Comic Book Creator #34 by TwoMorrows Publishing

A TwoMorrows Publication

No. 34, Spring 2024

Cover art by Dan Jurgens and Brett Breeding

The Best in POP Culture! ZOWIE!

THE TV SUPERHERO CRAZE IN ’60s POP CULTURE by MARK VOGER

HOLY PHENOMENON! In the way-out year of 1966, the action comedy “Batman” starring ADAM WEST premiered and triggered a tsunami of super swag, including toys, games, Halloween costumes, puppets, action figures, and lunch boxes. Meanwhile, still more costumed avengers sprang forth on TV (“The Green Hornet,” “Ultraman”), in MOVIES (“The Wild World of Batwoman,” “Rat Pfink and Boo Boo”), and in ANIMATION (“Space Ghost,” “The Marvel Super Heroes”). ZOWIE! traces the history of the superhero genre from early films, through the 1960s TV superhero craze, and its pop culture influence ever since. This 192-page hardcover, in pop art colors that conjure the period, spotlights the coolest collectibles and kookiest knockoffs every ’60s kid begged their parents for, and features interviews with the TV stars (WEST, BURT WARD, YVONNE CRAIG, FRANK GORSHIN, BURGESS MEREDITH, CESAR ROMERO, JULIE NEWMAR, VAN WILLIAMS), the artists behind the comics (JERRY ROBINSON, DICK SPRANG, CARMINE INFANTINO, JOE GIELLA), and others. Written and designed by MARK VOGER (MONSTER MASH, HOLLY JOLLY), ZOWIE! is one super read! (192-page FULL-COLOR HARDCOVER) $43.95 (Digital Edition) $15.99 • ISBN: 978-1-60549-125-7 SHIPS JULY 2024!

CLIFFHANGER!

All characters TM & © their respective owners.

CINEMATIC SUPERHEROES OF THE SERIALS: 1941–1952 by CHRISTOPHER IRVING Hold on tight as historian CHRISTOPHER IRVING explores the origins of the first on-screen superheroes and the comic creators and film-makers who brought them to life. CLIFFHANGER! touches on the early days of the film serial, to its explosion as a juvenile medium of the 1930s and ‘40s. See how the creation of characters like SUPERMAN, CAPTAIN AMERICA, SPY SMASHER, and CAPTAIN MARVEL dovetailed with the early film adaptations. Along the way, you’ll meet the stuntmen, directors (SPENCER BENNETT, WILLIAM WITNEY, producer SAM KATZMAN), comic book creators (SIEGEL & SHUSTER, SIMON & KIRBY, BOB KANE, C.C. BECK, FRANK FRAZETTA, WILL EISNER), and actors (BUSTER CRABBE, GEORGE REEVES, LORNA GRAY, KANE RICHMOND, KIRK ALYN, DAVE O’BRIEN) who brought them to the silver screen—and how that resonates with today’s cinematic superhero universe. NOW SHIPPING! (160-page COLOR HARDCOVER) $39.95 • (Digital Edition) $15.99 • ISBN: 978-1-60549-119-6

COMIC BOOK IMPLOSION (EXPANDED EDITION) by KEITH DALLAS & JOHN WELLS

NOW IN FULL-COLOR WITH BONUS PAGES! In 1978, DC Comics launched a line-wide expansion known as “The DC Explosion,” but pulled the plug weeks later, cancelling titles and leaving dozens of completed comic book stories unpublished. Now, that notorious “DC Implosion” is examined with an exhaustive oral history from JENETTE KAHN, PAUL LEVITZ, LEN WEIN, MIKE GOLD, AL MILGROM, and other DC creators of the time, plus commentary by other top pros, examining how it changed the landscape of comics forever! This new EXPANDED EDITION of the Eisner Award-nominated book explodes in full cover for the first time, with extra coverage of LOST 1970S DC PROJECTS like Ninja the Invisible and an adaptation of “The Wiz,” Jim Starlin’s unaltered cover art for BATMAN FAMILY #21, content meant for cancelled Marvel titles such as Godzilla and Ms. Marvel, and more! SHIPS MAY 2024! (144-page FULL-COLOR SOFTCOVER) $26.95 • (Digital Edition) $10.99 • ISBN: 978-1-60549-124-0

IT ROSE FROM THE TOMB An all-new book written by PETER NORMANTON

Rising from the depths of history comes an ALL-NEW examination of the 20th Century’s best horror comics, written by PETER NORMANTON (editor of From The Tomb, the UK’s preeminent magazine on the genre). From the pulps and seminal horror comics of the 1940s, through ones they tried to ban in the 1950s, this tome explores how the genre survived the introduction of the Comics Code, before making its terrifying return during the 1960s and 1970s. Come face-to-face with the early days of ACG’s alarming line, every horror comic from June 1953, hypodermic horrors, DC’s Gothic romance comics, Marvel’s Giant-Size terrors, Skywald and Warren’s chillers, and Atlas Seaboard’s shocking magazines. The 192-page full-color opus exhumes BERNIE WRIGHTSON’s darkest constructs, plus artwork by FRANK FRAZETTA, NEAL ADAMS, MIKE KALUTA, STEVE DITKO, MATT FOX, WARREN KREMER, LEE ELIAS, BILL EVERETT, RUSS HEATH, THE GURCH, and many more. Don’t turn your back on this once-in-a-lifetime spine-chiller—it’s so good, it’s frightening! (192-page SOFTCOVER) $31.95 • (Digital Edition) $15.99 • ISBN: 978-1-60549-123-3 • NOW SHIPPING!

TwoMorrows. The Future of Pop History.

Phone: 919-449-0344 E-mail: store@twomorrows.com Web: www.twomorrows.com

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

Spring 2024 • The Dan Jurgens Issue • Number 34

About Our Cover Cover art by DAN JURGENS, Pencils BRETT BREEDING, Inks Cover colors by GLEN WHITMORE

Ye Ed’s Rant: Talking about a magazine’s philosophy and yammering about other stuff... 2 COMICS CHATTER Welcome to the Glutverse: Roberto Lionel Barreiro talks about the cross-company universe writer Don Glut created populating his comics, books, and films — with an illuminating schematic courtesy of fellow Glutologist Charles Rutledge ....................... 3 An Age of Altergott: Talking with the cartoonist about his graphic novel, Blessed Be..... 12 Once Upon Long Ago: Steve Thompson on his introduction to comics fandom.............. 15 Sunshine’s Superman: Publishing hardback collections of comics back in the ’70s...... 18 The Borth Files: The final part of our profile of the greatest artist you don’t know........... 20

Superman, associated characters TM & © DC Comics.

Incoming: Roy Thomas comments on the Stan Lee at Carnegie Hall article in CBC #31.... 28 Cooke’s Column: Y.E. discovers humorist Sean Kelly comments about Byron Preiss....... 29 Ten Questions: Darrick Patrick basks in the glow of bright and sunny June Brigham...... 30 Son of the Flame: The last portion of Greg Biga’s career-spanning interview with Mike Deodato, Jr., covering the artist’s years of reinvention, struggle, and triumph.... 32 Comics in the Library: Richard Arndt on The Lonely War of Capt. Willy Schultz............... 40 Hembeck’s Dateline: Fred compares the Action Heroes and Watchmen counterparts ... 41 Above: This image was originally intended as a double-page spread featured in Superman #82 [Oct. 1993], but, Dan Jurgens told us, it was rejected by DC editorial as submitted by Dan, because it forced the reader to turn the book sideways. They later released it as a folded poster to be included in a plastic-bagged book sold at a big box store.

Don’t STEAL our Digital Editions! C’mon citizen, DO THE RIGHT THING! A Mom & Pop publisher like us needs every sale just to survive! DON’T DOWNLOAD OR READ ILLEGAL COPIES ONLINE! Buy affordable, legal downloads only at

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Dan Jurgens: Love, Death, and Superman Greg Biga questions the artist/writer about his “Smallville”-like Minnesota upbringing, early entry into DC Comics, and his creation of Booster Gold, as well as thoughts on the awesome responsibility of being a caretaker for an American icon, and the group dynamics behind the “Death of Superman,” and his subsequent jumping between the “Big Two,” as Dan became one of mainstream comics most important pros .......... 42 BACK MATTER Creators at the Con: Kendall Whitehouse covers the 2023 Baltimore Comic-Con........... 78 Coming Attractions: Bob Brodsky’s comprehensive look at writer Denny O’Neil............ 79 A Picture Is Worth A Thousand Words: Tom Z. shows off some of his Big Foot work.... 80 EDITOR’S NOTE: Note that some images in this issue have been enhanced with software. Right: Slightly altered detail of Booster Gold #18 [May 2009] cover by Dan Jurgens and Norm Rapmund..

Comic Book Artist Vol. 1 & 2 are available as digital downloads from twomorrows.com Comic Book Creator ™ is published quarterly by TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614 USA. Phone: (919) 449-0344. Jon B. Cooke, editor. John Morrow, publisher. Comic Book Creator editorial offices: P.O. Box 601, West Kingston, RI 02892 USA. E-mail: jonbcooke@aol.com. Send subscription funds to TwoMorrows, NOT to the editorial offices. Four-issue subscriptions: $53 US, $78 International, $19 Digital. All characters are © their respective copyright owners. All material © their creators unless otherwise noted. All editorial matter ©2024 Jon B. Cooke/ TwoMorrows. Comic Book Creator is a TM of Jon B. Cooke/TwoMorrows. ISSN 2330-2437. Printed in China. FIRST PRINTING.

TM & ©DC Comics.

COMIC BOOK CREATOR is a proud joint production of Jon B. Cooke/TwoMorrows

THE MAIN EVENT

This issue is dedicated to the memories of STEVE ERWIN, KEITH GIFFEN, and my friend and fellow historian, ROGER HILL ™

Our Quarterly Visit JON B. COOKE

Editor & Designer

JOHN MORROW

Publisher & Consulting Editor

GREG BIGA

Associate Editor

DAN JURGENS Cover Penciler

BRETT BREEDING Cover Inker

GLEN WHITMORE Cover Colorist

RICHARD J. ARNDT TOM ZIUKO STEVEN THOMPSON MICHAEL AUSHENKER Contributing Editors

J.D. KING

CBC Cartoonist Emeritus

TOM ZIUKO

CBC Colorist Supreme

RONN SUTTON

CBC Illustrator

KEN MEYER, JR. ROB SMENTEK CBC Proofreader

GREG PRESTON

CBC Contributing Photographer

KENDALL WHITEHOUSE

CBC Convention Photographer

RICHARD ARNDT FRED HEMBECK DARRICK PATRICK STEVEN THOMPSON TOM ZIUKO CBC Columnists

To contact CBC, please email jonbcooke@aol.com or snail-mail Comic Book Creator c/o Jon B. Cooke, P.O. Box 601, West Kingston, RI 02892 2

There’s a philosophy embraced in these pages Baltimore Comic-Con was an interesting about producing the ideal periodical, one time, as Yours Truly manned the booth at the that some have heard me talk about convention center while publisher John before. It’s to have a magazine enter Morrow was selling his wares at the Mida reader’s abode welcomed as if an Atlantic Nostalgia Con, in nearby Hunt Valley, old friend or admired acquaintance Maryland, and then zipping over to BCC who comes to call on a periodic basis. to help me close up at night. Highlights of The intent is to make a publication the show included meeting Paul Gravett in engaging, smart, and diverse, yet person for the first time, spending time with try not to deviate too far from its buddy John Workman, chats with Benjamin overall purview. The key is to capture Herzberg, Steve Rude, and Patrick McDonthe reader’s attention for a spell nell. (In following through our discussion, I just long enough not overstay interviewed the Mutts cartoonist — a warm that welcome. It’s an interesting and welcoming gent — about his heartfelt formula, though hardly a science, new book, The Super Hero’s Journey, currentand I confess to not having the ly available from Abrams ComicArts, a lively slightest notion how successful talk that will appear next issue.) CBC is in deserving and retaining I’ve been chatting with a pal about any of your attention other than a possibly publishing a history of Treasure steady number continue to buy it. Chest comics, the Catholic school title that But there’s evidence the mag ran for over 500 issues between 1946–72 is doing okay. I do know that there and boasted a wonderful line-up of artists are enough of you readers to keep over the decades, including Reed Crandall, CBC continuing on its philosophJoe Sinnott, Fran Matera, and the great Frank ical mission (at least up to now!). Borth (who I have been profiling in the last And I’m grateful the readership batch of CBC). I can’t adequately explain has remained steady over the 34 iswhy I’m so fascinated with the comics of sues thus far, though sales fluctuate, George A. Pflaum, of Dayton, Ohio, as I’m depending on reader interest for the not particularly religious and never attended Don Jurgens by Ronn Sutton main feature. Thanks to all of you for Catholic school, except to say the series is purchasing CBC and my appreciation to all the mag’s very entertaining and wonderfully diverse in cartooning styles contributors for keeping it engaging, smart, and diverse. and subject material (all preachiness aside). If you have any Having retired from a career as graphic designer in adver- desire to see such an obscure history published, let me know! tising and marketing over the last few years now, your (ahem) Well, as of January, long before you’re reading these fearless editor has been singularly devoted to the comics words, Ye Ed will officially join the ranks of senior citizenry and history field ever since, with the next major project being a turns 65! I can’t kid myself anymore that I’m either young or historical retrospective of the last remaining underground co- vibrant, but I’m okay with it and will slow down only when the mix publisher. A good chunk of Mind Candy: The Outrageous body or mind forces me. I have so much to do before then! History of Last Gasp of San Francisco is, naturally, devoted to Whether I’ll be attending San Diego Comic-Con this year a biography of its iconoclastic founder, Ron Turner, whose is up in the air (but 2025 is likely a definite), though Mitch fascinating story not only encompasses the rise and fall of the Hallock’s Terrificon is a sure thing, come Aug. 16–18, at the comix scene and his company’s emergence in recent decades Mohegan Sun Casino, in Connecticut, where Ye Pub and myas a publisher of eclectic art books, but also discusses the rise self will be manning the TwoMorrows booth. (Mitch’s show is of the “outsider” culture scene the Bay Area produced. not only… umm… terrific, but, being only 25 miles from me, Ronzo’s importance in the advancement of comic books it’s also virtually in my Southern Rhode Island backyard! cannot be overstated. His outfit started as a publisher of I’m also excited to announce that 2024 is the centennial socially conscious, pro-environmentalist funny books, and Last year for the late writer, Arnold Drake, and in CBC #35–37 and Gasp went on to release the first all-women comic book title as with the help of chum Marc Svensson, we’ll be featuring the well as the seminal effort that launched the autobiographical co-creator of Doom Patrol and Deadman’s most comprehengenre, the late Justin Green’s Binky Brown Meets the Holy sive interview ever, which I conducted in late 2003, some Virgin Mary. The more I delve into it, the more remarkable the three and a half years before he passed, in 2007. subject is. Hopefully the book will be out next fall. Until next time, when we visit again!

cbc contributors

Rick Altergott Mark Arnold Roberto Lionel Barreiro

Terry Beatty Ariel Bordeaux Brett Breeding Shaun Clancy

DC Comics Michael Eury Don Glut Roger Hill

Dan Jurgens Paul Levitz Andy Mangels Eric Reynolds

— Y e Crusading Editor jonbcooke@aol.com

Charles Rutledge Rob Salkowitz Jesse Santos Linda Sunshine

Roy Thomas Michael Uslan J.C. Vaughn Rob Yeremian

#34 • Spring 2024 • COMIC BOOK CREATOR

CBC Color Portrait Artist

On staying welcome in the reader’s abode and other stuff

up front

Journey into the Glutverse! An examination of the most fascinating shared comic book universe you didn’t know about by ROBERTO BARREIRO

Gold Key TM Gold Key Entertainment, LLC. Dr. Spektor TM & ©Penguin Random House, LLC.

[Editor’s intro: By the early 1970s, the idea of a continuum between comic book titles had been long established since Marvel made it a central element of the charm of its super-hero line in the ’60s, a cool notion of a shared universe with characters interacting within one another’s books. Taking that cue, Charlton had its “Action Heroes”; Tower, its T.H.U.N.D.E.R. Agents; and The Mighty Crusaders had their realm over at Archie Comics. They weren’t alone. Certainly, ever since Superman initially cavorted with Batman in World’s Finest and the Justice Society first convened their All Star Comics’ meetings back in the ’40s, DC predated all of that ’60s stuff with its characters crossing paths, but rarely was there the conviction and frequency as was happening at the House of Ideas. But cross-company continuity? This was simply unheard of, at least in any overt fashion until DC’s Man of Steel bumped into Marvel’s amazing Wall-Crawler for their 1976 “Treasury Edition” slugfest, starting an extended period of detente that lasted between the Big Two into the ’90s. Sure, writers like Steve Skeates subversively tied up loose plotlines from his abruptly cancelled Aquaman [1972] in an issue of Sub-Mariner [1974], but any ongoing co-mingling from one publisher to another…? Nobody would dare suggest a shared universe starring characters from separate companies, right? Enter Donald Frank Glut and his vast and glorious Glutverse! The following (in somewhat different form) was submitted by Roberto Lionel Barreiro Figueroa, a fellow comics scholar from Chile, who helped tremendously with my Charlton Companion regarding Argentine artists. He suggested I make use of an English translation of a piece he wrote in Spanish on the “Glutverse,” and I was instantly captivated as both a fan of Don’s work and tickled by the very phrase! I’ve shamelessly edited the essay and beg his forgiveness, but here’s hoping Roberto’s exuberance shines through! — Y.E.] The origin of perhaps the best-developed experiment in continuity during the 1970s occurred in the comic books of a publisher that didn’t promote it, with characters far removed from superheroes and, in fact, established almost entirely in secret, developed behind the backs of the editors themselves. This was all due to the work and imagination of a young comics writer who wanted to give a common thread to all his stories about detectives of the supernatural, barbarians among swords and sorcerers, prehistoric warriors who encounter aliens, and horror stories. From that unlikely mix of genres, Donald Glut would generate a group of series within the Gold Key publishing house that functioned as his own created universe. This is the story of his Glutverse, as its become known by the few fans who recognized what he was doing, a saga of this hidden comics realm, its genesis, development, and apparent (but, in reality, not final) end. A FAN’S SECRET JOKE By 1972, Don Glut already had a certain fame within the (albeit small) fandom of North America, and could boast of a promising professional career as scripter. Born in Texas, in 1944, Glut was just one more “war baby,” who spent his childhood reading pre-Code comics, listening to rock ’n’ roll, watching old black-&-white horror movies on TV, going to cheap SF double and sometimes triple bills at local theaters, and religiously reading Famous Monsters of Filmland magazine (about said movies). Two very specific subjects would attract his attention and become obsessions that remained COMIC BOOK CREATOR • Spring 2024 • #34

throughout his career: dinosaurs and the monstrous creation of Dr. Frankenstein. Both manias will result in books (and much more), both fiction and nonfiction. But what set Glut apart from other war babies and boomers was that, as a teenager, he wanted to do things with his favorite characters. So, while coming of age in Chicago and later moving to California in his college days, young Glut would film his own “fan” efforts. With a 16mm camera, Glut was determined to tell stories about super-heroes, monsters, and movie serial villains. Between 1953–69, Glut lensed a whopping 41 short films, using characters like Superman, Spider-Man, the Spirit, Frankenstein’s creation, werewolves, dinosaurs, etc. Early on, his production efforts were catching the attention not only of other fans, but also Famous Monsters editor Forrest J Ackerman and his writer, rock singer Ron Haydock, who frequently promoted Glut’s work, giving the young man recognition in fandom of the day. The nascent director would thus get to know others from that world, including a fellow from Missouri named Roy Thomas.

This page: At top is the logo for Gold Key Comics, which was an imprint of Western Publishing, alongside Jesse Santos’s painting for the cover of The Occult Files of Dr. Spektor #19 [Apr. 1976]. Above is an enhanced portrait of the creator of the Glutverse himself, Donald Frank Glut, the remarkable pop culture polymath, who has made significant impacts in comics, B-movies, the study of dinosaurs, novels, and more! 3

the borth files

The Artist’s Autumn Years

The final portion of our three-part look into the fascinating life and great art of Frank Borth by JON B. COOKE [In our previous segments, we learned of Ohio-born artist Frank Mellors Borth’s entry into comics’ Golden Age at Quality Comics, his WWII experience, and making it through the industry’s dark times by thriving with assignments from the Geo. A. Pflaum publishing outfit of Dayton, Ohio. It was in the pages of Pflaum’s comic book line where Borth [1918–2009] developed into an exceptional cartoonist and stellar storyteller, especially adept at humor-laced adventure tales, often starring kids and animals. At the beginning of the 1960s, married to school teacher wife Bobbie and father of Steven and Kathy, the Montauk, N.Y.-based family man, increasingly dedicated to civic life in his idyllic town, received a request from an old friend, who just so happened to be among comics’ greatest illustrators.— Ye Ed.] Above: Testament to his talent and standing at the George A. Pflaum Company, a collection of Frank Borth’s “Draw-Along” art lessons was published in 1965. Inset right: At top is a Borth self-portrait included in a profile featured in Isaac Asimov’s Science Fiction Magazine, Vol. 5, #6 [June 1981]; center and bottom are Reed Crandall’s caricatures of himself and best friend Frank from their art school days, respectively, detailed from the wraparound cover of Treasure Chest Vol. 18, #11 [Jan. 31, 1963], featuring the entire TC crew. (Check out CBC #22 [Winter 2020] for a peek at the entire piece.) Below: Courtesy of Roger Hill, whose Reed Crandall: Illustrator of the Comics discusses Frank, a pic of the man fishing from June 1960.

Treasure Chest of Fun & Fact, for much of its quarter-century existence between 1946–72, was safe harbor for any number of comic book professionals, even while navigating the industry’s most turbulent waters. In all but summer months, its Ohiobased publisher steadily produced that wholesome bi-weekly anthology comics title for Catholic schools during the academic year, financed not by fluctuating newsstand sales but with student subscription payments collected by teachers. George A. Pflaum, Co., was an outfit priding itself with the quality of its freelance contributors, prominent among them, the superb artist/writer Frank Borth, by 1960, a trusted TC veteran. “Joe Sinnott and other people who had worked previously for comic books migrated to Treasure Chest,” Borth told me during my Summer 2003 visit to his Montauk, N.Y., home. “Treasure Chest did not pay as much… But I think a lot of the good artists, like Sinnott and so forth, really recognized that this was not just a comic book. They could be illustrators.” So it’s small wonder then that joining the TC team would be none other than the quintessential comics illustrator, Reed Leonard Crandall. Late of Quality Comics, EC Comics, and soon to add Classics Illustrated to his roster of clients, the artist also happened to be, of course, Frank’s best buddy. And, as he had in a previous summer or two, divorcee Reed came to spend the season, sleeping on a cot in Frank’s studio, taking evening strolls on the beach alone, and, as the need arose, being of great assist to his host. “During the visit,” Roger Hill wrote in his biography, Reed Crandall: Illustrator of the Comics [2016, TwoMorrows], “Borth’s wife, Bobbie, came down with a lung illness and wound up in a New York hospital for a few

weeks. Attending to his wife’s needs, Borth got behind on his Treasure Chest work and Reed decided to pitch in and help out. He penciled a four-page story… Borth inked the tale and sent it in… Around the same period, Borth wrote a letter to the publisher expounding on the talents of Reed Crandall and convinced the publisher to start giving Reed some work. James Langdon, Treasure Chest editor, was receptive and, while Reed was still in Montauk, he sent the artist both a cover and story assignment to complete on his own.” Since their time in art school together, Frank Borth was in absolute awe of his best pal. “His whole forte actually was that he had a photographic memory. He used to drive me nuts in art school. He could draw anything without going and doing the research. Airplanes… war planes, and so forth… he would do these drawings of the Civil War and show them in the uniforms… How did he know? He must have remembered from seeing motion pictures of the thing, y’know? He was just wonderful. And, as far as drawing horses, he liked drawing horses more than he did people.” As Bobbie recovered, that Summer of 1960 was a pleasant time for the two old chums, who each had their own space to draw in the studio. “After I got him an assignment from Treasure Chest,” Frank told me, “while he was busy working on it, I had a squirrel monkey at that time, in a six-foot cage… And I used to let him out in the studio. I’ll never forget the day that squirrel monkey got up on the drawing board that Reed was working on and was sitting there watching him and peed on his painting.” Amid our laughter, Frank added, quoting Reed, “‘Hey! Your monkey just pissed on this…!’” While Frank suspected Reed suffered a drinking problem, evidence of an affliction became apparent only after his friend returned to his native Kansas. “I didn’t find that out #34 • Spring 2024 • COMIC BOOK CREATOR

Borth art on spread © the estate of Frank Borth. Photo on opposite page courtesy of Roger Hill.

until he went home,” Frank revealed. “I found empties down in the basement hidden at the end of my canoe. He didn’t want to throw them in the rubbish so that I would see them. And it was small bottles; he didn’t drink the quarts, he’d pick up a pint. He’d say he was going to walk down on a beach… and, while at the beach, he then walked on to the village… Most times, I didn’t know when he came in…” FLIVVERS IN FLIGHT AND ELEPHANT-RIDING ELLIE As can be expected, Reed Crandall’s abilities deteriorated over time, but despite his condition, the artist could still produce magnificent work through much of the 1960s, most prevalently for the Warren horror magazines. Treasure Chest remained a steady client until 1967, around the time Al Williamson tempted him to come draw Flash Gordon at King Comics. Frank would remain a faithful friend until Reed passed away, in September 1982. Frank stayed quite busy with Pflaum through the ’60s, producing 19 multi-chapter serials, amounting to many pages and multiple covers, plus a number of shorter features, as well as writer and artist for a serial in a six-issue 1966 summer edition. Up until mid-decade, Frank Moss, the Montauk charter boat captain and close family friend* he recruited to become one of Treasure Chest’s busiest writers, had written the majority of Frank’s assignments but, in ’65, Moss found himself a new career in midtown Manhattan, where he would offer Borth illustration assignments. The artist told Catholic University researchers, “[It] got to the point where he was starting to write up articles and things for yachting magazines in New York. He was offered to be the editor of Sport Fishing [magazine]… quite an accomplishment. As a matter of fact, he and his wife left Montauk because he had to go into the office every day. But we kept our friendship and his family had owned an old farm up in [New Hampshire]. Anyhow, he was very helpful.” Moss, who died in 1997, at 82, would author many books on fishing. One delightful aspect of the Treasure Chest title was that popular serials would often return to in following years, including the Borth roster of multi-chapter sagas starring rotund hero The Champ; skinny redhead Fearless Ferdy; exuberant Ellie and her baby pachyderm, Googie; and a series about a lively, anthropomorphized jalopy predating The Absent-Minded Professor, Chitty Chitty Bang Bang, and My Mother the Car! As we pored over his printed TC work, Frank Borth told me, “I consider myself more of an illustrator than a cartoonist, and when I draw things, I like to be very accurate with it. That speedboat is an accurate drawing of a speedboat. And that car… Originally, Frank Moss wrote that story. He came up with this thing, it was a flying flivver — Henrietta, the Flying Flivver. Well,

actually, there had been a movie made up with a flying flivver. It had something to do with a rubber… Flubber! He made it so these two kids could run around in it, and the boy was a little older and the girl was always with a lollipop or something like that. But the flivver was like the elephant. You notice the expression on his face? I used the two headlights for eyes… The actual Model T didn’t have a bumper, there was no bumper on it, so by putting that double-bar bumper on it, I could give it expression on the face. And when I wanted to draw when they were trying to start it up, this guy tried to steal it. Since I don’t have any of the original art, I actually re-did one of the drawings and I was going to do a number of them to color by hand. But, unless you know about the Flying Flivver, why, it’s just a very funny drawing of this thing bucking like a horse.” The “elephant” Frank referred to was the aforementioned Ellie pet, which was the result of a wager with his editor. “I

Above: In the “cubbyhole” studio of Frank Borth, the artist poses for Ye Ed during a July 2003 visit, displaying his framed artwork for a spectacular 1984 “Montauk Blessing of the Fleet” poster, featuring caricatures of notable summer residents of the fishing village. Below: Presumably drawn for Jerry DeFuccio to accompany Frank’s interview in Cartoonist PROfiles #74 [June 1987], the artist sketched out his work space located at his Montauk abode. Compare it with the photo of the same studio section seen above.

* According to Steven Borth, his parents thought so much of Frank and Millie Moss that they made arrangements for the childless couple to raise the Borth children should something tragic occur to them. COMIC BOOK CREATOR • Spring 2024 • #34

son of the flame

Deo’s Good Times & Bad

The grand finale of our Mike Deodato, Jr., profile with insight from Alonso, Faust, and Oswalt by GREG BIGA

This page: Above is the reprint of As Aventuras do Flama, Deodato Borges’ 1963 Brazilian super-hero Deodato, Jr., revived in 2014 for a commemorative issue honoring his father, who passed away in 2014. Below is Mike’s rendition of The Flame and, inset right, the son’s portrait of his dad.

On August 25th, 2014, one of the great lights in Mike Deodato’s life was extinguished. Deodato Borges was more than Mike’s father; he was a best friend and a mentor, as well. He was also a cultural touchstone in the history of Paraiba, Brazil. His voice and his words entertained, informed, and challenged his community for 50 years. His passing was as much a loss for the South American nation as it was for his son. Borges was that rare and special individual who used his public platform to raise up others and urge his audience to pursue greatness in their own lives. There can never be another Deodato Borges. “That was tough, man,” Mike shares. “Because I thought I would handle it very well, because I never lost anyone close to me. And then I found out that my dad died and I didn’t think I’d cry, because I’m a very macho man and stuff like that. Man, I cried like a baby. It was so, so hard. Every time that I mention my dad’s passing in an interview or lecture or something, I would cry in front of everybody. It was embarrassing. But it was very, very tough for me. “My dad was like one of those guys from Mad Men. My dad was so much like those guys. I could spend so much of my day watching that series. And I had so much pity for my mom for living in that time. Being treated as ‘just’ a woman. But my dad was like that: he didn’t talk about feelings. And so, because of that, because he didn’t have those [emotional] moments and stuff like that, I thought I could handle it better. But then, no. I only had the chance to say ‘I love you’ on the night before he died. Because that’s when I had the courage to say that I loved him. That’s how it was with our relationship. It was more about heroes and stuff, but not feelings. We didn’t

ALL IN THE FAMILY “I was more attached to my dad, because of comics, you know,” recalls Deo. “My mom, Maria, was like all other moms — very, very caring, very loving. No complaints at all. I would never be a rebel because I have no cause for it. My parents were great. We weren’t rich or anything like that. On the contrary. But she was always loving and took care of her kids. She was supportive, just like my dad. But, because my dad was a hero and was in comics, too, I always had more to do with him. We had more things to talk about and stuff like that. My mom was my mom. Of course, I love her. She’s special to me, but she was not a comic book fan. She’s 83 and in very good health. She never exercises and she’s a bit weak, but she’s a big hero. She sometimes cheats by eating candies. She’s diabetic, like me, but she’s okay. She’s in very good condition. Her aunt lived to be 107. So maybe she’ll make it there, too. Me, too!” Mike was first married in 1988, which gave him his first daughter, Priscilla Gomez. “She’s a production engineer. She knows how to make money. I’m a big fan of hers. I didn’t have to actually help parent her because she always liked to study and was very organized and everything. I only had to ground her one time, when she was seven, and that was it. And, to compensate for things, my new daughter, Ana Julia, she’s seven years old and she’s a devil. But she’s the most adorable devil there is. She’s completely different and I thought, ‘My God, she’s the devil.’ But, apparently, she has a creative side, so maybe I can bring her [out of] the dark side.” Ana Julia’s mother is Mike’s current wife, Ana Paula. Based on what Mike has previously shared about his time at the drawing board, there’s no doubt that his own life as a dad was difficult. “In the beginning, I was young, of course. I didn’t know how to balance things, because I thought, ‘Oh my God, I have to grab it.’ So, I worked too much. I was living #34 • Spring 2024 • COMIC BOOK CREATOR

Flama, illustrations TM & © Mike Deodato, Jr.

[Last time, in our second installment of this career-spanning conversation with Mike Deodato, Jr., the artist opened up about his fall from comic book grace and resurrection through his talent with the support of some luminaries who refused to give up on him. Here we walk with Deo through his greatest personal loss, individual successes, and, full circle, triumphant return to his first professional character at DC Comics. — G.B.]

talk about feelings. So, I found out the hard way that I was not made of steel. “Because of that, I had plans to do a revival of his character, The Flame. But I never had the courage. So, I licensed it to a company, and they are developing the character with another artist. My dad was very important to me and my career.” In honor of his father, Deo did some drawings of his dad’s iconic alter ego. “I did several images of The Flame. I did one in color with a yellow background. I did that for a reprint we did of the first issue of The Flame. It was exactly the same. It was printed with all the advertisements and everything. So, I did the cover that you can remove and have the book be exactly like it was printed in 1963.”

Cy-Gor TM & © Todd McFarlane Productions, Inc.

on four hours of sleep a day in the ’90s. I didn’t have the time needed to shave or cut my hair. So, I was not very present. After I divorced for the first time, in 1996, I had more time with my daughter than when I was married. Because I only could see her on the weekend, I tried to compensate, having more fun and stuff. And, little by little, I learned how to balance my life. “I learned, especially after my fall at the end of the ’90s, I realized that I had to rewire my brain and everything in my life. I had to take more control and to have time for myself and my family, because that also influenced my art. So, doing sports and taking care of myself, it was not a waste of time, I believe. Now I know they’re all parts of the same equation, in the end. If I was worried about my art, if I don’t pay attention to these things, I would be a bad artist. So, now I spend time with my family. And that’s one of the reasons I never had a studio out of my home. I would never see my family because I work too much. So, I prefer to work at home. My new office is very integrated with my home life. It has a big TV space for my kid to play with toys. So, I’m used to working with them making noise here. Then I participate in the day-by-day life instead of being in the attic or in another studio outside the home. Comics are my life, but I had to make a way to be with my family, too. So, nowadays, I know better.” It is that change of attitude which has also shifted Deodato’s perception of how he approached his livelihood. “For years, I thought I was a workaholic. But then, I took one vacation. It was in 2006. It was my first vacation. A 30-day vacation. After 10 days, I wanted to draw. So, it was not work, because I was not working, but I needed to draw. So, I realized, ‘Okay, it’s not that I’m a workaholic, it’s just I love to draw. I have to draw.’ The moments I’m happy is when I’m drawing, when I’m creating a comic. Not only drawing, even framing a page, or getting reference, or writing something. I have to be doing comics, that’s when I’m happy.”

did exams and everything, and turns out there was only 10% left of my optical nerves. (It doesn’t mean I have only 10% of my vision, but it was a mess.) And then he told me that I had to drive home. And then I spent about 10 minutes trying to get onto the road and couldn’t see the other cars. And then I went anyway, guys beeping at me. I drove to my house crying, so my wife couldn’t see it. And that was the last time I drove. I did two surgeries to hold the progression of the disease. I believe it’s working; it’s not getting worse. But what I lost is lost. And the result is that it became so hard to draw. Now I’m completely adapted. It’s like I have been like this my whole life. But it’s so hard because I see everything in a blur, all the time. If I’m talking to you, I cannot see your face correctly. I see better on iPhones or on computers. For me to draw on paper, it’s a pain. It’s better on computers THE NECESSARY LEAP TO DIGITAL Even a cursory understanding of Mike’s work is to see a strong because I can blow it up and work panel by panel. For me Frank Frazetta influence. Fritz is obviously in his blood. “The first time I saw a Frazetta drawing, it was in Brazil… There was to watch on a television, I cannot. I watch it on an iPad. an article about Frazetta and the drawing was of the flying Even then, the brightness dinosaurs attacking a guy. It was like. ‘Oh, my God!’ I was so is at the maximum. It’s like impressed. Of course, I became crazy about his drawing style, everything that’s bright is very in pen-&-ink, the paintings, and everything. I was fascinated. bright, and everything that is To this day, every time I try to do a guy in a pile of bodies, I dark is very dark. try to do my best-ever Frazetta composition, and I am never “The worst part is not satisfied…. Someday I will find the perfect composition.” knowing if the surgery is Beyond the skill of Frazetta, it is that legend’s conquering of physical ailments brought upon by illness and strokes which gonna work or if it’s gonna get worse. I’m at the limit. best motivate Deodato. Learning a new way of working, as Frazetta did when he taught himself to draw with his opposite If something gets a little bit worse, then I cannot draw hand later in his life, gave a path for Mike to continue his anymore. And there are career. “I’m kind of in a situation like that. I was diagnosed with glaucoma in 1995.” Reveals Mike. “And I’ve been treating regions in my right eye where I cannot see a thing. And then it as well as I could. But, in 2019, suddenly my vision was not [the left] one compensates. good. Actually, a few years before, I had surgery for a cataract For example, before I could in my right eye. And, after that, my right eye was not good read a book. The whole page, enough. And then I complained to my doctor. He said, ‘Yeah, but the surgery [went] okay.’ And it’s getting worse and worse, I could read very fast, because but I had the other one, so I was not worried. But, the problem I would comprehend the paragraphs as one phrase. is, my doctor, he failed. He didn’t realize it was the glaucoma Now I have to read line by eating at the eye. And then, when it finally hit the other eye, line, because the other line my vision was a mess. disappears. And so, it’s very “And then, I went to another doctor, and the pressure was frustrating. I made plans that, very high. And I remember he said it was glaucoma and we COMIC BOOK CREATOR • Spring 2024 • #34

Above: At his studio, Mike poses for the camera in 2011.

Below: As of presstime, this Mike Deodato-drawn cover for Spawn #346 [Oct. 2023] just hit the shops. This beaut is named Cy-Gor, a (you guessed it!) cybernetic gorilla!

comics in the library

Another Fiery Gestation

The glorious fate of Will Franz and Sam Glanzman’s “Lonely War of Capt. Willy Schultz” comics altogether. In 1992, Roger Broughton’s reprint company Avalon Communications (a.k.a. A+ Comics) also began Hi, folks! This column is a continuation from last issue and it’s reprinting the saga, this time in black-&-white, and Broughton the second of three revolving around three graphic stories that persuaded Franz to write an ending, after 32 years, with the had a long gestation period between first being published intention of having Glanzman draw it. Alas, his company went and finally reaching their rightful end decades later. Our first belly-up before printing the conclusion. example was Dracula by Roy Thomas and Dick Giordano, which Over the next 20-plus years, those who loved the series took 30 years from first publication to its completed storyline. tried to keep the saga in the public eye, poking and prodding When we left off last issue, we were discussing the fate of anyone who’d listen as to how great this story truly was. In The Lonely War of Capt. Willy Schultz, one of the first genuine 2016, Dover Press editor Drew Ford published the U.S.S. Stegraphic novels, which launched in 1967, created by Will Franz vens collection in a single volume (endorsed by two U.S. Presand Sam Glanzman and published by (of all publishers) Charl- idents, one Republican, one Democrat) with a long, insightful ton Comics. During its original run in Charlton’s Fightin’ Army, introduction by the editor of this magazine, one Jon B. Cooke. it had inadvertently become a symbol of anti-war comics, even A possibility finally arose to get the completed Willy Schultz though it hadn’t necessarily been intended so by the creators. into print. Franz was ready, but Glanzman, now in his 90s and The original story revolved around American tank combeset by multiple health problems, confessed he wasn’t up to mander Schultz, stationed in North Africa, who is falsely accused drawing the last segment and so Drew and Willy needed to by a jealous fellow officer of murdering their incompetent com- find a new artist. This writer suggested to Sam’s wife, Sue, that manding officer. The victim’s father is a one-star general who, noted war artist Wayne Vansant was not only an admirer of in his grief, is only too willing to make Schultz his target for SJG’s work, but that his approach was not too far off from the grief and vengeance. Schultz is summarily court-martialed and Glanzman style. Wayne agreed to draw the final segment and a condemned to death, but he escapes that fate during a LuftKickstarter campaign to finance the volume was discussed. waffe air raid. While escaping, he comes upon a crew of dead However, by this time, Drew Ford had left Dover Press and German soldiers and switches uniforms in an effort to remain launched his own company, It’s Alive Press. The Kickstarter safe behind enemy lines. Fluent in German (learned from his campaign successfully raised the money but a continuing set immigrant parents), he survives for the next year by jumping of problems befell the project. Drew reported the funds were back and forth from being an American soldier to masqueradpurportedly stolen by a Chinese printer, and there were other ing as a German. At no time is Schultz a traitor to America, but a financial delays, combined with finding a new printer and the simply a man seeking to survive an unjust conviction during a COVID epidemic hobbled business in the U.S. and China, which horrible world war. greatly delayed international shipping. Finally, all the artwork, The serial made it through 14 chapters when it was abruptly both old and new, was assembled and the old material was cancelled, in 1970, after, it is said, a young man remastered. Drew finally found an American publisher — Dark with an influential father desired conscientious Horse — to come to the rescue and guarantee publication of the objector status when drafted during the Vietnam book, which was announced for Fall 2022 publication. Then, on War and he cited the feature as a reason for want- Sept. 26, 2022, while making a run to his storage unit, Drew, ing to be a non-combatant. According to Franz, who was then suffering from a case of COVID-19, was discovthe Army complained to Charlton and the writer, ered unconscious in his parked car. The editor-publisher would who was still a teenager, was fired and blacknever awaken from his coma and, six days after being found, balled in the comics industry — with no stories Drew passed away, on October 2, at the age of 48. of his that were later published ever actually Sadly, Drew never got to hold in his hands the long-awaitcredited to him. Glanzman, who’d worked for ed — 56 years between start and completion — collected and Charlton at that point for some dozen years, had finished edition of The Lonely War of Captain Willy Schutz. Nor his workload reduced by two-thirds by the outfit. would Sam Glanzman, who died, at 92, on July 12, 2017. Willy Franz completely left comics behind in 1973 Franz suffered a heart attack in 2016, but he survived to see the for a variety of teaching jobs. Glanzman moved book go on sale in January, 2023. The hardcover contained a to DC in 1972, largely freelancing for them over preface by Franz, 168 reprinted pages illustrated by Glanzman, the next 25 years, producing his fantastic “U.S.S. and 20 concluding pages illustrated by Wayne Vansant, all Stevens” saga, a Haunted Tank graphic novel accompanied by an informative introduction by Steve Bissette. I (which needs to be published as such) with strongly urge readers to pick up this game-changing war novel. Archie Goodwin, in 1972–74, and many other (This just might result in getting the equally hard-hitting Franz/ great stories. Glanzman “Iron Corporal” Charlton war serial back into print!) “Willy Schultz” fell into limbo for the next 15 We’re out of space again, so next time for sure on years. Charlton published the first four chapters the third long gestation candidate, one John Law, in 1985–86 just before the company abandoned Detective. See ya then! by RICHARD J. ARNDT

Above: When Will Franz was a mere teenager, he conceived of the anti-war series, “The Lonely War of Capt. Willy Schultz,” drawn by Sam Glanzman, for Charlton Comics. Below: The late publisher Drew Ford was a champion for both writer and artist and his production collecting the series was released by It’s Alive Press in 2023.

#34 • Spring 2024 • COMIC BOOK CREATOR

Sgt. Willy Schultz TM & © the respective copyright holder.

COMIC BOOK CREATOR • Spring 2024 • #34

“Rebirth” era at DC comics, the company

rarest air in the mainstream

crossover volumes in the 1990s between

comics industry. He is a

DC and Marvel Comics, and the “Zero

creator who is both an

Hour” event for DC. And, of course,

exemplary artist and writer.

Jurgens was an integral member of the

That separates him and the

crew behind the “Death of Superman”

likes of Walter Simonson,

and subsequent storylines.

Howard Chaykin, John Byrne,

Forty years into his career and

Jim Starlin, Frank Miller, and a

Dan is still a never-ending fountain of

few others from his generation,

creativity. He is, quite simply, at the

from most everyone else. Dan

top of his game and still one of the

possesses great story sense

most sought-after comic book creators

and has proven to be, since his

working today.

earliest outings, one of the true masters of his craft.

I give a big “thank you” to Dan for talking through his career with me over

Dan has been at the center

a span of three months. This time-frame

of many of the major events in

includes marrying off his son during the

comic book history since the late

COVID-19 era and launching a new

1980s. This includes the recent

Booster Gold/Blue Beetle series. — G.B.

#34 • Spring 2024 • COMIC BOOK CREATOR

Dan Jurgens is in the

Comic Book Creator: Who are the people who brought you into this world and what impression did they have on you? Dan Jurgens: In terms of impression my parents made on me, they owned a hardware store on Main Street of a very small, Midwestern town — Ortonville, Minnesota — and they did what any business owner or farmer had to do in that situation: they worked their butts off. My dad literally went to that store seven days a week (though only for a couple hours on Sunday). The value of hard work was on display all the time. More than that, they really encouraged me to follow my passion for drawing. My dad built me a drawing table when I was in fifth or sixth grade, and I couldn’t begin to guess how many hours I spent at the board honing my skills. I most likely had a Kirby, Buscema, Adams, Cockrum, Starlin, Grell, or Simonson comic open on the board, so I could look at what they were doing and try to apply it to my own work. Their encouragement was crucial. So was my dad’s willingness to let me read comics, because my mom was a bit against the idea. They still remembered the bad news reports from the Kefauver Hearing and Seduction of the Innocent days. CBC: What effect did that have on you growing up? Being in that type of community as opposed to people who grew up in a large city, like a Pittsburgh? Dan: I do think it is an area where everybody knew everybody. There is, I think, an attitude of friendship. People are looking out for each other much more so than you do in a place where you’re much more anonymous, of mutual support, and stuff like that. Also, in a time where there was a lot of pride and worth placed on a sense of industriousness, a work ethic, an ethic for life, things like that. I think that’s all part of the package. CBC: Are you an only child? Dan: I have one sister, who is two years younger than me. CBC: Growing up the way you did, when did art, or at least the creative process, enter your life? Dan: I think you have to go with earliest memories there. I always liked to draw. I always liked this idea that I could sit down and draw and create something. And I do believe that, as part of that, in growing up in a small town, in a place and a time where I should say that there were only the three TV networks, and finding your own creative outlets, there was a lot to that. It was very important. So, that was an important part of my background. I remember being in… I think it was second grade… we all had to sit there one day and do self-portraits. It was one of these things where everyone in the classroom gets their drawing done, and they go hang it up on the walls, and mine looked different than everyone else’s. And, part of it was, because it was better. And then, I started to realize that, “Gee, I’m kind of good at this.” And it was something not only was I good at, but I enjoyed it, and I wanted to pursue

COMIC BOOK CREATOR • Spring 2024 • #34

it. I would always be the kid who was drawing. Whether it was doodling in a notebook all the time, sitting in my room and drawing all the time, making up my own stories, or whatever. That was always an important part of who I was. CBC: Every kid draws or paints and it rarely moves forward. Did you think at the time that this would be a life’s pursuit? Or was it something you were going to do just for fun? Dan: Oh, no. Not at all did I think it was going to be a life’s pursuit, because I didn’t realize anyone did that sort of thing. You know, we’re talking about a time where, let’s say, you’re six, seven, eight years old, I don’t think you’re necessarily aware of the idea that somewhere there are adults who do this and make a socalled “living” at it. That’s just a sort of an alien thought process, I think, to have at that age. I think that it wasn’t until I was probably much more around the time frame of getting into sixth grade (or something like that), where I started to have the appreciation for the idea that somewhere there were adults who apparently worked in a factory creating art. And maybe that’s how it goes. So, at that very young age, I never had that sense. CBC: What were the things, art related or just in general, that motivated you as a kid? What were the things that tapped on those heartstrings and instilled in you a sense of wonder? Dan: Part of it is, to go back to that time frame, I did not know comics existed. My first exposure to this idea of comics, super-heroes, that entire art form, was through the old Adam West, live action Batman TV show. I got hooked on it. I was at that prime age, you know — first season — being able to watch it, and just go, “Wow,” like every other kid in the neighborhood. And, one summer night, I was walking through the neighborhood, and I saw a couple of older kids sitting out on their front stoop and they were looking at these four-color pamphlets. I walked up to see what was going on and that was the first time I saw a comic book. I distinctly remember, and I was probably around seven years old, these kids were older than me and they had comics that went back a few years, one of them had that classic Batman [#156, June 1963, reprinted in #185, Oct. 1966] cover, “Robin Dies at Dawn.” And I’m just going, “Whoa, Robin’s dead?! How can that be? I just saw him on TV last night?” You know, that kind of thing. And that was my first exposure to the idea that Batman and Robin lived outside the realm of TV, in some different form of media. I knew of Superman, and so, sitting there and looking at those comics, I was immediately hooked. And my reaction was, when I went home, “Mom, I’ve got to go downtown to the dime store or to the drug store, and buy comics. Because that’s where they said they sell them. And I want a Batman comic.” At that time, Batman was all the craze. And, within a couple of days, I was at the store, they had no Batman comics, so I bought instead Superman #189 [Aug. 1966], and