! Artwork by ADAMS, BYRNE, JIMENEZ, McKONE, PÉREZ and more, with an all-new cover by MIKE McKONE! Written by GLEN CADIGAN.

Unlocks the secrets of Superman’s Silver and Bronze Ages, when kryptonite came in multiple colors and super-pets scampered across the skies! Writer/editor MICHAEL EURY explores the legacy of classic editors MORT WEISINGER and JULIUS SCHWARTZ through all-new interviews with NEAL ADAMS, MURPHY ANDERSON, CARY BATES, RICH BUCKLER, NICK CARDY, JOSÉ LUIS GARCÍA-LÓPEZ, KEITH GIFFEN, ELLIOT S! MAGGIN, JIM MOONEY, DENNIS O’NEIL, BOB OKSNER, MARTIN PASKO, BOB ROZAKIS, JIM SHOOTER, LEN WEIN, MARV WOLFMAN, and other fan favorites! Plus: Super-artist CURT SWAN’s 1987 essay “Drawing Superman,” JERRY SIEGEL’s “lost” imaginary story “The Death of Clark Kent,” MARK WAID’s tribute to Superboy and the Legion of SuperHeroes, and rare and previously unpublished artwork

by WAYNE BORING, ALAN DAVIS, ADAM HUGHES, PAUL SMITH, BRUCE TIMM, and other Super-stars.

Bonus: A roundtable discussion with modern-day creators (including JOHN BYRNE, JEPH LOEB, and ALEX ROSS) examining Superman’s influential past! Plus an Introduction by Bizarro No. 1 (by SEINFELD writer DAVID MANDEL), and a cover by DAVE GIBBONS!

The Blue Beetle debuted in 1939, rivaling Superman and Batman for longevity in comics, but not in popularity until his recent death and resurrection as a result of DC Comics’ hit INFINITE CRISIS. Now CHRISTOPHER IRVING explores the history and uncovers the secrets of his 60+ years of evolution—from the world of FOX COMICS to an in-depth history of CHARLTON COMICS—all the way to the hall of today’s DC COMICS. Find out what really happened to infamous Golden Age publisher Victor Fox, and get an in-depth look at the Blue Beetle radio show and JACK KIRBY’s Blue Beetle comic strip. Also, presented for the first time since 1939: the character’s first appearance from Mystery Men Comics #1! Featuring interviews with WILL EISNER, JOE SIMON, JOE GILL, ROY THOMAS, GEOFF JOHNS, CULLY HAMNER, KEITH GIFFEN, LEN WEIN, and others, plus never-before-seen Blue Beetle designs by ALEX ROSS and ALAN WEISS, as well as artwork by WILL EISNER, CHARLES NICHOLAS, STEVE DITKO, KEVIN MAGUIRE, and more! With an introduction by TOM DeHAVEN, and a new cover by CULLY HAMNER, this is the ultimate look at one of comicdom’s longest-living heroes!

(224-page trade paperback) $26.95 ISBN: 97801893905870 Diamond Order Code: JAN083938

(240-page trade paperback) $24.95 ISBN: 9781893905610 Diamond Order Code: MAY063443

(128-page trade paperback) $16.95 ISBN: 9781893905702 Diamond Order Code: DEC063946

TITANS COMPANION VOLUME 2

NEW FOR 2008

BEST OF THE LEGION OUTPOST

ALL- STAR COMPANION VOL. 2

Originally published in 1972 as the official newsletter of the Legion Fan Club, the LEGION OUTPOST soon became the premier Legion of Super-Heroes fanzine of the 1970s, featuring contributions by fans, pros, and soon-to-be pros. Launched at a time when the future of the LEGION OF SUPER-HEROES was in doubt, the LEGION OUTPOST was at the center of fan-based efforts to revive the title, and was largely responsible for its rescue from obscurity, leading to it becoming a runaway best-seller! This trade paperback collects the best material from the hard-to-find fanzine, including rare interviews and articles from creators such as DAVE COCKRUM, CARY BATES, and JIM SHOOTER, plus never-before-seen artwork by COCKRUM, MIKE GRELL, JIMMY JANES and others! It also features a previously unpublished interview with KEITH GIFFEN originally intended for the never-published LEGION OUTPOST #11, plus other new material! And it sports a rarely-seen classic 1970s cover by Legion fan favorite artist DAVE COCKRUM! Edited by GLEN CADIGAN.

ROY THOMAS presents still more secrets of the Justice Society of America and ALL-STAR COMICS, from 1940 through the 1980s, featuring: A fabulous wraparound cover by CARLOS PACHECO! More amazing information and speculation on the classic ALL-STAR COMICS of 1940-1951! Never-before-seen Golden Age art by IRWIN HASEN, CARMINE INFANTINO, ALEX TOTH, MART NODELL, JOE KUBERT, H.G. PETER, and others! Art from an unpublished 1940s JSA story not seen in Volume 1! Rare art from the original JLA-JSA team-ups and the 1970s ALL-STAR COMICS REVIVAL by MIKE SEKOWSKY, DICK DILLIN, JOE STATON, WALLY WOOD, KEITH GIFFEN, and RIC ESTRADA! Full coverage of the 1980s ALL-STAR SQUADRON, and a bio of every single All-Star, plus never-seen art by JERRY ORDWAY, RICH BUCKLER, ARVELL JONES, RAFAEL KAYANAN, and special JSArelated art and features by FRANK BRUNNER, ALEX ROSS, NEAL ADAMS, GIL KANE, MIKE MIGNOLA, and RAMONA FRADON—and more!

(160-page trade paperback) $17.95 ISBN: 9781893905368 Diamond Order Code: SEP042969

(240-page trade paperback) $24.95 ISBN: 9781893905375 Diamond Order Code: AUG063622

ALL- STAR COMPANION VOL. 3 In this third volume, comics legend Roy Thomas presents still more amazing secrets behind the 1940-51 ALL-STAR COMICS and the JUSTICE SOCIETY OF AMERICA! Also, there’s an issue-by-issue survey of the JLA/JSA TEAM-UPS of 1963-85, the 1970s JSA REVIVAL, and the 1980s series THE YOUNG ALLSTARS with commentary by the artists and writers! Plus rare, often unseen art by NEAL ADAMS, DICK AYERS, MICHAEL BAIR, JOHN BUSCEMA, SEAN CHEN, DICK DILLIN, RIC ESTRADA, CREIG FLESSEL, KEITH GIFFEN, DICK GIORDANO, MIKE GRELL, TOM GRINDBERG, TOM GRUMMETT, RON HARRIS, IRWIN HASEN, DON HECK, CARMINE INFANTINO, GIL KANE, JACK KIRBY, JOE KUBERT, BOB LAYTON, SHELDON MAYER, BOB McLEOD, SHELDON MOLDOFF, BRIAN MURRAY, JERRY ORDWAY, ARTHUR PEDDY, GEORGE PÉREZ, H.G. PETER, HOWARD PURCELL, PAUL REINMAN, MIKE SEKOWSKY, HOWARD SIMPSON, JOE SINNOTT, JIM STARLIN, JOE STATON, RONN SUTTON, ALEX TOTH, JIM VALENTINO and many others! Featuring a new JLA/JSA cover by GEORGE PÉREZ! (240-page trade paperback) $26.95 ISBN: 9781893905801 Diamond Order Code: SEP074020

NEW FOR 2008

SILVER AGE SCI-FI COMPANION

T.H.U.N.D.E.R. AGENTS COMPANION

Instantly recognizable among comics fans, Hawkman is one of the most iconic heroes ever created. Inspired by tales as old as mankind and those much more recent, this four-color legend has left an indelible mark upon the comic industry. Behind a fabulous CLIFF CHIANG cover, this collection contains interviews and commentary from many who have helped Hawkman soar through the ages, including JOE KUBERT, GEOFF JOHNS, SHELLY MOLDOFF, TIMOTHY TRUMAN, JUSTIN GRAY, JIMMY PALMIOTTI, RAGS MORALES, STEPHEN SADOWSKI, DON KRAMER, BEN RAAB, TONY ISABELLA, DAN JURGENS, ROY THOMAS, STEVE LIEBER, MURPHY ANDERSON and many other top comics creators. Also included is a copious image parade, profiles on the Hawks through the ages, as well as their allies and adversaries, and a timeline of Hawkman's storied existence throughout the DC Comics Universe. With insight into the character and the creators who made him what he is, the HAWKMAN COMPANION is certain to please any Hawkfan. Written by DOUG ZAWISZA.

In the Silver Age of Comics, space was the place, and this book summarizes, critiques and lovingly recalls the classic science-fiction series edited by JULIUS SCHWARTZ and written by GARDNER FOX and JOHN BROOME! The pages of DC’s science-fiction magazines of the 1960s, STRANGE ADVENTURES and MYSTERY IN SPACE, are opened for you, including story-by-story reviews of complete series such as ADAM STRANGE, ATOMIC KNIGHTS, SPACE MUSEUM, STAR ROVERS, STAR HAWKINS and others! Writer/ editor MIKE W. BARR tells you which series crossed over with each other, behind-the-scenes secrets, and more, including writer and artist credits for every story!

Features rare art by CARMINE INFANTINO, MURPHY ANDERSON, GIL KANE, SID GREENE, MIKE SEKOWSKY, and many others, plus a glorious new cover by ALAN DAVIS and PAUL NEARY!

The definitive book on the history of such memorable characters as DYNAMO, NO-MAN, LIGHTNING, ANDOR, THE IRON MAIDEN, and all the other super-heroes and super-villains created by the late, great WALLACE WOOD and company! Included are interviews with Woody’s creative team, as well as those superb writers and artists involved in the various T-Agents resurrections over the decades, and a detailed examination of the origins and exploits of the characters themselves, including the shocking truth behind the first super-hero to ever be “killed,” MENTHOR! This exclusive book features reams of artwork, much of it rarely-seen or previous unpublished, including a rare 27-page T-Agents story drawn by PAUL GULACY, unpublished stories by GULACY, PARIS CULLINS, and others, all behind a JERRY ORDWAY cover. Edited by JON B. COOKE.

(208-page trade paperback) $24.95 ISBN: 9781893905931 Ships October 2008

(144-page trade paperback) $19.95 ISBN: 9781893905818 Diamond Order Code: JUL073885

(224-page trade paperback) $24.95 ISBN: 9781893905436 Diamond Order Code: MAR053228

HAWKMAN COMPANION

THE RETRO COMICS EXPERIENCE!

TM

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments such as “Pro2Pro” (a dialogue between two professionals), “Rough Stuff” (pencil art showcases of top artists), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

Go online for an ULTIMATE BUNDLE, with all the issues at HALF-PRICE! 6-ISSUE SUBS: $40 US Postpaid by Media Mail ($54 First Class, $66 Canada, $90 Surface, $108 Airmail).

BACK ISSUE #1

BACK ISSUE #2

BACK ISSUE #3

“PRO2PRO” interview between GEORGE PÉREZ & MARV WOLFMAN (with UNSEEN PÉREZ ART), “ROUGH STUFF” featuring JACK KIRBY’s PENCIL ART, “GREATEST STORIES NEVER TOLD” on the first JLA/AVENGERS, “BEYOND CAPES” on DC and Marvel’s TARZAN (with KUBERT and BUSCEMA ART), “OFF MY CHEST” editorial by INFANTINO, and more! PÉREZ cover!

“PRO2PRO” between ADAM HUGHES and MIKE W. BARR (with UNSEEN HUGHES ART) and MATT WAGNER and DIANA SCHUTZ, “ROUGH STUFF” HUGHES PENCIL ART, STEVE RUDE’s unseen SPACE GHOST/HERCULOIDS team-up, Bruce Jones’ ALIEN WORLDS and TWISTED TALES, “OFF MY CHEST” by MIKE W. BARR on the DC IMPLOSION, and more!

HUGHES cover!

“PRO2PRO” between KEITH GIFFEN, J.M. DeMATTEIS and KEVIN MAGUIRE on their JLA WORK, “ROUGH STUFF” PENCIL ART by ARAGONÉS, HERNANDEZ BROS., MIGNOLA, BYRNE, KIRBY, HUGHES, details on two unknown PLASTIC MAN movies, Joker’s history with O’NEIL, ADAMS, ENGLEHART, ROGERS and BOLLAND, editorial by MARK EVANIER, and more! BOLLAND cover!

(100-page magazine) $5.95 Diamond Order Code: SEP032621

(100-page magazine) $5.95 Diamond Order Code: NOV032696

(100-page magazine) $5.95 Diamond Order Code: JAN042880

BACK ISSUE #4

BACK ISSUE #5

BACK ISSUE #6

BACK ISSUE #7

BACK ISSUE #8

“PRO2PRO” between JOHN BYRNE and CHRIS CLAREMONT on their X-MEN WORK and WALT SIMONSON and JOE CASEY on Walter’s THOR, WOLVERINE PENCIL ART by BUSCEMA, LEE, COCKRUM, BYRNE, and GIL KANE, LEN WEIN’S TEEN WOLVERINE, PUNISHER’S 30TH and SECRET WARS’ 20TH ANNIVERSARIES (with UNSEEN ZECK ART), and more! BYRNE cover!

Wonder Woman TV series in-depth, LYNDA CARTER INTERVIEW, WONDER WOMAN TV ART GALLERY, Marvel’s TV Hulk, SpiderMan, Captain America, and Dr. Strange, LOU FERRIGNO INTERVIEW, super-hero cartoons you didn’t see, pencil gallery by JERRY ORDWAY, STAR TREK in comics, and ROMITA SR. editorial on Marvel’s movies!

Covers by ALEX ROSS and ADAM HUGHES!

TOMB OF DRACULA revealed with GENE COLAN and MARV WOLFMAN, LEN WEIN & BERNIE WRIGHTSON on Swamp Thing’s roots, STEVE BISSETTE & RICK VEITCH on their Swamp work, pencil art by BRUNNER, PLOOG, BISSETTE, COLAN, WRIGHTSON, and SMITH, editorial by ROY THOMAS, PREZ, GODZILLA comics (with TRIMPE art), CHARLTON horror, & more! COLAN cover!

History of BRAVE AND BOLD, JIM APARO interview, tribute to BOB HANEY, FANTASTIC FOUR ROUNDTABLE with STAN LEE, MARK WAID, and others, EVANIER and MEUGNIOT on DNAgents, pencil art by ROSS, TOTH, COCKRUM, HECK, ROBBINS, NEWTON, and BYRNE, DENNY O’NEIL editorial, a tour of METROPOLIS, IL, and more! SWAN/ANDERSON cover!

DENNY O’NEIL and Justice League Unlimited voice actor PHIL LaMARR discuss GL JOHN STEWART, NEW X-MEN pencil art by NEAL ADAMS, ARTHUR ADAMS, DAVID MAZZUCCHELLI, ALAN DAVIS, JIM LEE, ADAM HUGHES, STORM’s 30-year history, animated TV’s black heroes (with TOTH art), ISABELLA and TREVOR VON EEDEN on BLACK LIGHTNING, and more! KYLE BAKER cover!

(100-page magazine) $5.95 Diamond Order Code: MAR042973

(108-page magazine with COLOR) $5.95 Diamond Order Code: MAY043051

(100-page magazine) $5.95 Diamond Order Code: JUL043389

(100-page magazine) $5.95 Diamond Order Code: SEP043044

(100-page magazine) $5.95 Diamond Order Code: NOV043081

DIEGDITITIOANL ONLY!

BACK ISSUE #9

BACK ISSUE #10

BACK ISSUE #11

BACK ISSUE #12

BACK ISSUE #13

MIKE BARON and STEVE RUDE on NEXUS past and present, a colossal GIL KANE pencil art gallery, a look at Marvel’s STAR WARS comics, secrets of DC’s unseen CRISIS ON INFINITE EARTHS SEQUEL, TIM TRUMAN on his GRIMJACK SERIES, MIKE GOLD editorial, THANOS history, TIME WARP revisited, and more! All-new STEVE RUDE COVER!

NEAL ADAMS and DENNY O’NEIL on RA’S AL GHUL’s history (with Adams art), O’Neil and MICHAEL KALUTA on THE SHADOW, MIKE GRELL on JON SABLE FREELANCE, HOWIE CHAYKIN interview, DOC SAVAGE in comics, BATMAN ART GALLERY by PAUL SMITH, SIENKIEWICZ, SIMONSON, BOLLAND, HANNIGAN, MAZZUCCHELLI, and others! New cover by ADAMS!

ROY THOMAS, KURT BUSIEK, and JOE JUSKO on CONAN (with art by JOHN BUSCEMA, BARRY WINDSOR-SMITH, NEAL ADAMS, JUSKO, and others), SERGIO ARAGONÉS and MARK EVANIER on GROO, DC’s never-published KING ARTHUR, pencil art gallery by KIRBY, PÉREZ, MOEBIUS, GARCÍA-LÓPEZ, BOLLAND, and others, and a new BUSCEMA/JUSKO Conan cover!

‘70s and ‘80s character revamps with DAVE GIBBONS, ROY THOMAS and KURT BUSIEK, TOM DeFALCO and RON FRENZ on Spider-Man’s 1980s “black” costume change, DENNY O’NEIL on Superman’s 1970 revamp, JOHN BYRNE’s aborted SHAZAM! series detailed, pencil art gallery with FRANK MILLER, LEE WEEKS, DAVID MAZZUCCHELLI, CHARLES VESS, and more!

CARDY interview, ENGLEHART and MOENCH on kung-fu comics, “Pro2Pro” with STATON and CUTI on Charlton’s E-Man, pencil art gallery featuring MILLER, KUBERT, GIORDANO, SWAN, GIL KANE, COLAN, COCKRUM, and others, EISNER’s A Contract with God; “The Death of Romance (Comics)” (with art by ROMITA, SR. and TOTH), and more!

(100-page magazine) $5.95 Diamond Order Code: JAN053136

(100-page magazine) $5.95 Diamond Order Code: MAR053333

(108-page magazine) $5.95 Diamond Order Code: MAY053174

(100-page magazine) $5.95 Diamond Order Code: JUL053295

(100-page magazine) SOLD OUT (100-page Digital Edition) $2.95

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BACK ISSUE #14

BACK ISSUE #15

BACK ISSUE #16

BACK ISSUE #17

BACK ISSUE #18

DAVE COCKRUM and MIKE GRELL go “Pro2Pro” on the Legion, pencil art gallery

by BUSCEMA, BYRNE, MILLER, STARLIN, McFARLANE, ROMITA JR., SIENKIEWICZ, looks at Hercules Unbound, Hex, Killraven, Kamandi, MARS, Planet of the Apes, art and interviews with GARCÍA-LÓPEZ, KIRBY, WILLIAMSON, and more! New MIKE GRELL/BOB McLEOD cover!

“Weird Heroes” of the 1970s and ‘80s!

MIKE PLOOG discusses Ghost Rider, MATT WAGNER revisits The Demon, JOE KUBERT dusts off Ragman, GENE COLAN “Rough Stuff” pencil gallery, GARCÍALÓPEZ recalls Deadman, DC’s unpublished Gorilla Grodd series, PERLIN, CONWAY, and MOENCH on Werewolf by Night, and more! New ARTHUR ADAMS cover!

“Toy Stories!” Behind the Scenes of Marvel’s G.I. JOE™ and TRANSFORMERS with PAUL LEVITZ and GEORGE TUSKA, “Rough Stuff” MIKE ZECK pencil gallery, ARTHUR ADAMS on Gumby, HE-MAN, ROM, MICRONAUTS, SUPER POWERS, SUPER-HERO CARS, art by HAMA, SAL BUSCEMA, GUICE, GOLDEN, KIRBY, TRIMPE, and new ZECK sketch cover!

“Super Girls!” Supergirl retrospective with art by STELFREEZE, HAMNER, SpiderWoman, Flare, Tigra, DC’s unused Double Comics with unseen BARRETTO and INFANTINO art, WOLFMAN and JIMENEZ on Donna Troy, female comics pros, art by SEKOWSKY, OKSNER, PÉREZ, HUGHES, GIORDANO, plus a COLOR GALLERY and COVER by BRUCE TIMM!

“Big, Green Issue!” Tour of NEAL ADAMS’ studio (with interview and art gallery), DAVE GIBBONS “Rough Stuff” pencil art spotlight, interviews with MIKE GRELL (on Green Arrow), PETER DAVID (on Incredible Hulk), a “Pro2Pro” chat between GERRY CONWAY and JOHN ROMITA, SR. (on the Green Goblin), and more. New cover

by NEAL ADAMS!

(100-page magazine) $6.95 Diamond Order Code: NOV053296

(100-page magazine) $6.95 Diamond Order Code: JAN063431

(100-page magazine) $6.95 Diamond Order Code: MAR063547

(108-page magazine with COLOR) $6.95 Diamond Order Code: MAY063499

(100-page magazine) $6.95 Diamond Order Code: JUL063569

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BACK ISSUE #19

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“Unsung Heroes!” DON NEWTON spotlight, STEVE GERBER and GENE COLAN on Howard the Duck, MIKE CARLIN and DANNY FINGEROTH on Marvel’s Assistant Editors’ Month, the unrealized Unlimited Powers TV show, TONY ISABELLA’s aborted plans for The Champions, MARK GRUENWALD tribute, art by SAL BUSCEMA, JOHN BYRNE, and more! NEWTON/ RUBINSTEIN cover!

“Secret Identities!” Histories of characters with unusual alter egos: Firestorm, Moon Knight, the Question, and the “real-life” Human Fly! STEVE ENGLEHART and SAL BUSCEMA on Captain America, JERRY ORDWAY interview and cover, Superman roundtable with SIENKIEWICZ, NOWLAN, MOENCH, COWAN, MAGGIN, O’NEIL, MILGROM, CONWAY, ROBBINS, SWAN, plus FREE ALTER EGO #64 PREVIEW!

“The Devil You Say!” issue! A look at Daredevil in the 1980s and 1990s with interviews and art by KLAUS JANSON, JOHN ROMITA JR., and FRANK MILLER, MIKE MIGNOLA Hellboy interview, DAN MISHKIN and GARY COHN on Blue Devil, COLLEEN DORAN’s unpublished X-Men spin-off “Fallen Angels”, Son of Satan, Stig’s Inferno, DC’s Plop!, JACK KIRBY’s Devil Dinosaur, and cover by MIKE ZECK!

“Dynamic Duos!’ “Pro2Pro” interviews with Batman’s ALAN GRANT and NORM BREYFOGLE and the Legion’s PAUL LEVITZ and KEITH GIFFEN, a “Backstage Pass” to Dark Horse Comics, Robin’s history, EASTMAN and LAIRD’s Ninja Turtles, histories of duos Robin and Batgirl, Captain America and the Falcon, and Blue Beetle and Booster Gold, “Zot!” interview with SCOTT McCLOUD, and a new BREYFOGLE cover!

“Comics Go Hollywood!” Spider-Man roundtable with STAN LEE, JOHN ROMITA, SR., JIM SHOOTER, ERIK LARSEN, and others, STAR TREK comics writers’ roundtable Part 1, Gladstone’s Disney comics line, behindthe-scenes at TV’s ISIS and THE FLASH (plus an interview with Flash’s JOHN WESLEY SHIPP), TV tie-in comics, bonus 8-page color ADAM HUGHES ART GALLERY and cover, plus a FREE WRITE NOW #16 PREVIEW!

(100-page magazine) $6.95 Diamond Order Code: SEP063683

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BACK ISSUE #24

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BACK ISSUE #29

“Magic” issue! MICHAEL GOLDEN interview, GENE COLAN, PAUL SMITH, and FRANK BRUNNER on drawing Dr. Strange, Mystic Art Gallery with CARL POTTS & KEVIN NOWLAN, BILL WILLINGHAM’s Elementals, Zatanna history, Dr. Fate’s revival, a “Greatest Stories Never Told” look at Peter Pan, tribute to the late MARSHALL ROGERS, a new GOLDEN cover, plus a FREE ROUGH STUFF #6 PREVIEW!

“Men of Steel!’ BOB LAYTON and DAVID MICHELINIE on Iron Man, RICH BUCKLER on Deathlok, MIKE GRELL on Warlord, JOHN BYRNE on ROG 2000, Six Million Dollar Man and Bionic Woman, Machine Man, the World’s Greatest Super-Heroes comic strip, DC’s Steel, art by KIRBY, HECK, WINDSOR-SMITH, TUSKA, LAYTON cover, and bonus “Men of Steel” art gallery!

Includes a FREE DRAW! #15 PREVIEW!

“Spies and Tough Guys!’ PAUL GULACY and DOUG MOENCH in an art-packed “Pro2Pro” on Master of Kung Fu and their unrealized Shang-Chi/Nick Fury crossover, Suicide Squad spotlight, Ms. Tree, CHUCK DIXON and TIM TRUMAN’s Airboy, James Bond and Mr. T in comic books, Sgt. Rock’s oddball super-hero team-ups, Nathaniel Dusk, JOE KUBERT’s unpublished The Redeemer, and a new GULACY cover!

“Comic Book Royalty!” The ’70s/’80s careers of Aquaman and the Sub-Mariner explored, BARR and BOLLAND discuss CAMELOT 3000, comics pros tell “Why JACK KIRBY Was King,” “Dr. Doom: Monarch or Menace?” DON McGREGOR’s Black Panther; an exclusive ALAN WEISS art gallery; spotlights on ARION, LORD OF ATLANTIS; NIGHT FORCE; and more! New cover by NICK CARDY!

“Mutants” issue! CLAREMONT, BYRNE, SMITH, and ROMITA, JR.’s X-Men work; NOCENTI and ARTHUR ADAMS’ Longshot; McLEOD and SIENKIEWICZ’s New Mutants; the UK’s CAPTAIN BRITAIN series; lost Angel stories; Beast’s tenure with the Avengers; the return of the original X-Men in X-Factor; the revelation of Nightcrawler’s “original” father; a history of DC’s mutant, Captain Comet, and more! Cover by DAVE COCKRUM!

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NEW STUFF FROM TWOMORROWS!

ALTER EGO #77

ROUGH STUFF #8

WRITE NOW! #18

DRAW! #15

BRICKJOURNAL #2

ST. JOHN ISSUE! Golden Age Tor cover by JOE KUBERT, KEN QUATTRO relates the full legend of St. John Publishing, art by KUBERT, NORMAN MAURER, MATT BAKER, LILY RENEE, BOB LUBBERS, RUBEN MOREIRA, RALPH MAYO, AL FAGO, special reminiscences of ARNOLD DRAKE, Golden Age artist TOM SAWYER interviewed, and more!

Features an in-depth interview and cover painting by the extraordinary MIKE MAYHEW, preliminary and unpublished art by ALEX HORLEY, TONY DeZUNIGA, NICK CARDY, and RAFAEL KAYANAN (including commentary by each artist), a look at the great Belgian comic book artists, a “Rough Critique” of MIKE MURDOCK’s work, and more!

Celebration of STAN LEE’s 85th birthday, including rare examples of comics, TV, and movie scripts from the Stan Lee Archives, tributes by JOHN ROMITA, SR., JOE QUESADA, ROY THOMAS, DENNIS O’NEIL, JIMMY PALMIOTTI, JIM SALICRUP, TODD McFARLANE, LOUISE SIMONSON, MARK EVANIER, and others, plus art by KIRBY, DITKO, ROMITA, and more!

BACK TO SCHOOL ISSUE, covering major schools offering comic art as part of their curriculum, featuring faculty, student, and graduate interviews in an ultimate overview of collegiate-level comic art classes! Plus, a “how-to” demo/ interview with artist BILL REINHOLD, MANLEY and BRET BLEVINS’ COMIC ART BOOTCAMP series, a FREE WRITE NOW #17 PREVIEW, and more!

The ultimate resource for LEGO enthusiasts of all ages spotlights blockbuster summer movies, LEGO style! Go behind the scenes for new sets for BATMAN and INDIANA JONES, and see new models, including an SR-71 SPYPLANE and a LEGO CITY, plus MINIFIGURE CUSTOMIZATIONS, BUILDING INSTRUCTIONS, tour the ONLINE LEGO FACTORY, and more! Edited by JOE MENO.

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KIRBY FIVE-OH! (JACK KIRBY COLLECTOR #50)

SILVER AGE SCI-FI COMPANION

BEST OF WRITE NOW!

BEST OF DRAW! VOL. 3

In the Silver Age of Comics, space was the place, and this book summarizes, critiques and lovingly recalls the classic science-fiction series edited by JULIUS SCHWARTZ and written by GARDNER FOX and JOHN BROOME! The pages of DC’s science-fiction magazines of the 1960s, STRANGE ADVENTURES and MYSTERY IN SPACE, are opened for you, including story-bystory reviews of complete series such as ADAM STRANGE, ATOMIC KNIGHTS, SPACE MUSEUM, STAR ROVERS, STAR HAWKINS and others! Writer/editor MIKE W. BARR tells you which series crossed over with each other, behind-the-scenes secrets, and more, including writer and artist credits for every story! Features rare art by CARMINE INFANTINO, MURPHY ANDERSON, GIL KANE, SID GREENE, MIKE SEKOWSKY, and many others, plus a glorious new cover by ALAN DAVIS and PAUL NEARY!

Features highlights from the acclaimed magazine about writing for comics, including interviews from top talents, like: BRIAN MICHAEL BENDIS, WILL EISNER, JEPH LOEB, STAN LEE, J. M. STRACZYNSKI, MARK WAID, GEOFF JOHNS, TODD McFARLANE, PAUL LEVITZ, AXEL ALONSO, and others! Plus “NUTS & BOLTS” tutorials feature scripts from landmark comics and the pencil art that was drawn from them, including: CIVIL WAR #1 (MILLAR & McNIVEN), BATMAN: HUSH #1 (LOEB & LEE), ULTIMATE SPIDER-MAN #47 (BENDIS & BAGLEY), AMAZING SPIDERMAN #539 (STRACZYNSKI & GARNEY), SPAWN #52 (McFARLANE & CAPULO), GREEN LANTERN: REBIRTH #1 (JOHNS & VAN SCRIVER), and more! Also: How-to articles by the best comics writers and editors around, professional secrets of top comics pros, and an introduction by STAN LEE! Edited by DANNY FINGEROTH.

Compiles more of the best tutorials and interviews from DRAW! #5-7, including: Penciling by MIKE WIERINGO! Illustration

by DAN BRERETON! Design by PAUL RIVOCHE! Drawing Hands, Lighting the Figure, and Sketching by BRET BLEVINS! Cartooning by BILL WRAY! Inking by MIKE MANLEY! Comics & Animation by STEPHEN DeSTEFANO! Digital Illustration

by CELIA CALLE and ALBERTO RUIZ! Caricature by ZACH TRENHOLM, and much more! Cover by DAN BRERETON!

MODERN MASTERS VOLUME 16: MIKE ALLRED

(144-page trade paperback) $19.95 ISBN: 9781893905818 Diamond Order Code: JUL073885

(160-page trade paperback) $19.95 ISBN: 9781893905924 Diamond Order Code: FEB084082

The regular columnists from THE JACK KIRBY COLLECTOR magazine celebrate the best of everything from Jack Kirby’s 50-year career, spotlighting: The BEST KIRBY STORIES & COVERS from 19381987! Jack’s 50 BEST UNUSED PIECES OF ART! His 50 BEST CHARACTER DESIGNS! Interviews with the 50 PEOPLE MOST INFLUENCED BY KIRBY’S WORK! A 50PAGE KIRBY PENCIL ART GALLERY and DELUXE COLOR SECTION! Kirby cover inked by DARWYN COOKE, and an introduction by MARK EVANIER, making this the ultimate retrospective on the career of the “King” of comics! Edited by JOHN MORROW. (168-page tabloid-size trade paperback) $19.95 ISBN: 9781893905894 Diamond Order Code: JUL078147 Now Shipping

Go to www.twomorrows.com for FULL-COLOR downloadable PDF versions of our magazines for only $2.95! Subscribers to the print edition get the digital edition FREE, weeks before it hits stores!

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(256-page trade paperback) $29.95 ISBN: 9781893905917 Diamond Order Code: JAN083936

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Features an extensive, career-spanning interview lavishly illustrated with rare art from Mike’s files, plus huge sketchbook section, including unseen and unused art!

By ERIC NOLEN-WEATHINGTON. (120-page TPB with COLOR) $14.95 ISBN: 9781893905863 Diamond Order Code: JAN083937

COMICS GO HOLLYWOOD Unveils secrets behind your FAVORITE ONSCREEN HEROES, and how a character goes from the comics page to the big screen! It includes: Storyboards from DC’s animated hit “THE NEW FRONTIER”, JEPH LOEB on writing for Marvel Comics and the Heroes TV show, details on the UNSEEN X-MEN MOVIE, a history of the JOKER from the 1940s to the upcoming Dark Knight film, and a look at Marvel Universe co-creator JACK KIRBY’s Hollywood career, with extensive Kirby art!

(32-page comic) FREE! at your local comics retailer on FREE COMIC BOOK DAY, May 3, 2008!

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