Books > Comics
Detail from the cover
of Three Dimensional Tales from the Crypt of
Terror No 2,
The list of writers and artists who contributed
– and produced some of their best work for –
EC reads like a ‘who’s who’ of mid-20th-century
including Feldstein, Wood, Harvey Kurtzman,
Johnny Craig, Jack Davis, Graham Ingels,
Joe Orlando, Reed Crandall, Al Williamson,
Krigstein and Frank Frazetta
Alien invasions and corrupt cops!
The history of
EC Comics - in pictures
Bill Gaines revolutionised the 1950s comics
with EC Comics’ taboo-busting crime tales,
stupendous sci-fi plots
… and war stories that didn’t flinch from the
Thu 20 Aug 2020 07.00 BST
added 10 July 2007
added 10 July 2007
added 10 July 2007
added 10 July 2007
Michael Turner, 37, Creator of
Superheroines, Is Dead
July 6, 2008
strips / comic strips
UK / USA
comic strip authors
Murphy Anderson USA 1926-2015
comic book artist
for DC Comics
from the 1950s to the
the San Francisco Comic Book Company
Gary Edson Arlington USA 1938-2014
comic strip artist
teenage magazine comic strips
staging exhibition of comics
celebration of genre UK 22 January
Library chief, Roy Keating,
says show will
from Misty comics and superhero classics
to graphic novels
International convention USA
USA > New York Comic Con
Leonard Norman Wein
prolific comic book
bringing to life
two of the art form’s
Wolverine and Swamp
who brought to life
of a freckled-face,
while in the U.S.
during the Korean War
Andrews and his friends
on and off from 1953
until he retired
in the late 1980s.
comic regularly surpassed
half a million during
according to the El
( http://bit.ly/1LANI9f ).
- broken link
with its racially and ethnically
rose in popularity
after the assassination
of Martin Luther King Jr.
via Cartoon Art Museum, San
Morrie Turner Dies at 90; Broke Barriers in
JAN. 28, 2014
Jay Edward Maeder Jr.
columnist and editor
for The Daily News and The Miami Herald
and the last writer
of the comic strip “Annie”
Morris Nolten Turner
who broke the color barrier twice
— as the first African-American
comic strip artist whose work
was widely syndicated
in mainstream newspapers,
and as the creator
of the first syndicated strip
with a racially and ethnically mixed
cast of characters —
William Elsworth Blackbeard
anthologist and ardent
is widely credited with helping
save the American newspaper comic
from the scrap heap,
amassing a collection
considered the most comprehensive
Roy of the Rovers
and other classic comics
return to newsstands March 2009
comics > Dark Horse Comics
Leslie Noel Daniels III
one of the earliest historians
— from the launching
(off the doomed planet Krypton)
of Superman in 1938
through the countercultural comix
movement of the ’60s —
and an author of horror
Yahoo > Comics
31 August 2009
DC character > The Sandman
character > Dick Tracy
The history of Dan Dare, Pilot of the Future
When Marcus Morris
and Frank Hampson
at the end of the 1940s,
British boys and girls
were still living under rations.
Dan Dare's bold colours
and dashing storylines
the hearts of a generation
superheroes / comic book superheroes USA
greatest superheroes > scientific geniuses
Marvel Comics > The
may not be the
on the planet,
but he’s certainly
among the coolest.
Created in 1966,
he was the first
in mainstream comics.
spend their off hours
at mundane day jobs
— reporter at a major
metropolitan newspaper, say —
the Panther is a
the sovereign ruler of Wakanda,
And then there’s his
skintight and jet
black from head to toe.
His former wife,
Ororo Munroe (Storm
of the X-Men),
https://www.youtube.com/watch?v=xjDjIWPwcPU - 16 October 2017
Here’s to 60 years, Spidey, and
another 60 more. Excelsior!
Amazing Fantasy No. 15
Spider-Man Turns 60 Years Old
This Month. He’s as Boyish as Ever.
Before movie franchises,
Peter Parker (and his alter ego)
began in the humble pages of comic books.
To look back, we asked readers
for some of their favorite adventures.
June 1, 2022
Spiderman / Spider-Man
UK / USA
Documentaire > Super-héros : l'éternel combat (1/3)
Vérité, justice et modèle américain
(Réalisation: Michael Kantor - 53mn)
En juin 1938,
fait sa première apparition
dans la revue Action comics.
aux pages des
le héros imaginé par les dessinateurs
Jerry Siegel et Joe Shuster
connaît d'emblée un immense succès
et définit les codes d'un nouveau genre
de la bande dessinée :
les comics, qui s'imposent bientôt
comme le mètre étalon
de l'industrie de la BD
dans l'Amérique de la
pour une nouvelle génération
de dessinateurs, fils d'immigrés juifs
des ghettos de New York pour la plupart,
qui imaginent ces nouveaux personnages
dotés de superpouvoirs.
Bob Kane crée Batman
avant que Joe Simon et Jack Kirby
ne donnent vie au très patriotique
Captain America en 1941,
au moment où les États-Unis
entrent en guerre avec le Japon.
Les super-héros deviennent alors
un instrument de propagande
au service de l'effort de guerre:
Captain America étend Hitler
d'un direct du droit en couverture
et Wonderwoman exalte
le rôle des femmes américaines
à l'arrière du front.
À la sortie du second conflit
l'Amérique et ses super-héros
sont au zénith de leur puissance.
Mais en dépit de cette aura,
justiciers et vengeurs masqués
s'attirent bientôt les foudres
des parlementaires mccarthystes
et des puritains les plus fervents.
Leurs aventures jugées trop
font l'objet d'une censure
de la Comics code authority,
à laquelle l'industrie se pliera
jusque dans les années 1980,
et qui conduira parfois même
à des autodafés
de plusieurs centaines
Mais l'escalade de la Guerre froide
et la peur de la menace nucléaire
vont permettre aux super-héros de réaffirmer
leur rôle de défenseurs du modèle
et à l'industrie des comics de connaître
un nouvel âge d'or à partir des années
Hérauts de l'oncle Sam
Au moyen d'interviews
d'historiens de la bande dessinée
et de témoignages
des plus célèbres dessinateurs de comics,
retrace les évolutions d'une industrie
dont les héros accompagnent
depuis leur création
les soubresauts de l'histoire des États-Unis.
Autant de personnages devenus des
de la culture populaire outre Atlantique,
et dont le documentariste se sert ici
comme de miroirs pour mettre en lumière
les mutations de la société américaine
depuis les années 1930.
Un film éclairant sur le rôle joué
par ces hérauts de l'American way of life
et de la superpuissance de l'Oncle Sam,
qui ont fait des comics
une industrie multimilliardaire
diffusée dans le monde entier.
Wolverine: everything you need to know -
infographic 26 July 2013
Originally called The Badger,
Wolverine made his first appearance
in The Incredible Hulk comic in 1974
and his film debut in X-Men in 2000
Islamic Green Lantern
introduced by DC Comics 6 September
New superhero is a tattooed Arab-American
called Simon Baz with a criminal record
illegal street racing
USA > Batman's first appearance - 1939 edition of
Detective Comics UK
USA > Superman - first comic 1938 UK /
First Superman comic sells for $1m February 2010
1938 edition of Action Comics No1
with cover showing superhero lifting car
record for comic book sale
Superman > comic book artist > Joe Shuster 1914-1992
comic book UK
Amy Reeder USA
Adams USA 1941-2022
who changed the game
1960s and '70s.
of a superhero himself
comic book world,
the champion of his peers,
for artist rights and fair pay.
Green Lantern and the X-Men
a handful of the characters
Adams reimagined beginning
flipped the script by
from the traditional cartoonish look
sketched heroes and villains
gritty, realistic flair.
Sheldon Douglas Moldoff USA
some of the most
of comic books’ golden age
without receiving recognition
in his own right until
Eugene Jules Colan USA
among comic-book artists,
of some of the best-known
characters in the genre
were lauded for their realism,
and painterly qualities
autobiographical comic book > Harvey
Lawrence Pekar USA 1939-2010
illustrator of comic books > Alfonso Williamson
comic-book artist / illustrator > Frank
illustrator > John Romita Jr.
comic-book artist > Chester Brown
comic-book artist > Michael Turner
comic artist > Charlie Adlard
comic-strip artist > Jack Kirby
John Higgins’ Razorjack
comic-book writer > UK > Alan Moore
Alan Moore's dystopian comic book > Watchmen
DC comics UK / USA
Marvel comics UK / USA
Marvel > Joe Quesada
The 99: Superheroes inspired by the qualities
of Allah UK
Published November 9, 1951
Pasted from Wikipedia
added 15 May 2007
The classic 1939
Wonder Woman made her debut
drawn by Harry Peter and written by William Marston.
Corpus of news articles
Arts > Books > Comics >
Batman Comic Book Artist,
Dies at 91
March 8, 2012
The New York Times
By DANIEL E. SLOTNIK
Sheldon Moldoff, who drew some of the most recognizable
superheroes of comic books’ golden age without receiving recognition in his own
right until decades later, died on Feb. 29 near his home in Lauderhill, Fla. He
The cause was complications of kidney failure, his daughter, Ellen Moldoff
Mr. Moldoff drew covers for the first appearances of the characters Flash and
Green Lantern in 1940 and some of the earliest renderings of Hawkman. He also
contributed to the first issue of Action Comics, in which Superman was
introduced (though he did not draw the Man of Steel).
But he is probably remembered most for his work as a ghost artist on Bob Kane’s
Batman from 1953 to 1967.
“He would get the script, give it to me, and I would lay it out, finish it,
pencil it up and give it back to him,” Mr. Moldoff told The Asbury Park Press in
1999. “Now, being a ghost, you don’t say anything to anybody. You just work for
your boss and that’s it. So Bob took all the credit.”
Mr. Moldoff used a distinctive cartoonish style that complemented the
often-bizarre Batman plots of the 1950s and ’60s. He created some of the oddest
characters ever to grace Gotham, like Zebra Batman, Ace the Bat-Hound and
Bat-Mite. Among his hundreds of Batman covers is one showing Batman carrying
Robin’s body for a two-part 1963 story called “Robin Dies at Dawn.” (The Boy
Wonder pulls through.) But at a time when most artists went uncredited, Mr.
Moldoff’s signature was never attached to the work.
With the advent of comic conventions and a growing comic culture, fans came to
recognize Mr. Moldoff’s work in the 1980s, according to a blog by Mark Evanier’s
blog, a comic-book writer and historian.
“The credits gradually were given to me,” Mr. Moldoff said.
Sheldon Douglas Moldoff was born on April 14, 1920, in Manhattan. By the time he
was 17 he was submitting freelance work to Detective Comics.
Mr. Moldoff was hired as an assistant to Kane out of high school, but left to
draw Green Lantern, the Flash, Hawkman and his own recurring character, Jon
Valor, the Black Pirate. In 1953 he began working as one of the chief ghost
artists on Batman, doing that work until 1967.
Later he worked with Kane on Courageous Cat and Minute Mouse, a Batman-inspired
cartoon featuring goofy animal superheroes.
His wife, Shirley, died 10 years ago. In addition to their daughter, Mr. Moldoff
is survived by two sons, Richard and Kenneth; his brothers Albert and Stanley;
four grandchildren; and three great-grandchildren.
Sheldon Moldoff, Batman Comic Book Artist,
Dies at 91,
Prolific Comic-Book Artist,
Dies at 84
June 25, 2011
The New York Times
By MARGALIT FOX
Gene Colan, a towering figure among comic-book artists, whose
depictions of some of the best-known characters in the genre were lauded for
their realism, expressiveness and painterly qualities, died on Thursday in the
Bronx. He was 84 and lived in Brooklyn.
The cause was complications of cancer and liver disease, his son, Erik, said.
Most closely associated with Marvel Comics, Mr. Colan also drew for DC and other
publishers. At Marvel, he was best known for Daredevil (written by Marvel’s
editor in chief, Stan Lee), about a blind man with superpowers; the Falcon, one
of the first African-American superheroes, created by Mr. Colan and Mr. Lee;
Howard the Duck, written by Steve Gerber; and The Tomb of Dracula, which Mr.
Colan created with the writer Marv Wolfman.
Mr. Colan’s work was noteworthy on several counts. The first was its sheer
duration: He completed his first professional assignment in the 1940s and his
last a year or two ago. In between, his art was a mainstay of the Silver Age of
comics, as the period from the mid-1950s to about 1970 — a time of heady
artistic ferment in the field — is known.
The second was its prodigious volume: Over nearly seven decades he illustrated
many hundreds of comics, from the famous, including Batman, Wonder Woman and the
Hulk, to the possibly less so, including Ben Casey, Falling in Love and Captain
The third was his visual style, by all accounts unlike that of any other artist
in the business. Where comic-book art tends toward deliberately flat, stylized
images, Mr. Colan preferred a realistic look that emphasized texture and
fluidity: the drape of a hero’s cape, tilt of a head, the arc of an oncoming
A lifelong film buff, Mr. Colan was known as a master of light and shadow, which
lent his work a noirish, cinematic quality.
“He was referred to as a painter with a pencil,” Tom Field, the author of
“Secrets in the Shadows: The Art & Life of Gene Colan“ (2005), said in an
interview on Friday. “Comic books had been put together like a production line:
There’s someone who writes the script, someone who would letter the words onto
the pages, someone who would do the pencil illustrations. And typically another
artist would come along with India ink and embellish those illustrations so they
would stand out for the printer. In Gene’s case, the pencils were so rich and
lavish that when the technology evolved to that point, the publishers stopped
putting ink on his pencils and reproduced the work just as it was drawn.”
Mr. Colan had lived for many years with glaucoma; since the early 1990s, Mr.
Field said, he was nearly blind in one eye and had tunnel vision in the other.
Throughout this period, his work continued unabated, and it was, in most
estimates, as fine as what had gone before.
Eugene Jules Colan was born in New York on Sept. 1, 1926. (The family name,
according to Mr. Field’s book, was originally Cohen.) He was reared in
Manhattan, where his parents ran an antiques business on the Upper East Side. He
studied at the Art Students League of New York and toward the end of World War
II served in the Philippines with the Army Air Forces.
After the war he joined Marvel (then known as Timely Comics), where his
assignments would include Captain America, Captain Marvel, Iron Man and
For DC (and its precursor, National Comics), Mr. Colan drew Batman, Hopalong
Cassidy and Silverblade.
Mr. Colan’s first marriage, to Cynthia Sanders, ended in divorce. His second
wife, the former Adrienne Brickman, died last year. He is survived by two
children from his second marriage, his son, Erik, and a daughter, Nanci Solo;
and three grandchildren.
Underpinning the realistic look of Mr. Colan’s comics was his fealty to
real-world models. For the Dracula series, he based the title character on Jack
Palance, whom he had seen play Dr. Jekyll and Mr. Hyde in a 1968 television
movie. Fittingly, Mr. Palance went on to play Dracula in a 1974 television
On another occasion, Mr. Colan needed to draw a particular make of handgun. “He
was such a stickler for detail,” Mr. Field said, “that he went down to the
police station and asked them to pull one out and show it to him.”
Gene Colan, Prolific
Comic-Book Artist, Dies at 84, NYT, 25.6.2011,
‘American Splendor’ Creator,
Dies at 70
July 12, 2010
The New York Times
By WILLIAM GRIMES
Harvey Pekar, whose autobiographical comic book “American
Splendor” attracted a cult following for its unvarnished stories of a depressed,
aggrieved Everyman negotiating daily life in Cleveland and became the basis for
a critically acclaimed 2003 film, died on Monday at his home in Cleveland
Heights, Ohio. He was 70.
A spokesman for the Cuyahoga County coroner’s office said that no cause of death
had yet been determined. Capt. Michael Cannon of the Cleveland Heights Police
Department, which was summoned to Mr. Pekar’s home by his wife, Joyce Brabner,
told The Associated Press that Mr. Pekar had suffered from prostate cancer,
asthma, high blood pressure and depression.
Mr. Pekar (pronounced PEE-kar), who toiled for nearly 40 years as a file clerk
in a Veterans Administration hospital, applied the brutally frank
autobiographical style of Henry Miller to the comic-book format, creating a
distinctive series of dispatches from an all-too-ordinary life. His alter ego,
introduced in 1976, trudged on from episode to episode, quarreling with
co-workers, dealing with car problems, addressing family crises and fretting
over money matters and health problems.
“Harvey was like the original blogger, before there was an Internet,” said Dean
Haspiel, an artist who worked with Mr. Pekar on “American Splendor” and “The
Quitter,” his memoir. “He was ‘Seinfeld’ before ‘Seinfeld.’ Comics, which had
been power fantasies for 12-year-old boys, could now be about anything.”
Since he could not draw, Mr. Pekar enlisted top comic-book artists to do the
illustrations, notably R. Crumb, who had encouraged him to publish and
contributed illustrations for the first issues of “American Splendor.” Later
issues were illustrated by Gary Dumm, Greg Budgett and Mark Zingarelli.
“It dawned on me that comics were not an intrinsically limited medium,” Mr.
Pekar told Interview magazine in 2009. “There was a tremendous amount of things
you could do in comics that you couldn’t do in other art forms — but no one was
doing it. I figured if I’d make a try at it, I’d at least be a footnote in
Harvey Lawrence Pekar was born on Oct. 8, 1939, in Cleveland, where his parents,
Jewish immigrants from Poland, ran a neighborhood grocery store. The
neighborhood, once white, became mostly black in the 1940s, and Harvey was the
target of local youths who called him “white cracker” and routinely beat him up.
The experience, he later theorized, instilled a profound sense of inferiority.
After the family moved to a white neighborhood, Mr. Pekar found that the
constant fighting paid off. In one-on-one combat, he usually emerged the victor,
and he became a respected street scrapper. At the same time, he nourished
deep-seated anxieties and compulsions that made him fearful of taking on any
challenge, one of the major themes of “The Quitter” (2005).
A series of dead-end jobs led to enlistment in the Navy, which discharged him
when his anxieties made it impossible for him to pass inspections. Mr. Pekar
resumed working a string of low-paying jobs, usually clerical. In 1965 he found
a permanent roost with the Veterans Administration, where he turned down all
offers of promotion and remained a file clerk until he retired in 2001.
On the side, however, Mr. Pekar began writing articles for Jazz Review in the
late 1950s, and later for British jazz magazines and Downbeat. He also struck up
a friendship, in 1962, with R. Crumb, a fellow jazz enthusiast and record
collector then living in Cleveland. In Mr. Crumb’s early work he saw new
possibilities in the comic-book form.
He began sketching out stories with stick-figure illustrations. Mr. Crumb,
impressed, encouraged him to publish and showed his work to other artists, who
also saw what Mr. Crumb saw. Mr. Pekar’s humble tales “from off the streets of
Cleveland,” as the subtitle to “American Splendor” has it, resonated with enough
readers to keep the experiment alive.
“I always wanted praise and I always wanted attention; I won’t lie to you,” he
told Interview magazine in 2009. “I was a jazz critic and that wasn’t good
enough for me. I wanted people to write about me, not me about them.”
The cantankerous Mr. Pekar, who published the first 15 issues of “American
Splendor” himself, became a regular on “Late Night With David Letterman” for two
years in the late 1980s, until he went on a memorable tirade against General
Electric, the parent company of NBC, and was dropped for several years from the
show’s guest list.
Wider fame came with the film, a quirky blend of documentary footage, animation
and fiction. Mr. Pekar and his wife were played by Paul Giamatti and Hope Davis,
but Mr. Pekar provided the narration and slipped into several scenes in both
live and animated form. He wrote about the film in “Our Movie Year” (2004).
In addition to “American Splendor,” Mr. Pekar wrote several biographies,
including “American Splendor: Unsung Hero” (2003), about the Vietnam War
experiences of Robert McNeill, a fellow worker at the VA hospital.
Mr. Pekar’s other books include “Students for a Democratic Society: A Graphic
History” (2008), “The Beats” (2009) and “Studs Terkel’s Working: A Graphic
Adaptation” (2009) as well as “Our Cancer Year” (1994), an account of his
treatment for non-Hodgkin’s lymphoma, which he wrote with his wife.
Mr. Pekar’s first two marriages ended in divorce. In addition to his wife, he is
survived by their daughter, Danielle.
Success did not seem to ease Mr. Pekar’s existential predicament. “Of course I
don’t think I have it made by any means,” his alter ego said in a cartoon in
Entertainment Weekly in 2003. “I’m too insecure, obsessive and paranoid for
‘American Splendor’ Creator, Dies at 70, NYT, 12.7.2010,
Illustrator of Comic Books,
Dies at 79
June 20, 2010
The New York Times
By DENNIS HEVESI
Flash Gordon fires his ray gun to blast a path toward Ming the
Merciless, tyrant of the doomed planet Mongo.
Secret Agent Corrigan crosses swords with his Carpathian nemesis as he rescues
the shapely Russian spy Karla Kopak.
Luke Skywalker straddles a winged serpent to swoop down the Great Well of the
distant planet Kabal.
Those are among the thousands of images Al Williamson sketched as one of
America’s pre-eminent artists of comic books and newspaper comic strips.
Mr. Williamson died on June 12 in upstate New York, his wife, Cori, said. He was
In a career that lasted more than 50 years, Mr. Williamson worked for nearly
every major comics publisher, including EC, Marvel, King, Classics Illustrated,
Dark Horse and Dell.
“He was one of the more sublimely talented artists to work in mainstream
comics,” said Tom Spurgeon, editor of the online magazine Comics Reporter. “His
men were handsome, his women were beautiful, and the landscapes he drew — alien
or westerns or battlefields — always seemed lushly authentic. He made panels you
could lose yourself in.”
Mark Schultz, author of “Al Williamson’s Flash Gordon: A Lifelong Vision of the
Heroic” (Flesk Publications, 2009), a collection of Mr. Williamson’s Flash
Gordon images, offered a similar assessment.
“What made his work unique is that he incorporated the fluid motion of cinema
into his drawings,” Mr. Schultz said. “No other illustrator or cartoonist has
approached his ability to create an illusion of action.”
Mr. Williamson is probably best known for his interpretations of Flash Gordon,
the interstellar adventurer created by Alex Raymond in the mid-1930s. Mr.
Williamson illustrated Flash Gordon comic books in the 1960s and returned to the
character in 1980, drawing an adaptation of the Flash Gordon motion picture
released that year. In the 1990s, he produced a Flash Gordon series for Marvel
and later contributed to the Sunday strip.
Mr. Williamson first made his professional mark at 17 as the youngest
contributor to EC, the publisher of somewhat notorious horror tales, as well as
combat stories and science fiction. He specialized in illustrations for EC’s
Weird Science and Weird Fantasy titles.
For 13 years, starting in 1967, Mr. Williamson drew the newspaper strip “Secret
Agent Corrigan,” another adaptation of a character originated by Raymond in the
1930s, first known only as Secret Agent X-9.
When George Lucas, producer of the “Star Wars” movies, was asked who should draw
the comics version, he turned to the man whose Flash Gordon images he greatly
admired. With “The Empire Strikes Back” due for release in 1980, Mr. Williamson
began working on Marvel’s comic book versions of “Star Wars,” as well as a
Alfonso Williamson was born in Manhattan on March 21, 1931, one of two children
of Sally and Alfonso Williamson. His father, of Scottish descent, was a citizen
of Colombia, and soon after his son was born the family moved to Bogotá.
When the boy was 9, his mother took him to the movies. He saw a chapter in the
“Flash Gordon Conquers the Universe” serial, was enraptured, and started
sketching scenes from memory.
The family returned to New York when Alfonso was 13. He took classes at the
Cartoonists and Illustrators School in Manhattan (now the School of Visual
Arts), and was later hired by EC.
Mr. Williamson’s first wife, the former Arlene Sattler, died in 1977. In
addition to his wife of 32 years, the former Cori Pasquier, he is survived by
his sister, Liliana Gonzalez Williamson; a daughter, Valerie Lalor; and a son,
The last Flash Gordon images drawn by Mr. Williamson show the hero leading
rebels in an attack on Ming’s mountain fortress, then dueling with Ming until
the tyrant leaps into a volcanic crater to avoid being captured.
“Which, of course, allows him to return another day,” Mr. Schultz said. “You
never want to show the reader the body.”
Illustrator of Comic Books, Dies at 79, NYT, 20.6.2010,
Illustrator, Dies at 82;
Helped Define Comic Book Heroes
May 10, 2010
The New York Times
By BRUCE WEBER
and DAVE ITZKOFF
Frank Frazetta, an
illustrator of comic books, movie posters and paperback book covers whose
visions of musclebound men fighting with swords and axes to defend scantily
dressed women helped define fantasy heroes like Conan, Tarzan and John Carter of
Mars, died on Monday in Fort Myers, Fla. He was 82.
The cause was complications from a stroke, said Rob Pistella and Stephen
Ferzoco, Mr. Frazetta’s business managers.
Mr. Frazetta was a versatile and prolific comic book artist who, in the 1940s
and ’50s, drew for comic strips like Al Capp’s “Lil’ Abner” and comic books like
“Famous Funnies,” for which he contributed a series of covers depicting the
futuristic adventurer Buck Rogers.
A satirical advertisement Mr. Frazetta drew for Mad earned him his first
Hollywood job, the movie poster for “What’s New Pussycat?” (1965), a sex farce
written by Woody Allen that starred Peter Sellers. In 1983 he collaborated with
the director Ralph Bakshi to produce the animated film “Fire and Ice.”
His most prominent work, however, was on the cover of book jackets, where his
signature images were of strikingly fierce, hard-bodied heroes and bosomy,
callipygian damsels in distress. In 1966, his cover of “Conan the Adventurer,” a
collection of four fantasy short stories written by Robert E. Howard and L.
Sprague de Camp, depicted a brawny long-haired warrior standing in repose on top
of a pile of skeletons and other detritus, his sword thrust downward into the
mound, an apparently naked young woman lying at his feet, hugging his ankle.
The cover created a new look for fantasy adventure novels and established Mr.
Frazetta as an artist who could sell books. He illustrated many more Conan books
(including “Conan the Conqueror,” “Conan the Usurper” and “Conan the Avenger”)
and works by Edgar Rice Burroughs (including “John Carter and the Savage Apes of
Mars” and “Tarzan and the Antmen”).
“Paperback publishers have been known to buy one of his paintings for use as a
cover, then commission a writer to turn out a novel to go with it,” The New York
Times reported in 1977, the same year that a collection of his drawings, “The
Fantastic Art of Frank Frazetta,” sold more than 300,000 copies.
Frank Frazzetta was born in Brooklyn on Feb. 9, 1928, and as a boy studied
painting at a local art school. (Early in his career, he excised one z from his
last name because “with one z it just looked better,” Mr. Pistella said. “He
said the two z’s and two t’s was too clumsy.”)
Mr. Frazetta began drawing for comic books of all stripes — westerns, mysteries,
fantasies — when he was still a teenager. He was also a good enough baseball
player to try out for the New York Giants.
The popularity of Mr. Frazetta’s work coincided with the rise of heavy metal in
the early 1970s, and his otherworldly imagery showed up on a number of album
covers, including Molly Hatchet’s “Flirtin’ With Disaster” and Nazareth’s
“Expect No Mercy.” Last year, Kirk Hammett, the lead guitarist for Metallica,
bought Mr. Frazetta’s cover artwork for the paperback reissue of Robert E.
Howard’s “Conan the Conqueror” for $1 million.
Mr. Frazetta married Eleanor Kelly, known as Ellie, in 1956. She served as his
occasional model and as his business partner; in 2000 she started a small museum
of her husband’s work on their property in East Stroudsburg, Pa. She died last
Mr. Frazetta is survived by three sisters, Carol, Adel and Jeanie; two sons,
Alfonso Frank Frazetta, known as Frank Jr., and William Frazetta, both of East
Stroudsburg; two daughters, Heidi Grabin, of Englewood, Fla., and Holly
Frazetta, of Boca Grande, Fla.; and 11 grandchildren.
After Ellie Frazetta’s death, her children became embroiled in a custodial
dispute over their father’s work, and in December, Frank Jr. was arrested on
charges of breaking into the family museum and attempting to remove 90 paintings
that had been insured for $20 million. In April, the family said the dispute
over the paintings had been resolved, and the Monroe County, Pa., district
attorney said he would drop the charges.
Frank Frazetta, Illustrator,
Dies at 82;
Helped Define Comic Book Heroes, NYT, 10.5.2010,
Algorithm and Blues NYT 27
Algorithm and Blues
September 27, 2009
The New York Times
By JIM HOLT
Well, this is unexpected — a comic book about the quest for logical certainty
in mathematics. The story spans the decades from the late 19th century to World
War II, a period when the nature of mathematical truth was being furiously
debated. The stellar cast, headed up by Bertrand Russell, includes the greatest
philosophers, logicians and mathematicians of the era, along with sundry wives
and mistresses, plus a couple of homicidal maniacs, an apocryphal barber and
Improbable material for comic-book treatment? Not really. The principals in this
intellectual drama are superheroes of a sort. They go up against a powerful
nemesis, who might be called Dark Antinomy. Each is haunted by an inner demon,
the Specter of Madness. Their quest has a tragic arc, not unlike that of
Superman or Donald Duck.
So, at least, the creators of “Logicomix” would have us believe. First published
last year in Greece (where it became a surprise best seller), the comic book —
er, graphic novel? — is the brainchild of Apostolos Doxiadis, previously the
author of a not-bad mathematical fiction called “Uncle Petros and Goldbach’s
Conjecture.” For expert assistance on logic, Doxiadis called on his friend
Christos Papadimitriou, a professor of computer science at Berkeley and the
author of a novel about Alan Turing. The art was done by Alecos Papadatos
(drawings) and Annie Di Donna (color).
All four collaborators pop up in interludes throughout the book. (Doxiadis,
evidently a handsome fellow, is drawn to look rather like Robert Goulet.) We see
them chatting in the artists’ studio or strolling around contemporary Athens,
accompanied by an adorable dog called Manga (Greek slang for “cool dude,” not a
reference to Japanese comics). They argue about the developing
logic-and-madness theme and fret over whether there’s too much or too little
technical stuff for the average reader. It’s almost as if they want to pre-empt
the stern judgment of the reviewer. Fat chance.
The story proper opens on Sept. 4, 1939, three days after the Nazi invasion of
Poland. Bertrand Russell is giving a public lecture at an American university on
the role of logic in human affairs. Angry isolationists in the audience
challenge Russell to explain how logic could justify participating in a world
war. Ah, he responds, but what is logic?
In a series of flashbacks, Russell recounts his epic struggle with that
question. We see him first as a little boy, in the 1870s, being brought up by
his grandparents after the mysterious — to him, at least — disappearance of his
mother and father. (Before succumbing to disease, Russell’s parents lived in a
scandalous ménage-a-trois with a rather sinister amateur scientist.) Russell’s
grandfather, Lord John Russell, a Whig aristocrat and reformer, had twice been
prime minister, but it was his dour and pious grandmother who dominated his
childhood. Not only did he suffer from crushing loneliness, but it was borne in
upon him that his Uncle Willy had to be shut away as a violent lunatic. (His
Aunt Agatha was none too sane either.) This was the beginning of his lifelong
terror of hereditary madness, and the impetus for many a nightmare, which the
cartoonists depict with lurid relish.
The adolescent Russell sought refuge in the abstractions of mathematics. (In his
autobiography, he claimed it was his love of mathematics that saved him from
suicide.) His vision of an enchanted logical world was jarred, however, when he
reached Cambridge and found that mathematics as practiced there was little more
than a bag of calculating tricks, sloppily based on physical intuition rather
than rigorous proof. If certain knowledge was to be achieved, he grew convinced,
the house of mathematics had to be rebuilt from scratch on firm logical
Russell’s quest for certainty coincided with a busy erotic career. We see him
courting Alys, the pretty American Quaker girl who would become the first of his
four wives. (The cartoonists inexplicably neglect to depict what Russell later
described as “the happiest morning of my life,” when Alys allowed him to kiss
her breasts). The young couple set off on a tour of the Continent, where Russell
seeks out Gottlob Frege, the greatest logician since Aristotle, and Georg
Cantor, the creator of the mathematical theory of infinity. Both men, to
Russell’s consternation, prove to be slightly daft. In Paris, at the 1900
International Congress of Mathematicians, he witnesses a titanic clash between
Henri Poincaré and David Hilbert, the two greatest mathematicians of the day,
over the importance of intuition versus proof. Returning to England, Russell
spends the next decade laboring with Alfred North Whitehead to complete the epic
“Principia Mathematica” — all the while doing his best to seduce Whitehead’s
comely wife, Evelyn. Their (stillborn) masterpiece runs many thousands of pages,
a mere 362 of which are required to prove the interesting proposition “1 + 1 =
All of this is presented with real graphic verve. (Even though I’m a text guy, I
couldn’t keep my eyes off the witty drawings.) To ginger up the story, the
authors often deviate from the actual facts. As they admit in an afterword,
Russell never met Frege or Cantor in the flesh. Nor, I am fairly certain, did he
ever say to Whitehead, “I’m tired, man.” (You expect Whitehead to reply, “Me
too, bro!”) We are assured, however, that no liberties have been taken with “the
great adventure of ideas.” And for the most part the ideas are conveyed
accurately, and with delightful simplicity. If you don’t know much about
infinity, for instance, you are invited to check in to “Hilbert’s Hotel” —
which, with its infinite number of rooms, can miraculously accommodate
additional guests even when it’s completely full.
There is one serious misstep, though. It has to do with the notorious paradox
that Russell discovered in the spring of 1901: the paradox of the set of all
sets that don’t contain themselves as members. (Think of the barber of Seville,
who shaves all men, and only those men, who do not shave themselves. Does this
barber shave himself or not? Either possibility yields a contradiction.) The
authors have fun unpacking Russell’s paradox, but they exaggerate its fallout.
The paradox did ultimately doom Russell’s (and Frege’s) project of reducing
mathematics to pure logic. However — and this is something that Russell himself
failed to realize, along with the authors — it left mathematics pretty much
undisturbed. When Cantor heard of Russell’s paradox, he did not react like a
madman, the way “Logicomix” caricatures him. He calmly observed that it did not
apply to his own theory of sets, which evolved into the present-day foundation
It is true that Cantor did suffer fits of madness (the magus of infinity died in
a mental asylum), as did many other figures in this story. Frege, the consummate
logician, ended up a foaming anti-Semite. Kurt Gödel, who proved that no logical
system could capture all of mathematics, starved himself to death out of a
paranoid fear that people were poisoning his food. Russell maintained his own
grip on sanity, but his fear of hereditary madness was borne out when his elder
son became schizophrenic and his granddaughter, also schizophrenic, committed
suicide by setting herself afire. Russell’s philosophical confidence, however,
was shattered by his onetime pupil Ludwig Wittgenstein, who made him realize
that he had never really understood what logic was.
Is it madness to be driven by a passion for something as inhuman as abstract
certainty? This is a question the four creators of “Logicomix” ponder as, in a
beguiling coda, they make their way through nighttime Athens to an open-air
performance of the “Oresteia.” Oddly enough, Aeschylus’ trilogy furnishes the
concluding wisdom, which, at the risk of triteness, I’ll condense into a
Life > logic.
Jim Holt is the author of “Stop Me if You’ve Heard This:
A History and
Philosophy of Jokes.”
He is at work on a book about the puzzle of existence.
Written by Apostolos Doxiadis
and Christos H. Papadimitriou
Illustrated by Alecos Papadatos
and Annie Di Donna
347 pp. Bloomsbury. $22.95
Algorithm and Blues,
Michael Turner, 37,
Creator of Superheroines,
July 6, 2008
The New York Times
By GEORGE GENE GUSTINES
Michael Turner, a popular comic-book artist who came to fame in the mid-1990s
and was best known for creating two sexy female lead characters, Witchblade and
Fathom, died on June 27 in Santa Monica, Calif. He was 37.
The cause was complications from treatment for bone cancer, his colleague Vince
Hernandez said in a statement.
Armed with only a hastily assembled five-page sample of his work, Mr. Turner was
discovered at a comic-book convention in 1993 by Marc Silvestri, one of seven
artists who founded Image Comics in 1992. Within months, Mr. Turner went from
waiting tables to being a top-selling artist.
Mr. Turner, along with Mr. Silvestri and a few others, soon created his
best-known character, Witchblade, named after a supernatural weapon that affixed
itself to the arm of Sara Pezzini, a homicide detective in New York; the
transformation left her provocatively clad, armed and dangerous.
The novelist and part-time comic-book writer Brad Meltzer, in a special edition
of the comics-industry magazine Wizard that was devoted to Mr. Turner before he
died, said: “Anyone who says they didn’t become aware of Mike when they saw one
of his hot girl drawings is a liar. That’s when he hit the radar.”
Witchblade first appeared in comic books in 1995 and became the basis of a
live-action series on the cable channel TNT in 2001. It ran for about two
In 1998, Mr. Turner created the aquatic Fathom, published by Top Cow
Productions. In her secret identity Fathom was a marine biologist with a model’s
looks named Aspen Matthews.
Two years later, Mr. Turner learned he had a type of cancer called
chondrosarcoma in his right pelvis. He lost his hip, 40 percent of his pelvis
and three pounds of bone and underwent nine months of radiation therapy. He
eventually went into remission, only to have the cancer return several times.
In 2002, Mr. Turner founded Aspen MLT, an entertainment publishing company. The
L stood for Lane, his middle name, which he rarely used. The company’s comics
were delayed by a yearlong legal battle with Top Cow regarding the rights to
Fathom and other properties. The case was settled out of court the next year.
In 2004, Mr. Turner began contributing work to DC and Marvel, the comics
industry giants. His cover art brought him particular attention, including his
illustrations for Identity Crisis, a top-selling seven-part mystery written by
Mr. Meltzer, in which DC superheroes, including Superman, Green Arrow and
Hawkman, are forced to question their culpability in a vengeful murder.
As with every cover they worked on, “Mike and I spoke at length about the
design” of the final one for the project, Mr. Meltzer wrote in an e-mail
message. The cover presented the characters as empty costumes, which ambiguously
represented either the end of the age of superheroes or a rebirth.
Mr. Meltzer continued: “The only thing we argued about, as only two geeks can:
whether Batman’s cowl should be flat and empty, or stiff and armored. I lost. He
won. And he was right. But make no mistake, with Mike gone, the capes and cowls
are most certainly empty. His covers were the first thing every reader saw. And
he was the one true ‘big name’ on the book. That’s why people picked it up.”
Fans were important to Mr. Turner. He was always appreciative of people who
stopped to say hello at conventions, and he signed countless autographs, even
when he was confined to a wheelchair, Gareb Shamus, the publisher of Wizard,
Mr. Turner was born in Crossville, Tenn., on April 21, 1971, and is survived by
his mother, Grace, and his brother, Jake.
In high school, Mr. Turner took an art class, but he mostly drew for his own
amusement. In 1993, he was encouraged to put together a sampling of his work and
to attend the San Diego Comic-Con, the nation’s largest comic convention. It was
there he met the staff of Top Cow.
“We gave him his first shot,” Mr. Silvestri said. “That will always be
important: that we had a little something to do with bringing Mike to the world
One of the first tests for the new artist was to draw a building. It looked
awful, “like a lump of bread,” Mr. Silvestri recalled. Still, he found Mr.
Turner so affable that they tried again, this time with help from a reference
book on New York architecture. The results were remarkable.
“I did a double take,” Mr. Silvestri said. “It was beautiful, incredible. More
than I would’ve possibly expected from a seasoned professional. I asked him flat
out, ‘Where did this come from?’ He said, ‘No one ever told me to look at a
picture before.’ ”
Michael Turner, 37,
Creator of Superheroines, Is Dead, NYT, 6.7.2008,
July 2, 2008
The New York Times
By Steven Heller
In his 40-plus year career as a cartoonist, illustrator, sculptor and
animator Robert Grossman has created numerous political comic strips for
mainstream and alternative magazines. These strips acerbically address issues of
the day, most often before they are on the popular culture radar screen.
His earliest strips in the 1960s included “Captain Melanin,” which featured
one of the first black superheroes; “Roger Ruthless of the C.I.A.,” which
questioned the agency’s work; and the comically veiled Richard M. Nightcrawler,
an insect with henchmen named Haldebug and Ehrlichbug. In the 70s, his strip
titled “Zoonooz” featured a menagerie of anthropomorphic beasts, including
President Gerald Duck.
The 80s brought us Cap’n Bushy, in which a squirrel that looked a lot like
President George H.W. Bush fought the evil Saddy the Baddy. And in the 90s,
there were Bill and Hilma Klintstone who lived in the Stone Age town of Bigrock.
The deft way in which Mr. Grossman captures the essential truth behind his
characters have impressed many fans and followers.
His most recent political comics, which began in The New York Observer and
migrated to The Nation, are now collected under his own Web site, O-manland.
They follow the ins and outs of the 2008 presidential campaign. Indeed, Mr.
Grossman was one of the first American comic strip artists to cover the campaign
consistently. Since I’ve long admired his work, I took the opportunity of the
launch of his Web site to discuss with him what makes his satire work so well.
Steven Heller: Why O-manland?
Robert Grossman: O-manland is just the name of the site/blog that I put online a
couple of days ago as the repository of all the comic strips I’ve done so far
regarding the election. I dreamed up the character called O-man exactly a year
ago for an installment of “Observer Campaign Comics,” a weekly strip I started
last April, which was discontinued last October. Since then I have been doing a
monthly strip in The Nation magazine in a space called “Comix Nation” that I
share with Steve Brodner, Ward Sutton, Francis Jetter, Rick Meyerowitz, Bob
Blechman and others.
Q: Why not do McCainland?
A: John McCain has appeared a few times in the current series, most recently as
an old veteran who magically transforms into an unstoppable war machine called
Flyboy McPlane. I expect to do more with him, perhaps dog-fighting with O-man
who also flies.
Q: Do you think of yourself as partisan, or are you an equal opportunity
A: I don’t think cartoons are ever “for” anything. The idea is to ridicule
everything, although you are free to guess for whom I am likely to vote when the
Q: Some people argue that caricature is undignified when it comes to
depicting presidents or presidential candidates, what do you think?
A: Undignified? Virtually anything has more dignity than lying and blundering
before the whole stupefied world, which seems to be the politician’s eternal
Q: What distinguishes your strips from more traditional editorial cartoons
is, well, your sense of the absurd. One of your strips titled “Fancy That!”
appeared late last and introduced the notion that Hillary Clinton is a fan of
ferrets. Where did that come from?
A: Absurd? Surely you’ve noticed that reality is absurd. Rudy Giuliani’s
excoriation of ferret owners really happened as quoted. It was only logical that
Mrs. Clinton might have seen that as an opportunity to gain support.
Incidentally, since no one seems to have picked it up, I’ll point out that my
picture of Hillary Clinton and the ferret is solidly based on a painting by
Leonardo da Vinci of a woman fondling a weasel.
Q: You also introduced Maria the Mechanical Woman from Fritz Lang’s classic film
“Metropolis” into your strip. Forgive me for asking but what does she have to do
with the price of campaign commercials?
A: Although mechanical women have cropped up here and there in the past — think
of Coppelia in the Tales of Hoffmann — the lady robot in “Metropolis” stands out
for me as a paragon of the idea. George Lukas said she was the inspiration for
his C3PO. I was looking for someone who could coach Hillary Clinton in
likeableness. I had already given Michael Bloomberg a personal robot —
Macro-Mike, the good government golem — so I thought Maria could be that robot’s
great grandmother. I confess I didn’t know she was named Maria until I googled
“Metropolis.” but then I thought, why not?
Q: It is sometimes easy to cross the line between satire and insult, even
outright slander. So, where do you draw the line?
A: If satire isn’t at least a little insulting what’s the point of it? Slander
is a legal term, but I believe the courts have generally held that parody is a
form of protected expression.
Q: Speaking of crossing the line, your “Oh Obama” strip that ran on May 27,
in The Nation raises an unpleasant specter of harm coming to Barack Obama in a
song sung by Hillary Clinton. While a clever play on the lyrics of “Oh Susanna,”
don’t you think it was in bad taste?
A: Some of the readers of The Nation took strong offense and I had to point out
to them that Hillary Clinton had more than once brought up the subject of Robert
F. Kennedy’s assassination as a reason she was prolonging her campaign. Keith
Olbermann practically went nuts on the air raging at her about it, and other
commentators loudly tsk-tsked as well. As far as I know I’m the only one who
made up a song about it, and a danceable one at that.
Q: How do you see your strips evolving as the campaign wears on? Do you have
A: Of course I don’t have a plan for how the strips will go because they depend
on how the election goes, which is delightfully unknowable. In January, we
thought we would be looking at a contest between Hillary Clinton and Rudy
Giuliani. Now that would have been funny.
Q: Hey, I noticed a character in your strip titled “Taint Funny” that looks
suspiciously like me. Is it?
A: By golly, the arugula analyst in “Taint Funny” does look a bit like you! Do
you think I need a disclaimer in tiny print saying: Any resemblance to persons
living or dead is purely coincidental?
Grossman Land, NYT,
From Trash to Auction,
Faster Than a Speeding ...
June 30, 2008
The New York Times
By GEORGE GENE GUSTINES
Comic-book collectors like their numbers. They know that the first issue of
X-Men, which introduced Marvel’s mutant superheroes, was published in 1963 and
had a cover price of 12 cents. They also know that today a copy of that issue,
in near mint condition, is worth $16,500. (Parents, take note.)
And while the market for back issues is well established, more and more
collectors are turning their attention to the hand-drawn covers and interior
pages that make up a comic book. This original art has become the focus of
auctions with sales in the five and six figures. It’s a surprising turn of
events for work that in the early days of the industry, was considered so
unimportant that it was used to sop up ink or spilled coffee, given away to fans
or even destroyed outright.
The art eventually stopped being discarded, and in the 1970s it generally became
policy to return the covers and pages to the artists, many of whom began selling
it to fans and collectors, who are hungry for it. Last month the cover of Weird
Science No. 16, from 1952, drawn by Wally Wood, sold for $200,000. In February
an inside black-and-white page from the 1963 X-Men No. 1, by the influential
Jack Kirby, sold for $33,460. Late last year two color paintings by Alex Ross,
used as covers for a recent Justice League story, were sold by his art dealer
for $45,000 and $50,000. In 2005 an auction for the black-and-white cover of
Batman No. 11, from 1942, by Fred Ray and Jerry Robinson, closed at $195,500.
The sales reflect the range of what entices collectors: from the wide-ranging
work of Mr. Kirby, the “King of Comics,” to rarities like the early Batman cover
to lavishly painted depictions of classic superheroes by the critically
acclaimed Mr. Ross.
“From the ’60s and the ’70s, when these markets were just beginning, it’s been
shocking,” said Jerry Weist, 58, author of “The Comic Art Price Guide.” “And to
the old-timers we can hardly believe it. We felt vindicated when we started to
see covers sell for five, six or seven thousand dollars in the ’70s. Now it’s
gone beyond that. I’m pretty much priced out of the field.”
Collectors of original comic-book art sound like a subculture within a
subculture, and that’s fine with many aficionados. “There was a thrill in
finding something nerdier than collecting comics,” said David Mandel, 37, an
executive producer of the HBO series “Curb Your Enthusiasm,” who first bought
original art during a visit to the San Diego Comic-Con in 1995.
Mr. Mandel has pieces that would make many fans drool, like the cover, by Gil
Kane and Dave Cockrum, of Giant-Size X-Men from 1975, which trumpeted Wolverine,
Storm and others as the new incarnation of the mutant team, and the 1982 cover
of Daredevil No. 181, by Frank Miller, depicting the death of Elektra, the title
His collection also includes the last four pages from “The Killing Joke,” a
seminal 1988 story that helped usher in a new level of maturity for comic books.
That Batman tale chronicles a possible origin for the hero’s nemesis, and was
written by Alan Moore and illustrated by Brian Bolland. In November the last
page of the story became available at Heritage Auction Galleries in Dallas. Mr.
Mandel landed it for just over $31,000.
“The story ends with them laughing, taking a moment in their relationship to
laugh,” Mr. Mandel said. “As a reader and as a comedy writer, it resonated.”
More so than with comic books — where multiple copies of even the most
sought-after issue exist — the original art they are produced from satisfies a
collector’s desire for the exclusive. “If I have the original hand-drawn cover
to, say, an issue of X-Men, that’s the only hand-drawn cover to that issue of
X-Men. It’s one of a kind. Anyone who has a collecting gene can respond to
that,” Mr. Mandel said.
The value of any original comic-book art begins with its creator. “If it is
Superman drawn by Curt Swan, it’s worth a lot more than Superman drawn by Joe
Schmo,” said Joe Mannarino, who owns Comic Art Appraisal and All Star Auctions
in Ridgewood, N.J., with his wife, Nadia.
Mr. Swan, who died in 1996, drew Superman regularly from the 1950s through the
1980s. The value of a page of his art is also contingent on what is depicted
(Superman in action or supporting characters talking?) and whether the issue is
significant. (First appearances and important stories are more valuable than
routine adventures.) An attempt to recapture the collector’s childhood comes
into play too.
“An awful amount of the money being spent is certainly connected to the
baby-boom generation and their sense of nostalgia,” said Mr. Weist, the
Nostalgia is certainly something Mr. Ross, 38, is familiar with. His first major
comic-book project was in 1994, for Marvel, and it retold the early days of the
Marvel universe of heroes through the eyes of a photojournalist. His reputation
for photorealistic renderings of superheroes was cemented two years later by
Kingdom Come, a lavishly painted comic that envisioned a future DC universe with
irresponsible superheroes run rampant. The project pushed prices for his
original art from hundreds to thousands of dollars a page.
“Images of DC and Marvel characters are the best sellers, bar none,” said Mr.
Ross, who sells many pieces at alexrossart.com. “It’s also what I enjoy to
illustrate the most. It’s what the buyers of similar backgrounds as myself want.
They want the thing they grew up with.”
From Trash to Auction,
Faster Than a Speeding ...Well, You Know,
Cautiously Go Online
November 13, 2007
Filed at 8:32 a.m. ET
By THE ASSOCIATED PRESS
The New York Times
LOS ANGELES (AP) -- Marvel is putting some of its older comics online
Tuesday, hoping to reintroduce young people to the X-Men and Fantastic Four by
showcasing the original issues in which such characters appeared.
It's a tentative move onto the Internet: Comics can only be viewed in a Web
browser, not downloaded, and new issues will only go online at least six months
after they first appear in print.
Still, it represents perhaps the comics industry's most aggressive Web push yet.
Even as their creations -- from Iron Man to Wonder Woman -- become increasingly
visible in pop culture through new movies and video games, old-school comics
publishers rely primarily on specialized, out-of-the-way comic shops for
distribution of their bread-and-butter product.
''You don't have that spinner rack of comic books sitting in the local
five-and-dime any more,'' said Dan Buckley, president of Marvel Publishing. ''We
don't have our product intersecting kids in their lifestyle space as much as we
Translate ''kids' lifestyle space'' into plain English and you get ''the
Internet.'' Marvel's two most prominent competitors currently offer online
teasers designed to drive the sales of comics or book collections.
Dark Horse Comics now puts its monthly anthologies ''Dark Horse Presents'' up
for free viewing on its MySpace site. The images are vibrant and large.
DC Comics has also put issues up on MySpace, and recently launched the
competition-based Zuda Comics, which encourages users to rank each other's work,
as a way to tap into the expanding Web comic scene. Company president Paul
Levitz said he expects to put more original comics online in coming years.
''We look at anything that connects comics to people,'' Levitz said. ''The most
interesting thing about the online world to me is the opportunity for new forms
of creativity. ... It's a question of what forms of storytelling work for the
For its mature Vertigo imprint, DC offers weekly sneak peeks at the first five
or six pages of upcoming issues. The publisher also gives out downloadable PDF
files of the first issues in certain series, timed to publication of the series
in book or graphic novel format.
The Web release of DC's ''Y the Last Man'' sent sales of that book collection
soaring at Bridge City Comics in Portland, Ore., the shop's owner Michael Ring
''They really do tend to be feeder systems,'' Ring said of online comics. ''They
give people that initial taste.''
For Marvel, the general public has often already gotten its initial taste
through movies like ''Spider-Man'' or the ''Fantastic Four'' franchises.
The publisher is hoping fans will be intrigued enough about the origins of those
characters to shell out $9.99 a month, or $4.99 monthly with a year-long
commitment. For that price, they'll be able to poke through, say, the first 100
issues of Stan Lee's 1963 creation ''Amazing Spider-Man'' at their leisure,
along with more recent titles like ''House of M'' and ''Young Avengers.'' Comics
can be viewed in several different formats, including frame-by-frame navigation.
Ring expects Marvel's effort to put a slight dent in the back-issue segment of
the comic shop industry, where rare, out-of-print titles sell for hundreds of
dollars on eBay and at trade shows.
Though most comic fans are collectors, some simply want to catch up on the
backstory of their favorite characters and would no longer have to pay top
dollar to do so.
About 2,500 issues will be available at launch of Marvel Digital Comics, with 20
more being released each week.
On the Net:
Cautiously Go Online, NYT, 13.11.2007,
Ideas & Trends
You’re a Good Prop, Cruel Muse
October 14, 2007
The New York Times
By RANDY KENNEDY
THE cult of the suffering artist, that gaunt, rheumy-eyed creation of
Romanticism, was all about introspection and isolation, so it didn’t exactly
bequeath a handbook.
If it had, a few artists probably would have been cited as examples to emulate.
Van Gogh, of course, as the depressive in chief. “The more I am spent, ill, a
broken pitcher,” he wrote shortly before the earlobe incident, “so much more am
I an artist.” Rimbaud, with his description of the artist as he who “exhausts
all poisons in himself and keeps only their quintessences,” would have been
included. And even such late entries as the novelist Ford Madox Ford, who wore
his artistic hair shirt extra scratchy, piling up miseries and misdeeds:
bankruptcy, depression, incarceration, agoraphobia and infidelity (with his
wife’s sister, no less). He described his youth as a period of “moral torture.”
To make room on this list for Charles M. Schulz, hugely wealthy and long famous
creator of a beloved bunch of cartoon kids and their zany beagle, might seem
like a stretch, or a gag from “Peanuts” itself. But since Mr. Schulz’s death
seven years ago — in fact even while he was alive — the image of him as an
unhappy, lonely and bitter man who drew deeply on his discontent to create his
comic strips has gained ground. And with the publication this week of a highly
anticipated biography by David Michaelis, “Schulz and Peanuts,” that examines
seemingly every disappointment and slight (real or perceived) in Mr. Schulz’s 77
years, his reputation as tormented creative soul seems poised only to grow.
The book was written with the cooperation of Mr. Schulz’s family, but in the
weeks leading up to its release, some family members have criticized it, saying
that it overemphasizes his melancholy and chilly side at the expense of other
aspects of his personality — his generosity, his sense of humor, his love of
family and, in many ways, his resolute normalness.
“It’s not a full portrait,” Jean Schulz, his second wife, told The New York
Times last week. Monte Schulz, his son, called it “preposterous.” Mr. Michaelis
has defended himself, saying that after years of research and hundreds of
interviews with those who knew the cartoonist best, “this was the man I found.”
Such arguments are nothing particularly new in the world of biography. Writers
and loved ones often end up staring each other down across a big chasm
separating substantially different versions of a subject both claim to know
intimately. But in the case of Mr. Schulz, the dispute seems to bring up a more
fundamental question, whether almost two centuries after outlaws like Byron and
Chateaubriand linked suffering and creativity, a connection that probably would
have baffled Shakespeare or Swift, we still have a deep-seated need to believe
in the idea of the tortured artist, to think that the only enduring ones are the
really unhappy ones, even if we’re talking about syndicated cartoon-strip
While Mr. Schulz took pains to say that he did not see his cartoons as serious
art, critics and writers have tended to disagree, some comparing his career to
that of Balzac in scope. The short-story writer George Saunders has said that
“Peanuts” prepared him for Beckett. But it doesn’t necessarily follow that the
man behind that work was a Balzac or a Beckett, or more than a very talented and
insightful popular entertainer. And this is the ground in which Mr. Michaelis
has gone to work, depicting Mr. Schulz as a much more self-aware and
autobiographical artist than has been understood previously, a conduit for his
times and the timeless subjects of art: longing, love, heartbreak,
disappointment, distrust. (One strip, drawn when Mr. Schulz’s first marriage was
breaking up and his wife, suspicious of an affair, was questioning his phone
bills, shows Charlie Brown yelling at a lovesick Snoopy: “And stop making those
long-distance phone calls!”)
Looked at simply as a narrative problem, it is not hard to see why any
biographer would want a strong framing device in trying to tell the story of Mr.
Schulz. He was a homebody workaholic whose passions, other than his strips, were
golf and hockey. He was a Sunday school teacher who was not only a teetotaler
but disdainful of drinking and those who did it. His favorite ice cream was
vanilla. A woman who knew him at the height of his early fame described him as a
“genius at becoming invisible.”
In trying to mine the sources of a lifelong gloom it’s not easy to figure out
where his demons might have come from — except a naturally oversensitive and
He had, by conventional measures, what George Plimpton (speaking of himself)
called a “non-unhappy childhood.” His father, an industrious barber in St. Paul,
had work throughout the Depression. His mother could be aloof and withholding
and died when he was 20. But it was she who took him to his first comics show;
she knew he was smitten.
Stacked up against the sundry misfortunes that were courted by or fell on the
heads of history’s best-known tortured artists — prostitute mothers (Jean
Genet); drug addictions (Coleridge); physical deformities (Toulouse-Lautrec) —
those that Mr. Michaelis describes in Mr. Schulz’s youth sound tame and
sometimes a little silly. His father used to give him funny haircuts; he had to
sleep in a room with his grandmother, who snored; he was afraid of girls and had
a crushing Norwegian sense of humility; he was terrorized by schoolyard bullies,
though those who knew him at the time can’t remember an instance of him actually
being walloped by any.
Patricia Hampl, a memoirist and poet who grew up in St. Paul and teaches at the
University of Minnesota, suggested that our desire to think of good artists as
fundamentally troubled stems from a need even now — perhaps particularly now, in
the age of entertainment’s dominance — for art to be something separate from our
quotidian lives, something almost spiritual.
“People don’t want to believe that someone like them could just sit down at a
typewriter or a desk and create something great or timeless,” she said. “It’s
got to be the product of a lot of misery and angst.” She compared the impulse to
that of conspiracy theorists and their reluctance to believe in the banality of
evil: “It’s hard to accept that a guy could just go up into a building and shoot
Morris Dickstein, a professor of English at the Graduate Center of the City
University of New York, said he believed that despite the cliché of the
suffering artist, pain still deserved a whole lot of credit as a catalyst for
creativity. “People who have always had a happy life and lived on an even keel
and haven’t had a lot of misfortune really don’t tend to be creative people,” he
said. (Though of course there are many contemporary examples of successful
writers and artists who seem to have gotten by with fairly contented lives: John
Updike? Jeff Koons?)
Perhaps in today’s era of acute awareness of our depressions and neuroses, Mr.
Schulz’s, as mild as they might have been, were simply enough to qualify him for
membership in the modern miserable artists’ club. Or, as Mr. Dickstein
suggested, maybe there wasn’t a need for a monumental amount of misery but for
just enough to fit the funny pages.
“It got filtered into a medium that we don’t think of as deep,” Mr. Dickstein
said, “and certainly not as being dark.”
And yet in its own way “Peanuts” could make a bit of newsprint as forlorn as a
set for “Waiting for Godot” (with a kite, of course, caught in the naked tree
and a doghouse somewhere in the distance). As Mr. Schulz himself summed it up:
“All the loves in the strip are unrequited; all the baseball games are lost; all
the test scores are D-minuses; the Great Pumpkin never comes; and the football
is always pulled away.”
You’re a Good Prop,
Cruel Muse, NYT, 14.10.2007,
Collector Buys Coveted Batman Comic
October 10, 2007
By THE ASSOCIATED PRESS
Filed at 12:26 p.m. ET
The New York Times
ELLWOOD CITY, Pa. (AP) -- Holy collectibles, Batman! A near-mint copy of
Detective Comics 27, a pre-World War II comic featuring Batman's debut, was
recently found in an attic and sold to a local collector.
The comic is considered to be the second-most valuable available and can fetch
up to $500,000. The only comic considered more valuable is Action Comics 1,
where Superman makes his first appearance.
Collector Todd McDevitt said the Batman issue he bought is worth about $250,000,
but he won't say how much he paid for it or who sold the book to him.
''It was a typical story of someone cleaning up junk in their attic and finding
an old comic book and wondering if this was one of those ones that was worth a
lot of money,'' McDevitt told the Beaver County Times.
McDevitt, owner of the Pittsburgh region's five New Dimension Comics stores,
said he has been saving money since 1986 so that he could buy a valuable comic
when it appeared.
When the seller walked in with the Batman issue, ''my eyes almost popped out of
my head,'' McDevitt said. ''I guess I should have been more reserved, but I'm
not a very good poker player.''
Experts estimate there are between 20 to a few hundred copies of the Batman
McDevitt's comic now sits safely in an airtight bag in a bank vault. On
occasion, he takes it out to show friends and customers.
''I've been toying with the idea of reading it, but I haven't yet,'' he said.
''I'm going to savor it.''
Collector Buys Coveted
Batman Comic, NYT, 10.10.2007,
DC Comics launches
online search for new superheroes
Tuesday July 10, 2007
Ed Pilkington in New York
The publishers of some of the most cherished names in comic book
history, including Batman and Superman, are launching a website designed to open
up the world of comics to a new generation of web-literate and talented
DC Comics, a division of Warner Brothers Entertainment, is
setting up a web imprint called Zudacomics.com in the hope of filtering out the
best young writers and artists from the current boom in web comics. The best
entrants will be awarded a year-long contract to produce content that will
feature on the web and in print.
The first of a monthly series of competitions will be launched in October. The
company's executives will boil down the entries to the best 10, which will be
voted upon by registered members of the site.
Paul Levitz, the publisher of DC Comics, would not specify how much the winners
would be paid over their year's contract, but he said they would receive an
up-front fee, followed by royalties on any strips that made it into print.
"People creating their own comics and putting them up on the web has become a
phenomenon in our field, but many artists haven't worked out how to monetise
their efforts. We hope to bring some of those people on board, to the benefit of
both sides," Mr Levitz said.
Of DC Comics' famous stable of characters, Batman and Superman were created by
in-house draughtsmen. Wonder Woman, the superheroine who was as beautiful as
Aphrodite and stronger than Hercules, had a less traditional start in life: its
creator, a psychologist called William Marston who believed in women's
empowerment, was approached by DC Comics after he wrote an article in 1940 for
Family Circle magazine about the growing comic book industry.
More recently, the craze in manga comics has helped the comic industry to avoid
the troubles of other print media in the US which have suffered falling
circulation due to migration to the internet. This autumn 87 new manga series
are planned, according to the comic news website ICV2.
DC Comics launches
online search for new superheroes, G, 10.7.2007,
Marvel Comics Buries Captain
June 30, 2007
Filed at 4:48 p.m. ET
The New York Times
By THE ASSOCIATED PRESS
NEW YORK (AP) -- It's a funeral
fit for a superhero.
In the drizzling rain at Arlington National Cemetery, thousands of grieving
patriots solemnly watch as the pall bearers -- Iron Man, the Black Panther, Ben
Grimm and Ms. Marvel -- carry a casket draped with an American flag.
Yes, folks, Captain America is dead and buried in the latest issue of Marvel
Comics, due on newsstands the morning after Independence Day. After 66 years of
battling villains from Adolf Hitler to the Red Skull, the red, white and blue
leader of the Avengers was felled by an assassin's bullet on the steps of a New
York federal courthouse.
He was headed to court after refusing to sign the government's Superhero
Registration Act, a move that would have revealed his true identity. A sniper
who fired from a rooftop was captured as police and Captain America's military
escort were left to cope with chaos in the streets.
But the sniper didn't act alone, and didn't even fire the shot that killed the
Writer Jeph Loeb has been busy working through the stages of grief in the most
recent issues of Marvel Comics. A book centered on Wolverine dealt with denial;
one with the Avengers covered anger; and Spider-Man battled depression.
With the story line so relevant to present-day politics, and the timing of the
latest issue so precise, it's hard not to think the whole thing is one big slam
on the government.
''Part of it grew out of the fact that we are a country that's at war, we are
being perceived differently in the world,'' Loeb said. ''He wears the flag and
he is assassinated -- it's impossible not to have it at least be a metaphor for
the complications of present day.''
But Loeb says he was working with more personal material: the death of his
17-year-old son from cancer.
''So many people have lost their sons and daughters over the years, for the
greater good or to cancer or other horrible things,'' said Loeb, an executive
producer for NBC's ''Heroes.'' ''I wanted this to be something people would
In the final frames of the book, the Falcon delivers a eulogy asking superheros
old and young to stand up and honor Captain America. Loeb did a similar thing at
his son's funeral.
''It was this moment where I realized that we were all different, but this boy,
my son, made us all connected,'' he said. ''It was powerful.''
Captain America, whose secret identity was Steve Rogers, was an early member of
the pantheon of comic book heroes that began with Superman in the 1930s.
He landed on newsstands in March 1941, nine months before Pearl Harbor --
delivering a punch to Hitler on the cover of his first issue, a sock-in-the-jaw
reminder that there was a war on and the United States was not involved.
Since then, Marvel Entertainment Inc., has sold more than 200 million copies of
Captain America magazine in 75 countries.
In the most recent story line, he became involved in a superhero ''civil war,''
taking up sides against Iron Man in the registration controversy, climaxed by
his arrest and assassination.
Marvel says you never know what will happen. He may make it back from the dead
after all, although Loeb says that question isn't really important right now.
''The question is, how does the world continue without this hero?'' he said.
''If that story of his return gets told further down the line, great. But
everyone's still been dealing with his loss.
''They aren't going to wake up and it's a dream, like it's some episode of
On the Net:
Marvel Comics Buries Captain
A Quirky Superhero
of the Comics Trade
November 12, 2006
The New York Times
By GEORGE GENE GUSTINES
YOU may not know a little publishing company
called Dark Horse Comics, but if you are a fan of Concrete (whose brain was
transplanted by aliens into a stone body), Hellboy (he of the sawed-off red
horns, satanic red tail and gargantuan red fist) or Sin City (the violent,
edge-of-desperation town where people and principles are routinely bought and
sold), then you certainly know its characters and its comic books.
And if you are a Dark Horse aficionado with an insatiable appetite, the company
has more in store for next year. A new comic book series about Buffy the Vampire
Slayer is on its way, written by Joss Whedon, who wrote and helped produce the
popular television series of the same name. Dark Horse will also release “Star
Wars: Legacy Vol. 1,” chronicling the distant future of the Jedi, as well as
“300: The Art of the Film,” an account of the movie adaptation of Frank Miller’s
comic book mini-series about an ancient, epic battle between Spartan and Persian
By nurturing and backing a quirky, brooding and inventive stable of writers and
artists, Dark Horse has spent the last 20 years carving out and maintaining its
place as a scrappy comic book franchise in an industry dominated by Marvel
Entertainment and DC Comics.
Dark Horse, which is privately held, has endured in an industry where many small
publishers last less than a year. It has thrived, its owners say, by sharing
financial success with its artists and taking its role as an independent
publisher very, very seriously.
“Every comic we do, whether we ask to share the film or toy rights or not, we
publish because we think it’s a great comic,” said Mike Richardson, who founded
Dark Horse 20 years ago and is the company’s president. “We want to survive far
into the future, but we also want to leave a legacy.”
The Dark Horse approach calls for protecting the creative and financial rights
of its contributors — including giving them a cut of the profits — and
publishing comics that are well out of the mainstream (meaning fewer capes and
Based in Milwaukie, Ore., Dark Horse entered the game thanks to the birth of the
direct sales market in the 1980s, which moved comics beyond newsstands and into
specialty stores. Teenage Mutant Ninja Turtles, a small-press, black-and-white
comic, became a hit in 1984 and started a boom that Dark Horse also enjoyed. But
quick-hit comics publishers introduced a glut of ill-conceived characters and
the market collapsed, taking many companies down with it. Dark Horse, however,
avoided the debacle.
At the time, Mr. Richardson was a member of a community of artists and writers
aspiring to make their marks in comics. Some of them created the stories in Dark
Horse Presents No. 1, the company’s first comic book. “Later, I created a list
of artists and writers that we thought were the best in comics and started
calling them,” Mr. Richardson said. His sales pitch included promises of
competitive pay and ownership of the work. The pitch worked, giving Dark Horse
access to some of the most original and creative minds in the comics business.
Dark Horse later branched out to produce licensed comics devoted to the “Star
Wars,” “Aliens” and “Terminator” films. It was also among a small group of
pioneers that began importing Japanese comics, also known as manga (pronounced
Delving into everything from romance and adventure stories to science fiction
and horror, manga have developed a large following in America and are commonly
sold in bookstores. One of Dark Horse’s biggest manga successes has been the
28-volume Lone Wolf and Cub, about a wandering samurai and a young boy. The most
violent and gory manga titles that Dark Horse reprints are shrink-wrapped.
“We’re reprinting them as they were published in Japan,” said Neil Hankerson,
Dark Horse’s executive vice president. “We publish as is or we don’t publish it
COMIC books — sealed in plastic or not — were only the beginning. By 1991, Dark
Horse had set up a unit to develop toys and later began a film division and a
publishing imprint for decidedly noncomics products, including collections of
Playboy interviews and a series of novels chronicling the early years of Tony
Montana, the character played by Al Pacino in the 1983 film “Scarface.”
Today, Dark Horse is the third-largest publisher, behind the much larger Marvel
and DC, in the direct market, which includes the specialty shops that cater to
comic book fans. That market produced more than $500 million in sales last year,
according to Milton Griepp, the publisher and founder of ICv2, an online trade
publication that covers pop culture for retailers.
According to Diamond Comic Distributors, the world’s largest distributor of
English-language comics, Marvel had 36.9 percent of the market last year and DC
(owned by Time Warner) had 32.9 percent; Dark Horse came in at 5.6 percent.
At the heart of Dark Horse’s varied efforts is Mr. Richardson, 56, who is also
its president. “I’m sure some people would like me to have less of a hand in
things,” he said in an interview. “But clearly I like to control the direction
of the different divisions.” He said Dark Horse, with about 100 employees, had
$30 million in revenue last year.
Mr. Richardson grew up in Portland, Ore., reading the adventures of a certain
caped crusader and a spectacular wall-crawler. “My preschool fascination with
comics meant that I could read by the time I entered the first grade,” he said.
“I had boxes of comics in my closet and collected every one I could get my hands
on — even the recruiting comics you could get at the Air Force recruiting
It became a lifelong passion. Mr. Richardson began to write comics for an
amateur press association and, after graduating from college, established a
chain of comic book stores in Oregon. The success of his stores, where writers
and artists often appeared to sign their work, and his contacts with other
industry professionals paved the way to the founding of Dark Horse.
“There was a recurring complaint that the people who created the comics couldn’t
own their own work if they worked for the major companies,” he said. “There were
so many horrible stories of people who signed the back of the check and lost the
rights to their characters.”
Perhaps the most famous example goes back to Superman himself. Jerry Siegel and
Joseph Shuster, the men who created the man of steel, sold their comic strip,
and the rights to the character, for $130 in 1938. Superman, of course, would go
on to both inspire countless champions and fill DC’s coffers. Mr. Siegel and Mr.
Shuster would have to fight for decades to be recognized and compensated.
Although they never won a court award, in 1975 Warner Communications agreed to
give both men lifelong pensions worth about $38,000 a year.
“We built our publishing platform around creators’ rights,” Mr. Richardson said.
“Our pitch was, ‘We’ll match the rights that you get from other companies and
we’ll let you own the work.’ ”
Dark Horse pays by the story or the page, and shares profit generated by comic
books and related merchandise. That is different from the standard work-for-hire
arrangement at DC and Marvel: creators are paid for a specific story and perhaps
receive royalties from collected editions, but the bulk of the revenue, and all
of the merchandising opportunities, remain with the companies.
In fact, a group of artists, primarily from Marvel, set up their own company,
Image comics, in 1992 because they were disenchanted with corporate-owned
characters that generated profits for their bosses but not for them.
“It is always a blow to any organization when you lose talented people,” Dan
Buckley, the publisher of Marvel, said. “However, we were able to fill those
shoes with other talented artists.” He added that Marvel “now has more creative
opportunities under its umbrella, inside and outside of the Marvel universe.”
At DC, the president and publisher, Paul Levitz, said the company does not
adhere to a rigid compensation model and has made “many types of arrangements.”
He said that “different deals appeal to different creative talent at different
times, but we have no shortage of great people wanting to do new series for us
or work our star characters.”
PAUL CHADWICK is the writer-artist behind Concrete, one of Dark Horse’s early
successes. Mr. Chadwick chronicles the struggles of Concrete, a k a Ron Lithgow,
as he learns to cope with and take advantage of his cement-block body while
championing environmental causes or scaling Mount Everest.
Concrete first appeared in an eight-page story in Dark Horse Presents No. 1 in
1986. It was a runaway hit. “We were hoping to sell 10,000 copies, and it sold
50,000,” Mr. Richardson said.
Thanks to their participation in APA-5, an amateur press association devoted to
comics and pop culture, Mr. Chadwick and Mr. Richardson were already acquainted
when Mr. Chadwick joined Dark Horse.
Other APA-5 members who are part of the Dark Horse family constitute a virtual
Who’s Who of the comics industry; they include Randy Stradley, the company’s
vice president; Mr. Miller, one of the comic world’s superstars; and Mark
Verheiden, a writer for the TV series “Battlestar Galactica,” who has written
Dark Horse comics like Aliens, Predator and Timecop.
Mr. Chadwick first shopped the Concrete concept around in 1983. “I was pretty
roundly turned down,” he recalled. A few years and some improvements later, he
tried again, with different results. “I had eight offers, including one from
Dark Horse, which was just starting up,” he said. “They matched Marvel’s offer
and were so enthusiastic that it caused me to go with them, which turned out to
be very good for me.”
The Concrete stories would win several Eisner Awards, among the most prestigious
honors bestowed upon comic book creators. Mr. Chadwick’s next installment of the
continuing saga begins with Concrete suffering from amnesia after being struck
by lightning in a desert in Colorado. His memory loss makes him even more
uncertain of his place in the world.
Dark Horse is also patient with contributors like Mr. Chadwick. Unlike those who
work for DC or Marvel on a Batman or Captain America, which are monthly
publications and are generally expected to arrive without fail every 30 days,
Mr. Chadwick works at his own pace. “I go mini-series by mini-series,” he said.
“The last one took me — gulp — six years. I’m hoping to cut down on that on the
Mr. Richardson accepts uncertain timetables. “Creators who are doing very
personal work can’t crank them out on a regular basis,” he said. “We support the
creator and the rate they can produce it. We want them to be special; sometimes
that’s not possible to produce on a 30-day schedule.”
Such support generates intense feelings of loyalty. When asked what it would
take to offer Concrete to another publisher, Mr. Chadwick is quick with his
answer: “A plane going down with Mike Richardson on it. Mike’s done a lot for
me. It would be the height of disloyalty to go somewhere else.”
Mr. Richardson does not see the ebb and flow of the publication cycle as a
creative issue. “The fans understand a creator-owned work,” he said. “They
wouldn’t just want to see us crank something out.”
To fill the sales gaps caused by unpredictable publication, Dark Horse licenses
characters from popular films, novels and video games and builds comic books
Attention to quality played a role in this business strategy, too. Dark Horse
discovered “a way to do licensed comics successfully,” Mr. Griepp said. “Marvel
and DC haven’t found a formula that worked. It never really clicked.”
At Dark Horse, “they put a higher grade of talent on the books,” Mr. Griepp
said. “They didn’t take the tack that the license is going to sell these books.”
He also said the company made the comics easier to repackage by focusing on
shorter story lines.
Licensed books, unlike creator-owned titles that can be as tame or as daring as
a publisher desires, may have to observe some outside restrictions. “Our basic
guidelines are: ‘Don’t do anything in the comics that you wouldn’t see in the
films,’ ” said Mr. Stradley of Dark Horse. “It’s an easy rule to follow.”
Dark Horse approaches the licensed titles as sequels to the films, not simply
repeating the same story. Its Aliens adaptation was a hit, selling more than one
million copies. In a twist, Dark Horse’s first Predator series was adapted into
the story for the film sequel, Predator 2. In turn, in order to protect its
license, Dark Horse adapted that film back into a comic. “So a comic was adapted
into a movie which was then adapted into a comic,” Mr. Richardson said.
The success of space-creature comics led Dark Horse to deploy a well-worn
industry tactic: the team-up. Thus Aliens vs. Predator was born — the comic and
then the film. “That two-way street with Hollywood makes Dark Horse stand out,”
Mr. Griepp said. “They were able to do it in a way that their larger competitors
Dark Horse’s success in Hollywood has been relatively fast and furious. It began
in 1992 with “Dr. Giggles,” a film about a mental patient posing as a doctor;
the company was a co-producer. Next was a blockbuster: the Mask, one of Mr.
Richardson’s creations, whom he describes as “a Tex Avery cartoon come to life.”
In 1994, Hollywood turned the Mask into a film starring Jim Carrey; it captured
around $120 million domestically. In 1994, Dark Horse turned another of its
properties, Timecop, into a film; the box-office take was almost $45 million.
Just like that, “I was in the film business,” Mr. Richardson said.
Dark Horse has come a long way from the day in 1986 when Mr. Richardson and Mr.
Stradley put the company’s first issue on the counter of a comic book shop. At
the time, all Dark Horse could offer contributors was a print outlet and its
dedication to creator rights. Today, it can offer access to the worlds of toys,
film and animation.
DARK HORSE also remains hungry and productive, sometimes inspired by comic book
properties, sometimes not. Next year, it will publish “Bottomfeeder,” the
cartoonist B. H. Fingerman’s first novel, about a vampire in New York who meets
others of his kind in several unusual cliques.
In January, it will publish Hellboy Animated Vol. 1: The Black Wedding, timed to
the DVD release of the title character’s first animated foray. Its roster of
original films includes “My Name Is Bruce,” in which Bruce Campbell, a popular
B-movie actor, is kidnapped to protect an Oregon town from monsters. And the
veteran horror director John Landis will make “Gone,” a thriller that takes
place in a haunted house.
“A lot of companies have sprung up trying to do what I’ve done,” Mr. Richardson
said. “They try to take comics and cruise them into films.” But there is often
“a long period between a sale and when a film gets made,” he added. “If your
comics can’t stand on their own, they may not last very long.
“If the comic deserves to be taken into another media,” he said, “that’s a
Quirky Superhero of the Comics Trade,
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