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Home , Dave Cockrum, David Hajdu, Derf Backderf, Dick Briefer, Doug Wildey, Gary Groth

Roy Thomas' Xtra-strength THE POWER AND THE PANDEMONIUM OF YOUNG $9.95 DAVE In the USA COCKRUM

No. 163 March 2020

1 82658 00376 0 Art TM & © Marvel Characters, Inc. Vol. 3, No. 163 / March 2020 Editor Associate Editor Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Don’t STEAL our J.T. Go (Assoc. Editor) Digital Editions! C’mon citizen, Comic Crypt Editor DO THE RIGHT THING! A Mom Michael T. Gilbert & Pop publisher like us needs Editorial Honor Roll every sale just to survive! DON’T Jerry G. Bails (founder) DOWNLOAD Ronn Foss, Biljo White OR READ ILLEGAL COPIES ONLINE! , Buy affordable, legal downloads only at www.twomorrows.com Proofreaders or through our Apple and Google Apps! Rob Smentek William J. Dowlding & DON’T SHARE THEM WITH FRIENDS OR POST THEM ONLINE. Help us keep Cover Artist producing great publications like this one! Cover Writer/Editorial: The Red Planet—Mostly In Black-&-White! . . . 2 Glenn Whitmore The Genius of Dave & Paty Cockrum ...... 3 With Special Thanks to: Joe Kramar’s 2003 conversation with one of comics’ most amazing couples. Don Allen David Hajdu Paul Allen Heritage Comics Dave Cockrum—A Model Artist ...... 11 Heidi Amash Auctions Andy Yanchus take a personal look back at his friend’s astonishing model work. Pedro Angosto “One Of The Most Celebrated Richard Arndt Eric Jansen Bob Bailey Sharon Karibian Comicbook Artists Of Our Time” ...... 15 Mike W. Barr Jim Kealy Paul Allen on corresponding with young Dave Cockrum, ERB fan, in 1969-70. Al Bigley Jim Korkis The Charles Joe Kramar From The Tomb: A Step Into The Unknown! ...... 44 Biro family Mark Lewis Peter Normanton brings his celebrated horror-comics fanzine to the pages of Alter Ego. Dominic Bongo Art Lortie : Letter To An Unknown Reader ...... 50 Ricky Terry Doug Martin We return to the 1998 memoir of the late great Golden/Silver Age comics writer. Brisacque Mike Mikulovsky Bernie Bubnis Brian K. Morris Mr . Monster’s Comic Crypt! The Other , Part 3 . . . 53 David Burd Will Murray Michael T. Gilbert winds up his compare-and-contrast of two of comics’ greatest. Aaron Caplan Peter Normanton Nick Caputo Barry Pearl Comic Fandom Archive: In Memoriam - Malcolm Willits . 59. John Cimino David Phelps The final column prepared by the late Bill Schelly—Jim Korkis on a major collector. Paty Cockrum Richard & Pierre Comtois Wendy Pini re: [correspondence, comments, & corrections] ...... 65 Chet Cox Plowright David Drake Gene Reed FCA [Fawcett Collectors Of America] #222 ...... 71 Doug Ellis Al Rodriguez P.C. Hamerlinck presents R. Arndt’s talk with David Drake re Manly Wade Wellman. Linda Fite Randy Sargent On Our Cover: While there’s more space given in this issue to Dave Cockrum’s early Edgar Rice Shane Foley Burroughs-influenced artwork than to his later triumphs with DC’s “Legion of Super-Heroes” and Bob Fujitani Marvel’s X-Men, we felt this cover Dave drew for F.O.O.M. Magazine #10 (June 1975) would remind Janet Gilbert Dann Thomas readers—if they needed reminding!—of his sterling contribution to comics. Drawn when Dave was Greg Goldstein Michael Uslan just starting out on his journey as the first artist of the revived/expanded X-Men, it already displays the Grand Comics mastery that would skillfully bridge the gap between the 1960s mutants and their 1970s permutations. Database Kendall [TM & © Marvel Characters, Inc.] (website) Whitehouse Above: A 1970s painting by Dave Cockrum of one of his favorite artistic subjects ever: ERB’s John Robert Guffey Andy Yanchus Carter of Mars! Thanks to Paty C. [John Carter TM & © , Inc.] George Hagenauer Mike Zeck Alter EgoTM is published 6 times a year by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. This issue is dedicated to the memory of Fax: (803) 826-6501; e-mail: [email protected]. Send subscription funds to TwoMorrows, NOT to the editorial offices. Dave Cockrum, Malcolm Willits, Six-issue subscriptions: $67 US, $101 Elsewhere, $27 Digital Only. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM & Manly Wade Wellman of P.C. Hamerlinck. Printed in China. ISSN: 1932-6890. FIRST PRINTING. 3 The Genius Of Dave & Paty Cockrum A 2003 Conversation With One Of Comics’ Most Dave & Paty Cockrum Amazing Couples at a comics convention, probably sometime in the 1990s—and (below left) the Dave-drawn splash page of Giant-Size X-Men #1 (1975), the comic that by Joseph Kramar started it all over again for Marvel’s merry mutants. Script by . The issue’s cover was spotlighted two issues ago. Thanks to Paty for the photo. [TM & © Marvel Characters, Inc.] NTRODUCTION: Joseph Kramar is a student of comics history, I film history, etc., as well as an artist, a convention promoter, a political journalist, and a small business owner. He is currently the that fans realize that he created or co-created X-Men characters , historian for the local Sons of the American Legion. He feels fortunate, , , Thunderbird, , and Phoenix, as well as in his youth, to have met many of the great artists and creators in the The , , Llandra, various members of DC’s Legion comicbook field, including most particularly Dave and Paty Cockrum, of Super-Heroes, and a host of others too numerous to name. As Joe who were guests of honor at several of his comic, film, and media expos. says, “The wealth of creativity from the imagination and genius of Dave He feels it is vital to Dave’s legacy (he passed away in 2006, at age 63) Cockrum will endure forever.” In 2003, a month or two before the release of Bryan Singer’s X-Men 2 film, I made the trek up to Cragsmoor, NY, to visit with the illustrious renaissance couple Dave and Paty Cockrum. I brought them a peculiar gift: a gourmet omelet-maker set. I set up a primitive recording device and an archaic video recorder, and we spent the day and part of the evening discussing creators’ rights, office antics and politics at Marvel, DC, and Warren. We reminisced about the Golden, Silver, and Bronze Ages of the comics industry and our nostalgia for old film and the sci-fi genre. I asked Dave about his creative influences and about the inspiration and origins of the diverse plethora of innovative characters he created. Although members of the world-famous Legion of Super-Heroes and X-Men characters are the most prominent, the myriad others he created are equally fascinating. These fantastic characters may have their origins in primordial archetypes emerging from the vast depths and limitless vistas of David’s subconscious mind. I asked him about the inception, development, and genesis of the majestic matriarchal Storm, the goddess-like weather witch of The X-Men. Dave elucidated and elaborated on the creation of Storm. He explained that, while working on concepts for what would eventually emerge in 1975 as Giant-Size X-Men #1: “I came up with a proposed Legionnaire, a bird-lady called Ketzil with a beautiful face and long hair, and a proposed X- Men character called Typhoon with weather powers. There was another proposed X-Men character called The Black Cat [not the later Spider-Man character] who wore the Storm costume without the cape. She had a tufted hairstyle like and could transform into a humanoid cat or house cat. There was a hiatus for some reason, and the project was put aside. In the interim all these cat characters popped up— , The Cat, Pantha at Warren—so it seemed as The Black Cat was gonna be redundant. Roy Thomas said, ‘Why not make the girl Typhoon?’ That sounded interesting, so I put this cape on her from 4 A 2003 Conversation With One Of Comics’ Most Amazing Couples

she had to be killed as retribution.” I spoke of Sue Richards developing into a powerful liberated woman rising from mediocrity and obscurity, emerging to great prominence. She was a sleeper revealed at last to be in many ways the most powerful of the . I believe that was in the ’70s. I remember it made an impression on me. I wrote extensively on the merits of equality of race and gender in many of my early articles. I suspect that Paty may be the inspiration for the creation of Dave’s strong female characters. She is an excellent role model for girls who wish to pursue their ambitions in this patriarchal society. I loved hearing Paty’s tales of old Marvel during the transitional period of the Silver and Bronze Ages. To some, and Dave’s Giant-Size X-Men # 1 is credited with heralding in the latter. For reasons of nostalgia, Silver Age Marvel is my personal favorite period. It was magic. In the early ’70s I attended the first cons, ’s early Comic Art Cons, Creation Cons, the first Marvel and first Famous Monsters Cons. When Paty was at Marvel, she referred to the atmosphere as a boys’ club. I loved ’s work on Sub-Mariner and the humor books. When Paty spoke of the production work both women did with Sol Brodsky, I was impressed because some of the promo and merchandising were exemplary items. Some are more obscure and rare than the comics. I liked the two sets of Marvel Super Hero Slurpy 7-11 cups Paty designed. Marvelmania produced some great black-&-white pieces. The 1971 black light Marvel posters produced by Third Eye were extraordinary. The most beautiful, dynamic, cosmic panels from the comics by Colan, Kirby, etc., were impeccably chosen, and the vivid vibrant colors used were striking. My favorite items were from the height of Silver Age Marvel, the 66 cards & 67 stickers, and there were bumper stickers as well. The Merry Marvel Marching Society items were magic. So was the 1966 Marvel Super-Heroes cartoon series, with Cap lamenting the loss of Bucky and the girl from his past, the A Typhoon Is A Kind Of Storm PTSD-like brooding about World War II, and the melodramatic A watercolor-markers illo of Storm that Dave drew for fellow pro artist , in return for one Frank had presented him featuring . And if anybody wonders, in Dave’s 2003 account, what Roy Thomas was doing at a meeting where new X-Men characters were being discussed—apparently, while visiting the Marvel offices in late ’74/early ’75 as a contract writer/ editor, he just stuck his head into a meeting to say hi to Dave, Len Wein, and one or two others and they asked him for his two cents. Hopefully, they got their money’s worth—but Roy only vaguely recalls the incident. [Storm TM & © Marvel Characters, Inc.] an unused costume concept and gave her the long white hair. We decided Storm was a more feminine name than Typhoon.” Storm is one of the most eminent and striking of the leading characters in the highly lucrative X-Men films. The Cockrums mentioned that Dave’s name did not even appear in the credits. I know Dave and Paty were hurt and felt slighted by this. I feel the “Phoenix Saga” was a most prodigious epic and of crucial events, provoking deep significant character development through the tragic drama of this powerful milestone. I asked Dave how he created the ineffable Phoenix persona of Jean Grey. He responded: “As Marvel Girl, she fell into the category of what someone called the Stan Lee Housewife-Hero mold. We didn’t feel she had the oomph to fit into the new group, and so I Red-Hot Peppers came up with the Phoenix idea.” I spoke of ’s concept of Without a doubt, the in the 1966 five-times-a-week Marvel Super- the Dark Phoenix. I knew Dave was irritated by where that plot line Heroes show was primitive—but that doesn’t mean there wasn’t plenty of talent was headed. He responded, “I liked the costume but I hated that behind the scenes. Case in point: this penciled model sheet for Tony Stark/ they killed her off. Byrne, I think, set that up on purpose, having ’s then-secretary Pepper Potts, done by prominent comics artist Doug Wildey. Thanks to Mike Mikulovsky. [TM & © Marvel Characters, Inc.] her eat the sun of the asparagus people and thereby making it that 11 DAVE COCKRUM A Model Artist A Personal Look Back by Andy Yanchus

Dave Cockrum, Andy Yanchus, & Friends Dave (on left) in a circa-1980 photo taken by his father—and (at right) Andy Yanchus—above an unused Cockrum cover featuring his Creature from the Black Lagoon-style co-creation The Manphibian. Also seen, at bottom, is a montage of Dave’s model designs for Godzilla’s buddy Rodan, the Creature his own self, the Hulk, and ’s Monster. Thanks to Paty and Andy for the personal photos, to Andy for the model montage, and to Mike Mikulovsky for finding the artwork online. [Manphibian & Hulk TM & © Marvel Characters, Inc.; Frankenstein’s Monster design TM & © Universal; Rodan TM & © the respective trademark & copyright holders.]

first met Dave Cockrum in 1972. I was selling model kits I at some comicbook convention in , and my friend Mark Hanerfeld brought Dave to my table and introduced us. Dave and I clicked right at the start. He was only about 6½ months older than I, and we shared a seemingly endless number of interests—comicbooks, model building, ‘50s science-fiction movies, military aviation (especially the early jets), Warner Bros. cartoons, Godzilla movies, etc., etc. To me, it was as if I had discovered a brother I never knew I had! I was working at Aurora in those days, supervising the development of new model kits. It was a no-brainer to hire Dave to design new and monster kits for the company. As a fan, he knew all the details and had tons of reference. As a modeler, he knew what other builders would be looking for. As an artist, he dynamically posed the figures in ways never before seen in styrene.

Many of Dave’s designs added to Aurora’s legendary status as the leading maker of plastic model figure kits. Among them were the huge 1/12 scale Tyrannosaurus Rex, the Frankenstein Monster, Rodan and Ghidrah from Japan, and, of course, the Creature from the Black Lagoon. Unfortunately, too many of the new kits Dave designed never got produced. Gort, the Metaluna , the Phantom, the Phantom of the Opera, the Mummy, King Kong, Godzilla, and a Stegosaurus were some of a painfully long list of canceled projects—killed by a management that decided to invest more money into new toys and games and reduce model kits to reissues. Ah, but the Cockrum magic couldn’t be swept aside and forgotten. 15 “One Of The Most Celebrated Comicbook Artists Of Our Time” Young DAVE COCKRUM & The Barsoomian (1969-1970) by Paul Allen

Paul Allen This photo was probably taken in October 1969, right after his graduation from Naval Officer Candidate School. He soon got commissioned, as well as married. Photo taken by Paul’s brother, Don Allen.

Dave Cockrum while in the U.S. Navy and stationed in Guam, circa 1969-70. His future wife Paty, who sent this photo and the accompanying illo, says that he was already working on “an early version of Nightcrawler” in this picture.

early fifty years ago, I had the pleasure of meeting, purely N via the U.S. mail, a young man who would go on to become one of the most celebrated comicbook artists of our time. I never met Dave Cockrum in person, but over a two-year period and in the course of at least twenty letters, I came to know him well and to this day consider him a good friend from my youthful past. It began in mid-February 1969, when Dave wrote me as a Burroughs fan to inquire about a fanzine I published called The Barsoomian. At the time, Dave was a Yoeman second class (YN2) in the U.S. Navy, stationed in Guam. Coincidentally, I was a recently commissioned Ensign in the Navy about to depart for the U.S. Naval Base at Subic Bay in the Philippines. In his second letter to me Dave speculated that I might actually land in Guam on my way there. In fact, we did land in Guam but, sadly, it was only to refuel and we never deplaned. Dave was an aspiring artist whose work had appeared in a few , and he offered to send me artwork for The Barsoomian. I readily agreed and was astounded when I saw the quality of his work. I knew then this guy had a brilliant career waiting for him if he stuck to it. As you will read in the letter excerpts that follow, he

A Princess Of Barsoom A 1977 Dave Cockrum color illustration of Dejah Thoris, princess of Helium on Edgar Rice Burroughs’ version of the Planet Mars (a.k.a. Barsoom). When Dave and Paul Allen had corresponded nearly a decade earlier, of course, the artist was still developing his skills… but this shows where he was headed. [Dejah Thoris TM & © Edgar Rice Burroughs, Inc.] 16 Young Dave Cockrum & The Barsoomian (1969-1970)

during my senior year of college. But when my printer increased his price, I had to delay it. I finally got to publish it with an updated editorial while at Subic Bay. In addition, the issue was a mostly photographic one with many rare photos of the first movie , Elmo Lincoln. I already had a Jeff Jones cover and some interior sketches by that Larry Ivie kindly loaned me (with Roy’s permission). The paste-ups were already done and camera-ready, so I really couldn’t squeeze any of Dave’s art into it. However, at the same time, I published reprints of the first eight issues of the magazine. The Barsoomian #8 was actually my first issue. The first six were published by Joseph W. Miller in 1952-53, and #7 was published by James V. Taurasi in 1954. Since they all had to be re-formatted, the first seven issues First Contact featured new front and back covers, so I Dave Cockrum’s very first letter to Paul was delighted to use some of Dave’s work Allen, 2-15-69, when both were in the on those reprints. U.S. Navy but destined to be stationed thousands of miles apart—in Guam and the Philippines, respectively. All of Dave’s letters to Paul that are printed with this piece are courtesy of Paul, who preserved them for half a century… for which all of comicdom owes him a debt of gratitude.

had a lot of enthusiasm and he did stick to it. Dave sent me a lot of artwork to use in The Barsoomian and he was pretty excited to have the opportunity to have his Burroughs art published. Looking back on it, I have to laugh, because I was far more excited than him to have his art to publish! But that’s the kind of gentleman he was, modest about his own work, yet enthusiastic as all get-out about everything he did. He was anxious to work for other fanzines and I suggested a number to him, for which he thanked me in subsequent letters. What amused me was that he frequently said editors liked his “worst” work in lieu of the pieces he really liked. Take my word for it—there was no worst, it was all great. I may have even had a hand in getting him his first published illustration in a newsstand-distributed magazine. An editor by the name of William Crawford revived an early-’50s SF magazine called Spaceways (after the 1953 movie). I wrote Crawford about Dave and suggested to Dave that he send him some art. As I recall, a drawing of John Carter by Dave appeared on the back cover of his “Look! Up In The Sky!” last issue. But as you will see in the letters, Dave never got paid for it. One of Dave’s early Burroughsian sketches, whose “aerial battle” is mentioned in his letter to Paul Allen dated 4-23-69. It was published as Unfortunately, I never got to publish a lot of his work. The the cover for the reprint edition of Allen’s The Barsoomian #4 (1969). Barsoomian #15 had already been fully laid out and ready to publish [Art © Paty Cockrum.] “One Of The Most Celebrated Comicbook Artists Of Our Time” 17

From that point on, we had big plans for using Dave’s work in issues #16 and #17, including a color cover or centerfold. But those plans never came to pass. Coincidentally, we both got “Early Outs” from the Navy as part of the Vietnam cutbacks in 1970. Dave wrote me about his and I wrote back to tell him about mine. Neither one of us could believe our good fortune. In late April he wrote me to say he would be heading back to the States soon to live with his in-laws in Jamaica, NY. That was the last I heard from him until the following October. My early out became effective at the end of August when my wife and I returned to Rochester, N.Y. 2… 4… 6… 8… What The Hell Is “Gafiate”? By the time Paul Allen says he “gafiated” from science-fiction fandom in the early 1980s, Dave had long since graduated to the revived and newly popular X-Men (above left is his first full pencil-and-ink cover, for #98, April ’76, not long after the title was resuscitated)—and to at least the first issue of Marvel’s John Carter, Warlord of Mars (June ’77), for which he inked ’s pencils. The text section of that issue, however, featured a touch of solo “Barsoomian” work by Cockrum—as per the above-right illo, which was later used on the title page of the hardcover John Carter, Warlord of Mars Omnibus (2012). [X-Men cover TM & © Marvel Characters, Inc.; John Carter art TM & © Edgar Rice Burroughs, Inc.] Incidentally, since most A/E readers (and comicbook fans generally) may be unfamiliar with the SF-fandom verb “to gafiate”—it means to become satiated, at least for a time, with SF and/or fandom and decide to “Get Away From It All.” In Ye Editor’s humble opinion, “gafiate” is right up there with “fanzine” itself as a wonderful word that science-fiction fandom bequeathed to comics fandom.

Aside from a Christmas card, my last real letter from him was dated October 1 and was a four-page hand-written letter from Bayside, NY. And it was a doozy, all about his adventures with Jim Warren, his hopes for getting in at DC Comics, and the terrific help he was getting from a fellow named . He was more excited than I had ever seen him before—and that is saying something! He couldn’t have been happier and I felt good for him. It was like “I’ve arrived!” Even though it was just the very beginning of his long and highly successful career. Ironically, however, it was a career that I was never to follow. My wife and I had started new jobs in civilian life and were saving

“You Will Find Me A Grave Man!” Cockrum’s cover sketch for Daredevil #158 (May 1979), the finished version of which would be executed by fellow artist . Thanks to Frank Plowright for the sketch—and to W. Shakespeare for the quotation. [TM & © Marvel Characters, Inc.] 44 PRESENTS

by Peter Normanton

t must have seemed like a real-life adventure into the unknown A/E EDITOR’S INTRODUCTION: For a decade, beginning in 2000, I for editor Richard Hughes and his team when Adventures into Peter Normanton published and edited the British horror-comics fanzine the Unknown prepared to debut in the summer months of 1948, From the Tomb. It was a high-quality production that specialized in cover-dated for the fall of that year. At that moment in comicbook examining material from the (mostly later) 1940s through the mid-1950s, history Adventures into the Unknown was the only one of its kind, a the haunted heyday of the genre in the U.S. Since his magazine’s, bona fide horror comic, pre-dating its competitors’ more notorious er, demise, two Best of collections have come out from TwoMorrows output by just a few months. With the decline of the Golden Age Publishing. Along the way, I offered Peter a spot to continue his award- super-hero following the Allied victory over the Axis powers, a winning periodical in the pages of Alter Ego—if not necessarily in each combination of crime, comedy, and romance had come to the fore in issue, then at least in every issue in which I can find space! He recently a period of widespread experimentation, as the publishers sought sent me his first few contributions. And so, without further preface or the next big seller. Hughes had high hopes for this latest addition pontification, I’ll turn things over to the ol’ Tomb-Tender himself.... to the company roster, hopes that would very quickly transcend his wildest dreams, but, as we shall see, were not entirely without precedent.

~Peter Normanton.

Adventures Into The Unknown (Right:) The covers to the first two issues of the American Comics Group title (with cover dates Fall 1948 & Dec. 1948-Jan. 1949), which featured art by Edvard Moritz, left the reader little doubt as to what lay within. AITU became the first regularly published horror comicbook. [TM & © the respective trademark & copyright holders.] A Step Into The Unknown! 45

During the winter months of 1947, Avon had released Comics #1, one of their earlier one-shot titles. While this issue can lay claim to being the very first horror anthology, it was in turn foreshadowed by several equally chilling entries. Amongst the most notable were ’s #13, which adapted Robert Louis Stevenson’s tale of Dr. Jekyll and Mr. Hyde as early as 1944, with Mary Wollstonecraft Shelley’s Frankenstein being similarly represented in issue #26 of this series a little over twelve months later. As war came to an end in the summer of 1945, the first issue of Yellowjacket Comics, published by The Frank Comunale Publishing Company (later ), sat inauspiciously alongside the legendary super-hero titles of the day. Sepulchred within was an adaptation of Edgar Allan Poe’s short story “The Black Cat,” in what would become the semi-regular horror series “Famous Tales of Terror.” “The Pit and the Pendulum” received a similar telling in this title’s third edition, with “The Fall of the House of Usher” following in #4 and “The Tell-Tale Heart” in #6. Alan Mandel was handed the creative reins for the last of these “Famous Tales of Terror,” the barely remembered “The Avenging Hand!,” destined to appear in issue #7, cover-dated January 1946. Sadly, the horror fans of the day were denied any more of these spine-tingling episodes as Yellowjacket Comics fell from the company’s schedule as of issue #10. Not long after these “Famous Tales of Terror” had premiered in Yellowjacket Comics, Halloween beckoned. Just to keep with the seasonal spirit, DC’s Comics Cavalcade #12 sported a pumpkin super-hero cover, but that was to be their absolute limit. however, surprised the comic-buying public with another of those highly collectible one-off titles, Front Page , introduced by an unusually chilling Bob Fujitani cover. This issue unveiled “The Man in Black” as the host to a supernatural mystery/war hybrid. There was an intimation of something strange at hand, but this unnerving air was not in attendance when The Man in Black returned in All-New Comics #11, during the early months of 1945. However, the tone for his next appearance in the pages of All-New Comics #14, cover-dated Jan.-Feb. 1947, was profoundly more atmospheric.

Signposts On The Road To (From top of page:) The Ken Battefield-penciled cover of proto-Charlton’s Yellowjacket Comics #7 (Jan. 1946) captured the essence of later horror comics while also playing host to the last of that title’s “Famous Tales of Terror,” written and drawn by Alan Mandel. Harvey’s one-shot Front Page Comic Book was the showcase for a macabre Bob Fujitani graveyard scene as early as 1945. (as drawn by ) had been on the trail of an actual vampire in #1 (Sept. 1939)—whereas by the fall of 1945 Comic Cavalcade #12 could only tease playfully with its Halloween-style cover by E.E. Hibbard. Classic Comics #13 (Aug. 1943) did far more than tease, unsettling its readers with a 53-page adaptation of Robert Louis Stevenson’s time-honored chiller, behind an Arnold L. Hicks cover. [Detective & Comic Cavalcade covers TM & © DC Comics; Classic Comics cover TM & © Frawley Corporation and its exclusive licensee First Classics, Inc.; other covers © the respective copyright holders.] 53

(Above top & bottom:) photo from Gleason’s Desperado #1 (June 1948) and Stan Lee from 1966. (Top right, first two panels:) Daredevil from Daredevil #44 (Sept. 1947). Art by , script by Biro. (Last 2 panels:) Stan Lee and magic from Marvel’s Daredevil #5 (Dec. 1964). Maurer and Wood even made sitting at a desk look exciting! [© Marvel and Gleason Pubs.\] 54 Mr. Monster’s Comic Crypt!

Morisi’s tale sounds quite similar to complaints lodged against Lee decades later. But for all his faults, Biro had a definite editorial Charles Biro—The Other viewpoint, one that made his books sell like crazy! Stan Lee! (Part 3) “A Little Piece Of The Brain…” by Michael T. Gilbert “Charlie used to yell at me, ‘I don’t want art—I want detail!’”said Bob Fujitani. “That’s what people look for. That’s what n our two previous installments, we discussed notable impresses them. He published a cover that had a criminal shoving I similarities between Stan Lee and Charles Biro. Lee admired a woman’s face into a lit gas burner on the stove, and he showed Biro’s writing and editorial expertise, abilities that helped it to me. He said, ‘Look at that! Look at the detail! See that gas catapult Gleason Publishing’s big three titles—the original burner? There were the little holes where the gas shot out of the Daredevil, Boy Comics, and Crime Does Not Pay—into some of the burner and he thought that was magnificent. If you drew a guy best-selling comics of the Golden Age. Lee would later do the same being shot in the head, you had to have a little piece of the brain thing for Marvel in the 1960s, with the help of superstar artists like coming out of the back with little hairs sticking out of it. ‘That’s and . But for all of Lee’s success at Marvel, what sells!’” his detractors charged him with being a credit hog. Biro had similar accusations thrown at him. Crime Does Not Pay artist Tony DiPreta echoed Morisi’s observations, as related in David Hajdu’s The Ten Cent Plague. “Bluff The Ending!” “Charlie didn’t want to know anything about symbolism In personal correspondence with Glen D. Johnson (12/24/1996), or any of that. He wanted very precise realism, exactly the way Gleason artist Pete Morisi shared this tidbit: things looked. What I learned to do, working for him, was, if there was a machine gun in the story, I went out to find a real machine “Biro did some art (all Biro) early on. Steel Sterling, a few gun. Now, a lot of people working for other guys, if there was a Daredevils, Sgt. Boyle, Corporal Collins, and then switched to machine gun, they’d make one up. Well, he didn’t want us to do writing and doing covers for all his books. Then, as the workload that. I remember… there was a gun dealer in that Charlie got too heavy, other artists did the pencils for some of his covers. knew, and I went to the place and I got my hands on the guns I was Biro would change a couple of figures, ink the cover, and sign it supposed to draw.” with a big CHARLIE BIRO.” DiPreta continued, “To Biro, realism and violence were Morisi added this postscript in a letter of 1/12/97: inextricable. In addition to demonstrating this through the “To clear up what I told you about Charlie Biro’s covers, let me say that most of them were all Biro. It was only during the end of his career (probably due to an increased workload) that he mixed and matched his covers with other artists. “I remember getting a script from Biro, with the last few pages missing. He told me to ‘bluff through the ending’—that he’d fix it when I returned it. Well, I wrote the last few pages of the script, and brought the criminal to justice and illustrated the story. “Old Charlie didn’t change a word of the script, printed it as is, and didn’t pay me for the writing, to boot. Such is the comic book business!!! I guess I could have yelled and screamed over the above, but by the time I saw the published book, it was months later, at a time when Biro’s Twice-Told Torture! books were failing, and I Biro was not above swiping a good cover idea. His gruesome cover to Crime Does Not Pay #24 (Nov. 1942) was clearly based didn’t want to add to his on Allen Anderson’s cover for the Gangland Detective, Vol. 2, #3 (Sept. 1940). Biro likely came across it while problems.” searching for true crime stories for his comics. [TM & © the respective trademark & copyright holders.]

73 MANLY WADE WELLMAN David Drake Discusses His Friend & Fellow Writer Interview Conducted by Richard J. Arndt Edited by P.C. Hamerlinck

NTERVIEWER’S INTRODUCTION: Manly Wade Wellman I (May 21, 1903-April 5, 1986) was already a major pulp writer Manly Wade Wellman when his first comicbook stories were published inPep Comics #1 during the Golden Age—juxtaposed with a page from Fawcett’s Captain (Jan. 1940) for MLJ Comics, forerunner of today’s Comics. Over Marvel Adventures #1 (March 1941). The entire issue, including this tale the next fifteen years, he maintained a dual career, continuing his pulp/ that takes place on the planet Saturn, was produced over one weekend literary career writing mostly fantasy and science-fiction stories as well by Jack Kirby, , Dick Briefer, and others holed up together in a as historical works, while also scripting for comics. During those years hotel room. [Shazam hero & Billy Batson TM & © DC Comics.] he scribed the adventures of such features as “Captain Marvel” and “Spy ” for Fawcett Publications, “” for (today’s Marvel), “Tarantula,” “Aquaman,” and “The ” for National Comics (today’s DC Comics), and, for , “Blackhawk” and “.” He also filled in, along with William Woolfolk and occasionally Jack Cole, on ’s newspaper comic insert The Spirit after Eisner was drafted during the Second World War. Although most of Wellman’s known comicbook credits appear to be concentrated between 1940 and 1945, his journals show that he was making considerable money writing comics even in the post-WWII years. In addition to his comics work, Wellman is best known for his fantasy prose characters, including John the Balladeer, Judge Pursuivant, and John Thunstone. He is also the author of dozens of historical, science-fiction, and mystery , as well as nonfiction biographies—one of which, Rebel Boast, was nominated for the Pulitzer Prize—and local regional history books. David Drake, a noted author in his own right as the creator of the Hammer’s Slammers military science-fiction series, a co-founder of the small press publishing company Carcosa, and a longtime friend of Wellman’s, kindly agreed to be interviewed for this edition of FCA on February 19, 2019.

RICHARD ARNDT: My guess would be that you’re more familiar with Manly Wade Wellman’s prose career in literature than you are with his comicbook work. DAVID DRAKE: Yes, that would be correct. I started reading Manly’s stories and novels at age thirteen. I’m not a comics person. I remember when started making a big splash in the early 1960s, when I was an undergraduate. However, I never had any significant contact with those. The only comics I really remember reading on my own were the of the 1950s— also the funny-animal comics. I was thoroughly familiar with Carl DRAKE: My mom didn’t really like comics, although, like I said, Barks, long before I had any notion of who he was. [laughs] I was permitted to read funny-animal comics. The fact that Barks RA: You certainly wouldn’t be the only reader who was thoroughly aware was doing a lot of really good ones at the time was noticeable. I of Barks and his work on “Donald Duck” and “Uncle Scrooge” without perhaps wasn’t as handicapped in my comics background as I actually knowing his name. His identity didn’t become common knowledge thought I was! until the early 1970s, long after he’d retired from writing and drawing RA: Let’s discuss your memories of Manly Wade Wellman. I understand comics. that he was born overseas… 74 Fawcett Collectors Of America

DRAKE: Yes! He was born in Kamundongo, in what is today’s Manly attended college in Wichita, Kansas, at Wichita Municipal Angola. He used to tell me that it wasn’t called Angola then, but University [now Wichita State University]. It was in Wichita that the in fact it was, according to an 1890s travel book on Africa that I two brothers started their journalism careers. read. However, it was more commonly known as Portuguese West IF YOU ENJOYED THIS PREVIEW, Africa. His father, Frederick Creighton Wellman, was a doctor Paul was the managingCLICK THE editor, LINK while TO Manly ORDER was THIS a crime and there. He was not a medical missionary, but the Presbyterian court reporter, forISSUE the Wichita IN PRINT Eagle. OR Then DIGITAL the ownership FORMAT! of the Church started a hospital in the middle of Angola, and he was the paper became Republican. Both the Wellman boys were staunch doctor employed by the Church to work there. Democrats. At the same time, the rival paper in Wichita became one run by Democrats. The two papers were actually on opposite sides Manly was only the second white child born in that region. of the street, and there was an entire change of personnel between The first was his brother Paul, who was two years older than the Wichita Eagle and the Wichita Beacon. The brothers switched over Manly. The eldest brother of the family, Creighton—named after to the Beacon and Manly continued working as a reporter for his his father—had been born in the States. brother, who remained a managing editor. Manly was also writing the film reviews for the Beacon. Manly and Paul were very close, all their lives. Paul wrote mainstream bestsellers—novels like The Female and The Iron Paul began writing historical novels dealing with the Indian Mistress. Many of Paul’s novels were made into films. On the other Wars and eventually moved to New York around 1934. Manly soon hand, when Manly started writing fiction, it was pulp fiction. He followed him. was in his mid-twenties when his debut fiction story “The Lion Roared” was published in a pulp magazine called Thrilling Tales. As mentioned, Manly had been writing for various pulps while still working as a reporter, but in New York he also began ALTER EGO #163 However, both of them started out as journalists. When the writing to a much greaterThe early days extent of DAVE for COCKRUM the horror—Legion ofand Super-Heroes fantasy pulps, family returned to the , they moved around the such as, among others,artist and Weird co-developer Tales. of theHis revived wife, mid-1970s Frances, X-Men—as also wrote revealed in art-filled letters to PAUL ALLEN and rare, previously country, living for a time in Washington, DC, then in Salt Lake City. . In 1939unseen heillustrations moved provided to byWest wife PATYOrange, COCKRUM New (including Jersey, and I think it was there that1960s-70s he drawingsbegan of writing Edgar Rice Burroughs for the heroes)! comics. Plus FCA— MICHAEL T. GILBERT on PETE MORISI—JOHN BROOME—BILL SCHELLY, and more! He would send in what he called “squinkas” [pronounced (84-page FULL-COLOR magazine) $9.95 “squink-as”], which was a term I(Digital think Edition) he coined, $4.99 although other

writers also used thehttp://twomorrows.com/index.php?main_page=product_info&cPath=98_55&products_id=1427 term. RA: What did he mean when he called the comic scripts that? DRAKE: It just meant that he would send in to the editor in , by train, these little plot-and-dialogue scripts to the comic companies, and then get the check back by return mail. Fifty bucks. The script would be given to an artist, drawn, and appear in a comic, usually very quickly. By this time, Manly was a fairly major pulp writer, particularly in fantasy and science-fiction. He did a lot of work for Astounding . Not that much for John Campbell, but quite a bit for the editor who preceded him, F. Olin Tremaine. He broke with Campbell over a book Manly’d written called Twice in Time, which was a Leonardo da Vinci involving time travel. Campbell told Manly that he, Manly, didn’t understand da Vinci and that Campbell was going to have to edit it massively. Manly told him to go piss up a rope. They didn’t work together after that. [laughs] Campbell had been trying to start a fantasy magazine… RA: Yes, Unknown, or Unknown Worlds, as it ended up. DRAKE: No! That was the point. Campbell got Manly and L. Sprague de Camp, as well as Julie Schwartz, who was an agent for science-fiction and fantasy writers at the time, to a lunch meeting and told them that he was going to do a new magazine. He wanted to publish fantasy stories that would be in the same mode as the science-fiction stories in Astounding, which, at Campbell’s insistence, were often based on real science. He wanted the group to brainstorm a title for such a fantasy magazine. Manly suggested Tain’t So Stories. Manly was very clear when he spoke, at least when I knew him. [chuckles] He had a degree of contempt for Campbell, who was younger than Manly. Campbell, of course, came up with What A Startling Development This Is! the final title, Unknown, I think pretty much on his own. Before turning to comics, Wellman wrote first for the pulp magazines of the day. His book-length novel Devil’s Planet was published in Thrilling’s One of the things that Manly held against Campbell was that Startling Stories for January 1942—just one of MWW’s many pulp stories. Campbell had invited Manly and Frances, along with—it may Cover art by Rudolph Belarski. [TM & © the respective trademark & have been Sprague deCamp and his wife—to dinner at Campbell’s copyright holders.] home. Manly was vastly irritated by Campbell opening a can of ALTER EGO #164 ALTER EGO #165 ALTER EGO #166 DRAW #36 KIRBY & LEE: STUF’ SAID Spotlight on MIKE FRIEDRICH, DC/Marvel WILL MURRAY showcases original Marvel FAWCETT COLLECTORS OF AMERICA MIKE HAWTHORNE (Deadpool, Infinity EXPANDED SECOND EDITION—16 EXTRA writer who jumpstarted the independent publisher (from 1939-1971) MARTIN (FCA) Special, with spotlights on KURT Countdown) interview, YANICK PAQUETTE PAGES! Looks back at the creators of the comics movement with Star*Reach! Art by GOODMAN, with artifacts by LEE, KIRBY, SCHAFFENBERGER (Captain Marvel, Ibis (: Earth One, Batman Marvel Universe’s own words, in chrono- NEAL ADAMS, GIL KANE, DICK DILLIN, DITKO, ROMITA, MANEELY, BUSCEMA, the Invincible, Marvel Family, ), Inc., ) how-to demo, JERRY logical order, from fanzine, magazine, , , JIM EVERETT, BURGOS, GUSTAVSON, and on his awesome painting of ORDWAY’s “Ord-Way” of creating comics, radio, and television interviews, to paint STARLIN, , FRANK SCHOMBURG, COLAN, ADAMS, the super-heroes influenced by the original JAMAR NICHOLAS reviews the latest art a picture of JACK KIRBY and STAN LEE’s BRUNNER, et al.! Plus: MARK CARLSON- STERANKO, and many others! Plus FCA, Mr. Captain Marvel! Plus MICHAEL T. GILBERT’s supplies, plus Comic Art Bootcamp by BRET complicated relationship! Includes recollec- GHOST on Rural Home Comics, FCA, and Monster’s Comic Crypt with more on PETE “Mr. Monster’s Comic Crypt” on BLEVINS and MIKE MANLEY! Contains tions from STEVE DITKO, ROY THOMAS, Mr. Monster’s Comic Crypt! MORISI, JOHN BROOME, and a cover by editor , JOHN BROOME, mild nudity for figure-drawing instruction; WALLACE WOOD, JOHN ROMITA SR., of America cover by NEAL ADAMS! DREW FRIEDMAN! and more! Cover by SCHAFFENBERGER! for Mature Readers Only. and other Marvel Bullpenners! (84-page FULL-COLOR magazine) $9.95 (84-page FULL-COLOR magazine) $9.95 (84-page FULL-COLOR magazine) $9.95 (84-page FULL-COLOR magazine) $9.95 (84-page FULL-COLOR magazine) $26.95 (Digital Edition) $4.95 • Ships April 2020 (Digital Edition) $4.95 • Ships June 2020 (Digital Edition) $4.95 • Ships Aug. 2020 (Digital Edition) $4.95 • Now shipping! (Digital Edition) $12.95 • Now shipping!

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