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Home , Abel (DC Comics), Archie Goodwin (comics), Bernie Wrightson, Bob Schreck, Carmine Infantino, Dave Sim

Roy Thomas’LENgthy RE-LIVES THE LATE SILVER AGE AT DC & MARVEL! $8.95 In the USA

No.135 September 2015

Hey—Maybe He Can get ME in! Characters TM & © DC Comics. 7 0 5 3 6 7 7 2 8 5 6 2 8

1 P.S.: LEN WROTE A FEW OTHER THINGS, TOO! Vol. 3, No. 135 / September 2015 Editor Associate Editors Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck If you’re viewing a Digital J.T. Go (Assoc. Editor) Edition of this publication, Comic Crypt Editor PLEASE READ THIS: This is copyrighted material, NOT intended Michael T. Gilbert for downloading anywhere except our website or Apps. If you downloaded it from another website or torrent, go ahead and Editorial Honor Roll read it, and if you decide to keep it, DO THE RIGHT THING and buy a legal down- Jerry G. Bails (founder) load, or a printed copy. Otherwise, DELETE IT FROM YOUR DEVICE and DO NOT Ronn Foss, Biljo White SHARE IT WITH FRIENDS OR POST IT ANYWHERE. If you enjoy our publications enough to download them, please pay for them so we can keep producing ones like Proofreaders this. Our digital editions should ONLY be downloaded within our Apps and at Rob Smentek www.twomorrows.com William J. Dowlding Cover Artists & Cover Unidentified DC personnel Contents With Special Thanks to: Writer/Editorial: Out With The Old…?...... 2 Neal Douglas R. Kelly Heidi Amash David Anthony “I’ve Never Had To Get A Real Job!” ...... 3 Pedro Angosto Kraft Writer & editor Len Wein tells Richard Arndt about his first decade in comics. Richard J. Arndt Mark Lewis Seal Of Approval: The History Of The Comics Code – Rodrigo Baeza Jim Ludwig Bob Bailey Doug Martin Chapter 6, Concluded ...... 41 Rod Beck Brian K. Morris Our ongoing serialization of Dr. Amy K. Nyberg’s 1998 study of comics censorship. William Biggins Mark Muller Robert Brown Chip Newton Mr. Monster’s Comic Crypt: Get A Clue – Part 2!!! ...... 51 Nick Caputo Dr. Amy Kiste Michael T. Gilbert examines more of the hilarious hoodlums on those Hillman crime covers. James Cassara Nyberg Comic Archive: Chatting With Jim Van Hise . . . . . 57 Shaun Clancy Barry Pearl Bill Schelly continues a multi-part tribute to G.B. Love and . Chet Cox John E. Petty RBCC John De Mocko Nik Poliwko In Memoriam: ...... 66 The Dick Dillin Gene Reed Family re: [correspondence, comments, & corrections] ...... 68 John Ellis Randy Sargent FCA [Fawcett Collectors Of America] #194 ...... 73 Vijah Shah P.C. Hamerlinck presents two unseen essays by Captain Marvel co-creator C.C. Beck. Shane Foley Jeff Taylor Stephan Friedt On Our Cover: Len Wein, this issue’s intrepid interviewee, has been known particularly for his Janet Gilbert Jim Van Hise scripting (and editing) of super-heroes and of his muck-monster co-creation —so Grand Comics Lynn Walker we’ve conspicuously combined Dick Giordano’s cover for League of America #105 Database (website) George Warner (April-May 1973) with a masterful early-’70s Swamp Thing figure drawn by that entity’s other Dan Hagen John Warren co-creator, Bernie Wrightson. With due thanks to Sean Howe, Pedro Angosto, & Mike Zeck Hero Initiative Len Wein for the 1971 photo of Len himself. [Art TM & © DC Comics.] Sean Howe Above: The villain in Len Wein’s first scripting assignment on Marvel Team-Up (#11, July 1973), Dr. M. Thomas Inge Andy Yanchus carried over from the previous couple of issues, was none other than —while Jim Kealy Mike Zeck Spider-Man was teamed in #11 with the incomparable . Pencils by ; inks by . Thanks to Barry Pearl. [TM & © Marvel Characters, Inc.]

Alter EgoTM is published 8 times a year by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. This issue is dedicated to the memory of Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: [email protected]. Send subscription funds to TwoMorrows, NOT to the editorial offices. Eight-issue subscriptions: $67 US, $85 Canada, $104 elsewhere. All characters are © their respective companies. All material © Roger Slifer their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in China. ISSN: 1932-6890 FIRST PRINTING. 3 “I’ve Never Had To Get A Real Job!” Award-Winning Writer & Editor LEN WEIN Talks About Nearly Half A Century In Comics Len Wein in his photo card from Eclipse’s Interview Conducted & Transcribed by Richard J. Arndt Famous trading card series of the 1980s. [© Eclipse or successors in interest.] IINTERVIEWER’S INTRODUCTION: Len Wein is one of of teen-age writers who entered the comics field in the late 1960s. Over the past 45 years, he’s created or co-created “The New X-Men,” , Swamp Thing, The , Dominic Fortune, and many more. He’s been the writer on The Teen , , , The , The Incredible , The Amazing Spider-Man, Before , “,” and an incredible number of other titles. He’s been an editor at Marvel, DC, and Disney. He was the editor who hired to write Swamp Thing, as well as the editor on Moore & ’ Watchmen. He recently wrote the for DC. This interview was conducted Aug. 21, 2012. “Oh Boy, I’m Gonna Be A Artist!”

RICHARD ARNDT: Let’s start things off with your background. Where did you grow up? LEN WEIN: I was born in , . I had one kid brother. When I was 7½ years old, I stepped out between two trucks onto the street. My father grabbed me by the back of the collar just in time to pull me out of the way of another truck driving by. He stood there for a second and said, “We’re going to the suburbs!” So I grew up in Levittown, New York. I wasn’t the only comic fan there. Even though I didn’t meet many of these fellows until I was grown, Michael Gilbert grew up there. grew up there. grew up there. So there was a small group of comics Swamped! enthusiasts who grew (Above:) When Len Wein began writing Stranger with #14 up there, completely (July-Aug. 1971), he started off with a monster-in-a-swamp scene, illustrated unaware of each other. by . (Left:) A year later, he and artist Berni(e) Wrightson caused a minor sensation with Swamp Thing #1 (Oct.-Nov. 1972). Thanks to Jim Ludwig for the page from PS #14, and to the for the cover shot. [TM & © DC Comics.] “I’ve Never Had To Get A Real Job!” 5

today—I drew a picture of a shark. My art teacher looked at me and said, “That’s a very good picture. You actually have artistic talent. Enough to be an actual artist.” I looked back at him and said, “Oh, boy! I’m gonna be a .” He said, “That’s not what I mean.” But I said, “Yeah, but that’s what I meant!” So I majored in art the rest of my high school and college career, to help me in becoming a comic book artist.

RA: I haven’t actually seen a lot of your comic art… but I do recall you did a fan illustration for one of Jim Warren’s fan pages back in the 1960s… in #22 (July 1969). It wasn’t too bad, as I recall. WEIN: Thank you. Yep, there were a lot of aspiring artists who showed up on those fan pages. When I became a professional, I actually got to draw one four-page story for Gold Key. It was a story called “Walk the Plank” for Grimm’s Ghost Stories [#9 (May 1973)]. That’s the only actual story I’ve ever drawn.

RA: The Grand Comics Database lists three stories you illus- trated, one apparently a ghost penciling job for for

Masquerader Of The Lost Arcs (Above:) Len Wein was a fannish double-threat. First, as a writer: His brief interview with in the 6th issue of future fellow pro Mike Vosburg’s fanzine Masquerader in the early 1960s was quite possibly the first conversation with “The King” ever published. Thanks to Doug Martin. [© the respective copyright holders.] (Right:) Secondly, as an artist: Besides being assistant editor of the fanzine Popular Heroes Illustrated, he drew this 1964 cover spotlighting ’s Marvel co-creations. Thanks to Nick Caputo. [Spider-Man & Dr. Strange TM & © Marvel Characters, Inc.

Later that same year, I got very sick. I spent some time in the hospital and my father brought me a bunch of comic books to keep me occupied. As they say, “Done is done.” I was hooked. I was a comic book fan from that moment on.

RA: Do you remember any of the titles in that batch? WEIN: They were mostly DC, I think. I remember and . There were no Marvels, because Marvel didn’t exist back then. They would almost have to have been DC comics.

RA: When did you first begin to make your move to becoming a professional in the comics field? WEIN: Eighth-grade art class. In the 8th grade back then, when the arts were part of our curriculum—unlike “I’ve Never Had To Get A Real Job!” 15

Hey, Kids—Comix! (Left:) Writer Len Wein and artist created a horrific homage to in Marvel’s Creatures on the Loose #11 (May 1971)… in the person of an artist named “Roger Krass.” A tribute to Trimpe, who recently passed away, will appear in a near-future issue; a photo of him appears on p. 37. (Right:) The legendary drew Len’s story for Creatures on the Loose #13 (Sept. 1971). Thanks to Barry Pearl. [TM & © Marvel Characters, Inc.]

[continued from p. 11] WEIN: I did a bunch of stories for Twilight Zone, a bunch for Boris I said, “I like your books. I’m a professional writer and I think Karloff. I wrote for two years. I did The Microbots. I did we can help each other.” They agreed to go ahead and try. I became Mod Wheels for a year or two. I had the best time at Gold Key. They their writer for 2½ years. I did a lot of work there. Most of my were the nicest to work for. work was there, actually. Some appeared at Marvel at the same time. And at I got back with DC. Dick Giordano’s attitude Marv [Wolfman] and I had had a problem at DC. We’d gotten towards my blacklisting was “Blackball, smackball!” He said, “I’ll blackballed for something that we had not done. Artwork was use you.” With that, I started getting back to DC. They finally disappearing, and we were the two young kids on the block, and it discovered the truth about the art thefts and the blackballing was was assumed that we were taking it, which we had not. So Marv lifted. I started making much more money at DC than at Gold Key. basically left the industry for a while and became an art teacher. I decided that I wasn’t quitting comics. There were other places to I finally had to ask Wally and Paul, “I know you can’t match work besides DC. So I went literally down the block to the Gold this but I’ve got to ask… otherwise, I’ve got to go.” So they said Key offices one afternoon—made an appointment. I came in with “No, no. Go. Go. Thank you for everything you did. We loved samples of my work and told the two editors there—Wally Green everything you did. We loved working with you and we’d love to and his assistant, Paul Kuen—that I wanted to work with them. keep working with you, but we can’t afford you anymore. You Those two were among the nicest guys I’ve ever met. Well, when I should go where the money is.” So they sent me on my way. said I wanted to work for them, they hit me with the “Springtime [laughs] It was very sweet, very paternal. for Hitler” face. You know the reference? [INTERVIEWER’S RA: NOTE: Mel Brooks’ film/play The Producers had Jewish stage producers That’s nice. One of the stories I recall as being very good during this trying to make a light musical called Springtime for Hitler as a tax time period was one you did for Marvel called “The Underground dodge, so it was a play that they never intended to succeed.] There are .” It was a spoof on underground comics and . I great shots in the films where the audience at opening night gets a don’t know if you remember that one or not… look at what’s coming at them, and the expression is always “What WEIN: I do remember it. I don’t recall the artist—was it Sal the f—- are we watching?” Well, both Wally and Paul looked at me Buscema or ? with that kind of expression and said, “In God’s name, why? Why do you want to work for ” us? RA: Actually it was Herb Trimpe. It was a story about a guy who fakes 16 Writer & Editor Len Wein Talks About Nearly Half A Century In Comics being a hip underground and ends up in . WEIN: Oh, yeah! Well, Herb would have been my next guess. I vaguely remember that. It certainly sounds like one of my titles.

RA: One of the reasons it sticks in my memories was that this was the first time (1972) I’d ever heard of underground comics. As a Midwestern boy who grew up in a rural area, the notion that there were these comics that were unheard of by most people—hidden even, secreted away—was fascinating to me. It was like a Steve Ditko curio-shop story come to life. It eventually led me to search out these books, and the creators like Robert Crumb, so thank you for that. WEIN: [laughs] You’re welcome! RA: Still, it was a pretty good little story. You probably sold it to or , but it ended up in one of the retitled, mostly reprint-filled, monster titles—Creatures on the Loose #11 (May 1971). You must have just gotten back into DC’s good graces when you wrote the first “Swamp Thing” story—the eight-pager that appeared in House of Secrets in 1972. WEIN: Yeah, I’d been back at DC for a little while at that point. Just One Of Those [Swamp] Things The cover of DC’s House of Secrets #92 (June-July 1971), for the first Len Wein/Berni “‘Swamp Thing’ Was One Of Wrightson “Swamp Thing” story, which was originally intended as a stand-alone effort. Wrightson (the spelling of whose first name soon reverted to “Bernie”) is seen in a 1975 photo from a fanzine. Those Cases” Thanks to Bob Bailey for the cover scan, and to Stephan Friedt for locating the photo. [Page TM & © DC Comics.] RA: Can you tell us how that story came about? WEIN: “Swamp Thing” was one of those weird cases. I don’t really WEIN: Yeah, I’m told he did. Roy was a fan of a character that I remember. I know that it came to me on the subway on the way to discovered later and became very fond of, which was the old the office. I was still writing mystery stories by the dozens for Joe “,” the one published by Hillman Comics. A lot of people say Orlando. I was on my way in and I had nothing really firm to give that I just stole the idea of “Swamp Thing” from “The Heap.” But I him. So I came up with the idea on the subway, but I don’t had never heard of “The Heap” at the time. remember what sparked the notion. I do remember how it got RA: titled. That’s one of my favorite stories. I kept talking about the Well, “The Heap” was also “stolen,” if that’s the word you want to untitled story as I worked on it. It was that “swamp thing” story use. So it doesn’t really matter. that I’m doing. So when the story finally needed an actual title, I WEIN: Really? found it was actually already in place, just sitting there. RA: The Heap, DC’s Solomon Grundy [the Heap’s was RA: Well, it did work out pretty good. in 1942, Grundy’s was in 1944], all the early undead swamp creatures in WEIN: Yeah, it worked out nice! [ ] comics were “inspired,” either directly or indirectly, by the classic story laughs “It” by , which was originally published in the Unknown RA: I’ve talked to about his co-creation of Man-Thing.… magazine in 1940. Alfred Bester, who created Solomon Grundy, admitted in an interview that he’d gotten the idea for Grundy WEIN: Oh, I’m having lunch with Gerry tomorrow! directly from Sturgeon’s story. In fact, Roy Thomas and Marie Severin Supernatural RA: did a great adaptation of “It” for Marvel in 1971 [ Say hello for me. Now, at the time, he was your roommate? Thrillers #1 (Dec. 1971)], just a few months after both “Man-Thing” WEIN: Gerry and I were sharing an apartment. and “Swamp Thing” first appeared. RA: WEIN: I’m a big Solomon Grundy fan. I don’t like the new one, He was working on the first “Man-Thing” story [for Marvel]. Both but I used to like the old one. At the time, though, I just wasn’t that initial stories were published at nearly the same time. The first two stories knowledgeable about older comics. I just knew what I knew. I used didn’t really resemble each other plot-wise, but both were featuring to follow Kirby and stuff. It really comes down to “great minds swamp monsters. thinking alike,” I think. I’ve made that point many times over the WEIN: I know. It’s one of those bizarre coincidences that crop up years, including one in court on a case where I was testifying as an from time to time. expert . Every year, every single year, there are two movies about exactly the same thing. Same thing happens in stories, RA: I should mention here that Roy Thomas had a big hand in creating especially SF stories. Two or more writers will come out with “Man-Thing.” similar stories at roughly the same time. Notions or ideas get “I’ve Never Had To Get A Real Job!” 23 two weeks! That’s how I sold he recognized me. All those “The Human Target”! I basically visits to DC back in the day just made Jonny Double into a when I was a fan and so on. He new character. yells, “You! What the hell are you doing there?” RA: Did Dick Giordano do the first few stories? I was terrified, because Julie could be terrifying. I started to WEIN: No! stammer and said I was just drew the first two “Human trying to sell some “” Target” stories. Dick inked them. stories to Mr. Bridwell. He Dick was involved in nearly literally grabbed me by the back every “Human Target” story in of my collar, pulled me out of some way or another for years Nelson’s guest chair, dumped while I was writing him. He me in his guest chair and said, drew and inked or just inked “No, you’re not. You’re writing another artist on almost all the The !” I said, “What?” He stories I wrote. But how said, “You couldn’t possibly be Carmine got involved was inter- any worse than the son of a esting. Most of us at DC used to bitch I just fired.” That’s how I go out to a local pub after work got to write ! [ ] on Friday nights. One Friday laughs night, a week or two after I sold RA: I’m not going to ask then who the “Human Target” story, was fired. Carmine and I were the only two guys left in the room. He WEIN: I’m not going to tell you, said, “I’m tired of being this either. [both laugh] boss all the time. I’d love to RA: draw something again.” I asked You also wrote at least one him what he wanted to do. He story for “.” That would says “I don’t know. Some good have been for . old-fashioned detective stories. I WEIN: I only did the one. It was used to love those.” I asked him, a four-pager that “What about the character you drew. El Diablo had a very odd just OKed? What about ‘The . He was struck by Human Target’?” He thought lightning and was in his civilian about it and said, “Naw. I don’t persona a quadriplegic! He think so.” It took me a half hour became a version of at and a couple more drinks to talk Target Practice night! I always wondered if the him into penciling the first one. The first “Human Target” splash page, from #419 (Dec. 1972). people who were reading the by Wein; pencils by Carmine Infantino; inks by Dick Giordano. Thanks strip wondered how this guy RA: That’s pretty good. Carmine’s to Bob Bailey. [TM & © DC Comics.] who couldn’t move kept such a great artist. great muscle tone? WEIN: Yep. It worked out pretty neatly. RA: I guess because he spent all night out “You’re Writing riding horses? The Flash!” WEIN: Exactly! Fighting crime and using a ! It was an odd strip. RA: The Flash You also worked on . This would RA: You did a lot of fill-ins during this time have been after Carmine’s days on that book, period, for both DC and Marvel. though… Carmine Infantino Dick Giordano, WEIN: Yeah. I was hungry. When I was WEIN: Yes. I think the artist was . Editorial director of who would serve as hungry, I would write anything. Irv and Dick Giordano were illustrating my DC Comics from 1967- DC’s managing editor stories there. That reminds me of one of my 71, publisher 1971-76— from 1983 into the RA: Then you went with on , favorite stories. Julie shared an office in and, as the original 1990s, was an artist Son of Tarzan and “Carson of ”—both of those days with the late, and much beloved, artist of the Silver Age whose work (esp. his title The Flash, one of inking) adorned them being adaptations. E. Nelson Bridwell. Nelson was editing Lois the most important many a comic book WEIN: Well, Joe Orlando edited the first early in my career. I came in to pitch comic artists of the over the years. Thanks Lane three or four issues, and then Joe took the some ideas for a possible “Lois Lane” story, late 1950s and early to Pedro Angosto and because it would give me a chance to write ’60s. Mike Zeck. book over. I wrote three Burroughs adapta- Superman. While I was sitting in his guest tions—“Carson of Venus,” “Pellucidar,” and chair, Nelson was called into a meeting. So “Korak,” all for Joe Orlando and then Joe I’m just sitting there waiting. The room was empty. Julie wasn’t Kubert—God rest his soul [INTERVIEWER’S NOTE: This interview there. Nelson wasn’t there. I’m just sitting there, as patiently as took place only a week or so after Kubert’s death]—came in to take over. possible. Suddenly Julie comes storming into the room. Mind you, That was interesting. I have a very peculiar, personal style of “I’ve Never Had To Get A Real Job!” 33 book, , bless him, who was in charge of the sales records at that time, came and told me that sales on Swamp Thing didn’t drop one copy when Bernie left. When I left, the sales went right into the toilet. I told him, “Thank you! That does more for my ego than you have any idea!” The emphasis in comics is so dependent on the artist that it really helped knowing that people bought the book for my stories, too! Who knew? “Roy Thomas And Gerry Conway Were Very Sly”

RA: Somewhere in the mid-1970s on, the majority of your books began to be from . You did The Incredible Hulk… WEIN: I did all four of the top titles: Amazing Spider-Man, Incredible Hulk, Mighty Thor, and the Fantastic Four—all at the same time.

RA: Was your work on those titles why you ended up getting the editor-in-chief title? WEIN: No, Roy Thomas and Gerry Conway were very sly. They decided early on that they wanted me working for Marvel. As I mentioned earlier, Gerry and I were roommates. Gerry would give up a book and, offhandedly, say to me that he was giving up that book— Werewolf by Night was the first one. He’d say, “You wanna take it over?” I’d say “The same pay rates? Yeah? Then why not?” So I took over Werewolf by Night. Then it was, “I’m leaving Marvel Team-Up. You wanna take it over?” “Want to do Spider-Man?” Well, you bet! Sure! So I kept taking on titles that Gerry was leaving. So, and one-by- one, my schedule filled and I had to give up books at DC to do the Marvel books. I left . I left… whatever. One morning I woke up and discovered that I was working for Marvel. It took me a while to realize how that happened! Later, after I was fully at Marvel, Roy Thomas offered me a job as his assistant editor. At Marvel, there was only If The Hulk’s Hunting For The — one editor and one assistant for all the books. So I took it, Has He Tried Looking In A Mirror? what the hell! Joe Orlando, before I left DC, spent a lot of While Len had stepped in to take a Roy Thomas “plotline” and turn it into a script for time trying to convince Carmine to make me an editor. The Incredible Hulk #145 (Nov. 1971), that proved to be a one-issue stand… Carmine, being old-school, wouldn’t do it. He said, “Give and he didn’t return as Ol’ Green-skin’s full writer till #179 (Sept. ’74), aided and him ten years. Let him get seasoned. We’ll talk about it abetted by penciler Herb Trimpe and Jack . Thanks to Barry Pearl for the scan. then.” But Roy, when he hired me, knew he was going to [TM & © Marvel Characters, Inc.] be leaving the editor-in-chief job and becoming a writer/editor in just a few months. He basically hired me was killing me, as it did every editor who followed me, until to replace him. He didn’t tell me this, though. Then, six months in, Shooter. There was no better editor who ever lived than Archie I was offered the job of editor-in-chief. I took it! What am I, an Goodwin, with the exception of maybe Julie Schwartz, and it even idiot? Over at DC, Joe Orlando’s going over to Carmine and burned him out after a year or two. saying, “See, Schmuck! I told you! Now he’s running the compe- tition!” “Bat-Murderer!” And “Gideon Faust” I lasted about half a year before it completely burned me out. It was a rough job. Marv Wolfman followed me, than Gerry stepped RA: We’re near the end of the time period we’re discussing, but I really in…. He lasted about three weeks and asked me how I could do wanted to talk about your “Batman” story “Bat-Murderer!,” which came this job. It was driving him crazy! There was only one editor and a out in Detective just after ’s acclaimed run on that title. huge amount of books! There were a half dozen or more DC In fact, the only reason I was reading Detective at that point was for editors, and none of them had more than ten books. No one editor Archie’s stories. Plus, he had great artists drawing those stories. Some could really do the body of work that Marvel expected. Eventually, were young and just starting out like Simonson or Chaykin. Others were under , they split the books among a whole community at the top of their game, like Toth and Aparo. of editors, like any normal publishing company. It was a lot easier WEIN: Archie was one of those guys that artists loved to draw for. to take care of eight books a month as opposed to 58 books a Look at those and stories he wrote. Artists fell over month! That’s how many I was doing, about 50 books a month! It Creepy Eerie 41 Seal Of Approval: Dr. Amy K. Nyberg The History Of The Comics Code Concluding Chapter 6 Of Our Serialization Of The 1998 Study By DR. AMY KISTE NYBERG EDITOR’S INTRODUCTION: AA/ / EE We near the reflect the opinion of Dr. Nyberg or of the University Press of Mississippi, conclusion of our reprinting of Dr. Nyberg’s the original publisher of the book—the original edition of which can still groundbreaking history of comic book be obtained from UPM at www.upress.sate.ms.us. Our thanks once censorship—a work we’ve felt honored to be able to re-present, with a again to Dr. M. Thomas Inge, under whose general editorship the volume wealth of added illustrations, for Alter Ego’s audience. Previous install- was originally published in 1998 as part of its Studies in Popular Culture ments have appeared in A/E #123-128, 130, 133, & 134. As we’ve said series, and who was of great help to A/E in helping to arrange for its before, Seal of Approval is “footnoted” in the MLA style which lists reprinting here… to William Biggins and Vijah Shah, acquisitions editors book, article, or author name, plus page numbers, between parentheses in past and present at the U. Press of Mississippi… and to Brian K. Morris the main text: e.g., “(Hart 154-156)” refers to pp. 154-156 of whichever for retyping the text on a Word document for Ye Editor. work by an author or editor named Hart appears in the bibliography The preceding segment dealt with the alterations made to the code in (which will be printed at the conclusion of our serialization, a few issues 1971 in order to acknowledge changes in American society since 1954— from now). When the parentheses contain only page numbers, it’s because which included allowing the use of “vampires, ghouls, and werewolves,” the other pertinent information is printed in the text almost immediately as long as they were handled in the “classic tradition” of “high caliber preceding the note. literary works… read in schools throughout the World.” In 1976, We’ve again retained such usages and spellings from Nyberg’s book as became DC’s new publisher, and longtime comics writer Jim “,” an uncapitalized “comics code,” “E.C.” and “DC,” etc. In Shooter ascended at the beginning of 1977 to the post of Marvel’s editor- the captions we ourselves have added, however, we have reverted to A/E in-chief…. house style and preference. These captions, of course, do not necessarily

he four publishers who remained active in the CMAA during TTthe late 1970s and the 1980s—Archie, Marvel, Harvey, and DC—continued to challenge the need for a code. Marvel president James Galton, at a meeting of the board of directors in October 1976, questioned whether there was any need to continue the use of the seal. Others, however, felt that the seal remained “essential to the viability of the comics magazine industry” (CMAA Files [minutes, 19 Oct. 1976]). Galton’s question was spurred in part by changes in the comic book publishing industry that would enable new publishers to bypass the CMAA and its code administrator entirely. Beginning in the late 1970s, an innovation was under way in comic book distribution that was to Publish Or Perish have tremendous on the way comic books were marketed (Left:) Jenette Kahn, publisher of DC Comics from 1976-2002. Photo undated. and sold. That innovation was distribution. (Right:) Marvel Comics editor-in-chief Jim Shooter, on left, and Marvel Changes in distribution during this period were linked to an publisher Jim Galton, circa 1980. From Jim Shooter’s blog. An in-depth earlier change in the industry, the rise of independent publishers. interview with Shooter will appear in Alter Ego #137. (Note: Galton’s last In the 1970s, there was a movement toward independent name is spelled “Galston” in Nyberg’s book. Typist Brian K. Morris corrected publishing, which initially served as an outlet for creator-owned the spelling for this reprinting.) properties. Until that time, all of the rights for characters were owned by companies, not by individual writers and artists. New were not high enough to lure top talent away from the major publishing companies were started that allowed creators to retain companies. But by the end of the decade, a proliferation of the rights to their characters. At first, distribution was limited to specialty shops and the emergence of direct market distribution mail order and a small number of specialty shops, and the profits created a market capable of sustaining these independent publishers (Jacobs and Jones 269). 42 Concluding Chapter 6 Of Our Serialization Of The 1998 Study By Dr. Amy Kiste Nyberg

The Declaration Of Independents Two early independent comics were writer/artist ’s Cerebus (a.k.a. ), published by the Canadian company Aardvark-Vanaheim, and , published in the U.S. by Wendy & Richard Pini’s Graphics. Wendy was the writer/artist, with co- plotting by Richard. Earlier, in 1974, had come Mike Friedrich’s Star*Reach #1, commonly considered the first true “independent” (as opposed to “underground”) comic book. [Cerebus cover TM & © Dave Sim; Elfquest cover TM & © Wendy & Richard Pini.]

Under the old system, parody entitled Cerebus; and which is still in place [in WaRP Graphics, started by Richard 1998] and accounts for about and Wendi Pini in 1978 to publish one-quarter of all comic book their comic, Elfquest. The first distribution, comic books are company to bring out regular-format distributed by companies that comics among the independents was also handle other periodicals , which published and are sold in outlets that Dave Sim. Wendy & Richard Pini. comics from 1981 to 1984. First carry a variety of magazines. Comics, started in 1983 in Chicago, Retailers are able to return was a strong performer in the 1980s unsold copies to the publisher for credit. Under the direct market before folding. The leading independent company in the early system, distributors who specialize in comic books and comics- 1990s has been , started by a group of creators who related merchandise solicit orders for upcoming titles and sell capitalized on their popularity with the fan community to produce comic books directly to retailers on a non-return basis. Their titles that have outsold many comics marketed by the larger primary customers are comics specialty shops, which pay less for companies. While Marvel and DC still dominate the comic book their comics through the direct market system but forfeit the right industry in terms of number of titles, sales figures on their titles to return unsold copies. Store owners develop an inventory of back have dropped as independents cut into their market. Although issues that then may be sold to fans and collectors at a later date. some of these independent publishers, like Image, produce profes- The number of specialty stores in the United States increased from sional quality four-color comic books on a monthly schedule and an estimated twenty-five in the mid-1970s to between 3,500 and compete successfully with the major publishers, many independent 5,000 by 1990 (Thompson 58). The number of such stores is hard to companies publish only one or two books, often on a highly erratic estimate because many of these retail outlets were served by more schedule, and the number of such companies fluctuates almost than one distributor, and because distributors protected their daily as smaller companies are started, merge, or fold. customer lists. These independent companies distribute comics only through As a result of this change in distribution, companies were able the direct market system. Bypassing the newsstand distribution to eliminate some of the guesswork involved in production. Under system, the enforcement arm of the comics code, these independent the newsstand distribution system, as many as seven of every ten publishers do not submit their titles for code approval nor are they copies of a comic book were returned to the publisher. Because members of the Comics Magazine Association of America. As a comic book orders for direct market sales are solicited before the result, the CMAA and its code administrator have no say in the comics are published, publishers know in advance how many content of comic books which make up a significant part of the copies of each title to print for distribution to specialty shops. comic book industry today. It was inevitable that independent Often, companies will print more copies of a particular title than companies, freed from the constraints of the comics code, would were ordered so they can fill back orders. In addition, distributors produce adult-oriented material for the evolving market—which may speculate on how well a particular issue of a comic book will one study suggests has led the industry “once again—but this time sell and purchase more copies than retailers order. Particularly not innocently—to confront the adult themes of violence, sexuality successful comic books may have additional press runs (Salicrup and obsession” (McCue and Bloom ix). 38). Unlike the underground comics, these new independently The new distribution system, which eliminated some of the risk published comics did represent an economic challenge to the estab- in publishing comics, led to a boom in independent publishing in lished publishers. And, more important, these comics demon- the 1980s. Independent companies who were early leaders in this strated the possibilities of a distribution system that was more trend included Aardvark-Vanaheim, created in 1977 to publish a open to experimentation and to the expansion of the audience for 51 [©2015 [©2015 Cracked Entertainment.]

Bums On The Run! I don’t know who’s the bigger loser, the mug hot-footing it from the cops, or the clueless crook taking notes. From Real Clue Crime Stories Vol. 5, #1 (March 1950). Art by Dan Zolnerowich. [Real Clue cover © the respective copyright holders.] 52 Mr. Monster’s Comic Crypt! Get A Clue (Part 2!) by Michael T. Gilbert

ast issue we shared some amusing Hillman LLcrime covers. This time we’ve unearthed more gems, many drawn by the talented Dan Zolnerowich. “Zolne” is perhaps best remembered for his classic Planet Comics covers for . But his work for Hillman is equally striking. And, speaking of Hillman.... Noted art , book, and magazine publisher Alex L. Hillman founded the company in 1938 with a line of True Confessions titles. These included Real Confessions, Real Romances, True Crime, Crime Detective, and Real Detective. Hillman branched out into comics with the publication of Miracle Comics #1 and Rocket Comics #1. Both sported a February 1940 publication date.

Stupid Crook Tricks! (Above:) Boy, leave it to those country hicks! First the store-owner sheriff makes a killing selling expensive bank-robbing gear to the city slickers—then he arrests them for the heist! Say, didn’t I see the same plot on an old Green Acres episode? From Real Clue Crime Stories, Vol. 4, #10 (Dec. 1949). Art by Dan “Zolne” Zolnerowich. [© the respective copyright holders.].

“I Get No Respect!” (Left:) Rodney Dangerfield has nothing on this poor slob. He’s too broke to afford a decent hotel, thanks to a botched bank job (see cover above!). And even mean Mrs. O’Leary doesn’t want the bum in her cheap flophouse. From Real Clue Crime Stories, Vol. 4, #4 (June 1949). Art by Zolne. [© 2015 the respective copyright holders.] Comic Fandom Archive 57 Alter Ego’s Multi-Part Tribute To G.B. Love

G.B. Love. & RBCC – Part 3 Photo by Robert Brown. Chatting With JIM VAN HISE

Introduction

omic fandom has a lot of reasons to thank the late Gordon Belljohn CCLove, publisher and editor of the adzine , RBCC... or, to spell it out, Rocket’s Blast-Comicollector. Over time, it has become even clearer how much we owe G.B. Certainly, Jim Van Hise would second that motion, for it was at Gordon’s side that he learned the writing and magazine business. I talked to Jim on October 8, 2012... and thanks to Brian K. Morris for transcribing our conversation. —Bill Schelly.

BILL SCHELLY: I thought we should start with just talking about you and your background first, like where you were born and where you grew up. JIM VAN HISE: Okay, I was born in Tonawanda, New York, which is not far from Buffalo, in 1949.

SCHELLY: How did you end up in Florida? VAN HISE: I had grandparents who lived in Florida because my grandfather worked at Cape Canaveral. We would go down there A Dynamic Duo every summer. Sometimes, we’d stay as long as a month to visit, (Above:) Jim Van Hise and we started doing that in the early 1960s. And so in 1970, (on left) and G.B. when I decided I just wanted to go out on my own, I decided that Love at Miami Con in 1971. Photo courtesy where I would move is to Florida, because I always hated the of John Ellis. winters in New York. Since I had been exposed to Florida and I (Right:) Showcase #2 knew what it was like, I decided to move there. (Nov.-Dec. 1960), SCHELLY: featuring the “Sea I know that you are a fan of comics, but you also have other Devils,” was one of interests, maybe even stronger interests, in pulps and science-fiction and the Jim so on. Can you describe how your personal interests evolved as a kid? remembers reading. VAN HISE: When I was a kid, there was a package of movies [Cover TM & © DC Comics.] going around, the horror and science-fiction movies that they started showing in the ’50s. I guess the package was called Shock Theatre, but in Buffalo they called it something else, like Super-Duper All-Night Theatre or something. So I became interested in those kinds of science-fiction movies. I picked up a science-fiction paperback around 1959 called Forgotten Planet by Murray Leinster because it showed, like, a giant insect on the cover, and that’s how I started reading science-fiction. I didn’t discover pulps till the late ’60s, when I found a couple copies of Weird Tales in an old book store. SCHELLY: So that came later. What about comics? VAN HISE: I got interested in comics when I was probably around ten or so. My father brought home a comic book for me when I was sick. It was Showcase #29 with the “,” and I actually still have it. [NOTE: That was the Nov.-Dec. 1960 issue. —Bill.] And when I started buying comics regularly around ’63, that’s when I started Chatting With Jim Van Hise—About G.B. Love & RBCC 59 difficult over the phone, because he was kind of hard to understand. When you met him initially, were you able to communicate with G.B., given his cerebral palsy? How was that for you? VAN HISE: When I first met him, he had an assistant working at the office, Andy Warner, and Andy would be able to explain what G.B. was saying. But when I started to work for G.B. later in 1970, I worked for him six days a week and I came to be able to under- stand what he was saying. It was basically like learning how to understand what someone is saying who has a thick accent. He could talk over the phone, but unless you were used to talking to him, you probably wouldn’t be able to understand what he was saying.

SCHELLY: Fandom was a great place for people who weren’t in the mainstream and maybe who were shut-ins or maybe had various issues. In a way, it was a saving grace, probably, for Gordon, wouldn’t you think? VAN HISE: Well, it started out as a hobby. I mean, I think he only made like five copies of the first issues of Rocket’s Blast, using carbon paper in the typewriter. Then he had letters in some early DC comics in the early ’60s and people started writing to him from that. Then he began printing copies in mimeograph, and it was worthwhile to put ads in Marvel Comics to build up his circulation even more. Warner Time Andy Warner (left) and G. B. Love at Multicon 1970, the occasion when Jim SCHELLY: He found a place where he was accepted and in fact could Van Hise cemented his relationship with Love. Photo courtesy of John Ellis. excel, really.

The Rocket’s Blast Specials #1-2 Love’s Rocket’s Blast Special fanzine presented early attempts to chronicle the history of comics. RBS #1 (1963) presented “The Timely Story” by Raymond Miller, behind an illo of the , , and Sub-Mariner (who else?). RBS #2 (1963) offered “I Remember This” by Margaret Gemignani, and numerous tracings of Golden Age comic book panels and covers, and sported a Human Torch cover. Cover art by Buddy Saunders. RBS #1 shown from the photo-offset re-issue in 1967.) [Human Torch, Captain America, & Sub-Mariner TM & © Marvel Characters, Inc.; other art elements © Buddy Saunders.] Original art by C.C. Beck and Pete Costanza. hero TM & © DC Comics. Beck caricature © Estate of C.C. Beck.  The Limitations Of Comics BY## "ECK %DITEDBY 00# (AMERLINCK WITH *44 'O

)&$ From ’’ss C.C. Beck archives come two previously unpub- lished essays from the mid-1980s on the rudiments of comic art, dogmatically delineated by Captain Marvel’’ss co-creator and chief artist. The bonus second piece is a snippet from one of Beck’³3&’ss+ several aborted book projects on comic art instruction.

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Beck And Call (Above:) Charles Clarence Beck was always willing to impart his artistic wisdom and wizardry to aspiring artists everywhere, as he did with his one-page drawing lesson from the ÒShazam!Ó issue of the tabloid-sized Mjnjufe!!DpmmfdupssttÖ Fejujpo #C-21 (Summer 1973), published while he was still on board with DC during the Captain Marvel revival. (Left:) Believing in the power of a young personÕs imagination, Beck gladly accepted an invitation to be a special guest speaker at the Hillcrest Elementary School in Lake Wales, Florida, on February 24, 1979, where he delighted students with his kknnowledge of cartooning basics. Photo by Chip Newton. [Shazam ALTER EGO #135 heroes TM & © DC Comics.] LEN WEIN (writer/co-creator of Swamp Thing, Human Target, and Wolverine) talks about his early days in comics at DC and Marvel! Art by WRIGHTSON, INFANTINO, TRIMPE, DILLON, CARDY, APARO, THORNE, MOONEY, and others! Plus FCA (Fawcett Collectors of America), MR. MONSTER ’s Comic Crypt, the Comics Code, and ! Cover by DICK GIOR - DANO with BERNIE WRIGHTSON! (84 FULL-COLOR pages) $8.95 (Digital Edition) $3.95 http://twomorrows.com/index.php?main_page=product_info&cPath=98_55&products_id=1206